Tess McHugh as Blanche DuBois and Sam Crane as The Doctor in A Streetcar Named Desire at WilliamsTheatre. Photo © 2011 Michael Miller.

Tennessee Williams at 100, Two Early Impressions: Vieux Carré from the Wooster Group and Streetcar at Williams

There can be no doubt that Tennessee Williams was the preeminent American playwright of his time—at least for a period which, sadly, covered only eighteen years of his life, beginning with his first great Broadway success, “The Glass Menagerie” in 1944 and ending with his last great Broadway success, “The Night of the Iguana,” in 1962. Between those years Williams wrote a series of profound, deeply-affecting works, in which a heady atmosphere originating from his deep southern origins proved irresistable to New York critics and audiences, not to mention certain Hollywood producers and enough people in-between to bring him wealth and celebrity. After “Night of the Iguana,” it all ended as swiftly as it began. His later productions irritated critics and audiences with their lush language and melodrama, if it made much of an impression on them at all.

The View from Usher Hall, Edinburgh

Our first Edinburgh Festival and our first visit to Usher Hall opened with a delightful surprise. We didn’t have to get very far into Mozart’s Idomeneo for me to realize that the acoustics of the hall are surpassingly beautiful. The Scottish Chamber Orchestra, playing period instruments, and the singers floated in a warm acoustic atmosphere, but the sound was also direct and present, so that the attacks of strings and brass and the fleeting nuances of the human voice were as clear as you could want them to be. Our seats were also several rows in the Grand Circle and well covered by the level above. In most halls the sound becomes rather muffled in that kind of situation, but, when I noticed that I was surrounded by fellow critics, I assumed that the Festival media representatives knew what they were doing. More importantly I loved what I heard.

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