Four Plays: Summer and Smoke/Orpheus Descending/Suddenly Last Summer/Period of Adjustment

Tennessee Williams is so well-known for other plays like "The Glass Menagerie" and "Streetcar Named Desire" that one like me not terribly familiar with him, except via his reputation for overwrought Southern Gothic drama, approaches this collection of Williams' lesser-known plays from his major period with trepidation. "Four Plays" is pretty Gothic, and sometimes overwrought, but it makes for a pretty immersive read, not to mention a tough-love rollercoaster for the human condition. Up first is "Summer And Smoke" (1948), a tale of a raucous young medical student and the girl next door who has pined for him since childhood. Right away you get that you are in the hands of an unusual playwright in Williams, who gives very detailed instructions on dressing the set, including which constellations should be projected on the overhead cyclorama during evening scenes and what colors the actors should wear. Williams is just as controlling with his characterizations. Alma is a sincere, spiritually-inclined woman who tries to bring order to her household, hostage to a crazy mama who spitefully embarrasses Alma and her minister father. John also teases Alma, with talk of sex, yet a curious qualm holds him back from the ravishment he knows could be his at his pleasure: "Many's the time I've looked across at the Rectory and wondered if it would be worth trying, you and me..." That yard's worth of distance is the substance and the tragedy of this curious, arresting play. The other three plays develop similar dialogues between intimacy and loss. Nowhere in this book does that come out more hot and heavy than "Orpheus Descending" (1957), a play which Williams in an introduction explains was a decades-long labor of love which he never gave up on. In a small southern town, gossip travels quickly, especially when a mysterious man takes a job at a general store owned by a dying man and his wife, who suspects her husband had something to do with the long-ago murder of her father. It all boils up rather quickly and unconvincingly, even for Williams where a certain suspension of disbelief is helpful. Still, you keep reading. "Suddenly Last Summer" (1958) is the most recognized title, though more for me from the Motels' hit song in 1983. It's a more subtle but just as ripping dramatic piece as "Orpheus". A batty rich widow tries to have her niece lobotomized to destroy her memory of how the widow's son died in Mexico. "My son, Sebastian, was chaste," she declares. "I was the only one in his life who satisfied the demands he made of people." Sebastian wasn't exactly Ivory Snow-pure, of course, and in the widow's many daiquiri-fueled discursions there's both poignancy and hilarity. Definitely surreal, "Suddenly Last Summer" probably plays better on the page than the stage, as the major plot comes entirely in eyewitness narrative. "Period Of Adjustment" (1960), the final and last-written of these plays, is my favorite in the crowd, a Christmas tale of domestic dysfun

How beautiful is Tennessee Williams? Consider his affections for his characters. Consider his appreciative and sensuous representations of his Southerness. Consider his status as a male writer whose female characters are the ambitions of American actresses. Arthur Miller, David Mamet and Sam Shepard, all members of the select American Giants Canon, cannot say so much. Edward Albee and Eugene O'Neill also gift wonderful women's parts, but nobody shares the trauma of fagility in a bruising world like Tennessee Williams. This collection of some of his lesser known works serves as a wonderful entrée to his milieu and brilliance. Summer and Smoke is a classic of his lesser known plays; a lifetime's changes for Alma and John takes place over a year, where the longings and passions of two people diametrically driven by the spirit and the flesh are danced about: bad timing, self-hatred, the tasks of responsibilities to one's parents, all serve as a foil for something marvelous, and in so doing illuminate the simple and monumental difficulties of love and hope. Orpheus Descending is the tale of Val Xavier's perilous trip into the fiery heart of a Southern small town, where outsiders are not welcome and sexuality will be burned by the fears of a violent community. Val's stimulation of the hatred and passion inside Lady and the sensuous inspiration of Carol spark the town's leading "citizens" to attack and subdue the whimsy of youth and the hopefulness of true connections. Highlighted by a very expressionistic set design, Williams offers his characters up as martyrs to the truth and the risk of emotional attachment. Suddenly Last Summer is a shorter piece, a long lone-act that proves a swift example of everything Williamsian. Essentially an expositional exercise in suspense, its tale is of a young doctor's visit to the estate of a wealthy Southern matron (Aunt Venable), who wants to endow the doctor's experiments with lobotomies. Her niece has been acting out and spreading a horrible story about Aunt Venable's son Sebastian and the trauma of the tale is enough to propose a lobotomy for Catherine, her erratic niece. Ultimately the horrific story is revealed, and presents Williams' penchant for extreme people in extreme circumstances and the volatility of being openly and actively indifferent to society's norms and codes of silence. Period of Adjustment is an odd piece, even for Williams. Of all the plays of his I've read (which is not all of them), it's the only full length piece that has a happy ending. Ironic too as it is about two married couples (never a sub-cultural group to fare well in his work) and the crossing dialogues of a husband from one and a wife from another, frequently about the loathing they feel for their mates. It is subtitled ;or, High Point over a Cavern, no doubt a metaphor for the nature of romance and relationships, marriage and fidelity. It would be a treat to see this performed, as it features a smaller cast than a usual Williams

Tennesse Williams has become of my favorite authors, partially due to this book. I have long been a fan of the movie adaptations of his work, but they come nowhere near to the superb quality of the written word. In all of his plays you can get a sense of what the characters are feeling. In most cases those feelings are angst and despair. "Suddenly Last Summer" is by far the best play in this book, but the others are not far behind. The characters in these plays are easy to "see", thanks to Williams' wonderful development. As with every Williams' play, these have surprising twists and revelations throughout. I highly recommend these, and all other Tennessee Williams plays.

Of the plays that I read, I found them all to have real life aplications. One of the suprising things was that his works were written several years ago but there are still points that he raises that are aplicable to today. Honestly I could not go to bed until I found out how he resolved his conflicts. I will have to read more of his work. He is not that bad for being an english paper topic.

This is one of the best plays I've ever read or seen. Definitely one of Williams' best, though I still have not read "The Night of the Iguana," or "The Rose Tattoo." This play is definitely Williams' most brutal, most shocking play. In the introduction to "Sweet Bird of Youth," he says that he only wrote "two violent plays": "Suddenly, and "Sweet Bird..." If you read it (PLEAE do), be prepared- Williams' style is like an extremely complex poem. There are levels to this play, like all of his. Consider the subtext, the allegory... and the LANGUAGE- definitely first-rate and poetic. WONDERFUL.