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The Magic Tower and Other One-Act Plays (New Directions Paperbook), by Tennessee Williams
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A wonderful collection of never-before-collected one-acts: "The peak of my virtuosity was in the one- act plays. Some of which are like firecrackers in a rope" (Tennessee Williams).
Here are portraits of American life during the Great Depression and after, populated by a hopelessly hopeful chorus girl, a munitions manufacturer ensnared in a love triangle, an overconfident mob dandy, a poor couple who quarrel to vanquish despair, a young "spinster" enthralled by the impulse of rebellion, and, in "The Magic Tower," a passionate artist and his wife whose youth and optimism are not enough to protect their "dream marriage." This new volume gathers some of Williams's most exuberant early work and includes one-acts that he would later expand to powerful full-length dramas: "The Pretty Trap," a cheerful take on The Glass Menagerie, and "Interior: Panic," a stunning precursor to A Streetcar Named Desire.
The plays include:
* At Liberty
* The Magic Tower
* Me, Vashya
* Curtains for the Gentleman
* In Our Profession
* Every Twenty Minutes
* Honor the Living
* The Case of the Crushed Petunias
* Moony's Kid Don't Cry
* The Dark Room
* The Pretty Trap
* Interior: Panic
* Kingdom of Earth
* I Never Get Dressed Till After Dark on Sundays
* Some Problems for The Moose Lodge
- Sales Rank: #1028084 in Books
- Published on: 2011-04-25
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .80" w x 5.20" l, .69 pounds
- Binding: Paperback
- 304 pages
Review
"These plays are a welcome addition to the Williams library, and this volume receives them beautifully, with a warm foreword by Terrence McNally, and a brief yet detailed scholarly appendix to each play by Thomas Keith."
--Benjamin Morris, Southern Quarterly
"I Never Get Dressed Till After Dark on Sundays (1973) is a mind-bending play-within-a-play that served as a study for the later Vieux Carré."
--Garrett Eisler, American Theatre Magazine
"These new "fantasies" (as Williams called them) span the arc of his long career, affording a view of his transformation from young neophyte finding his voice to master craftsman at the height of his powers."
--Nick Coccoma, Full Stop
“Within his early one-acts there are intriguing prototypes of characters and seeds of ideas Williams developed more fully in his later, larger dramas.” (The New York Times)
“Williams was always confronting the future; a shaman with a typewriter, he dug into the darkest depths of the American psyche in search of dramatic truths.” (Randy Gener - American Theater Magazine)
“Just as young painters make their stabs at impressionism and cubism, in his early one-acts Williams tried his hand with political satire, expressionism, social realism, and even drawing-room comedy.” (Eli Wallach and Anne Jackson)
“The peak of my virtuosity was in the one-act plays. Some of which are like firecrackers in a rope.” (Tennessee Williams in a 1950 letter to Elia Kazan)
“Reading these plays of the very young Tennessee, then of the successful Tennessee Williams, and finally of the troubled man of the 1970s he had become, we are offered a panoramic yet detailed view of the themes, the demons, and the wit of this iconic playwright.” (Terrence McNally, from his foreword)
About the Author
Tennessee Williams (1911-1983) is the acclaimed author of many books of letters, short stories, poems, essays, and a large collection of plays, including The Glass Menagerie, A Streetcar Named Desire, Camino Real, Cat on a Hot Tin Roof, Orpheus Descending, The Night of the Iguana, and The Rose Tattoo.
Terrence McNally is the author of a dozen one-acts and over thirty full-length plays. He has been honored with four Tony Awards―for Love! Valour! Compassion!, Kiss of the Spider Woman, Master Class, and Ragtime―four Drama Desk Awards, two Obie Awards, and an Emmy.
Born in Cleveland, Ohio, in 1961, Thomas Keith is an editor, as well as production manager and art director, at New Directions Publishing. He lives in New York City.
Most helpful customer reviews
1 of 1 people found the following review helpful.
The artist's workbench
By A Reader
This is a collection of one-act plays by Tennessee Williams, most from the late 1930s to `40s. These are sketches and slighter works by a great dramatist, but there is enough here to fill an evening. Student and amateur or small theater groups, scholars, and anyone with a serious interest in Williams will appreciate this offering. If you are new to Tennessee Williams, this is not the volume to start with. Some of the plays have appeared in an actors' edition or in journals, but are more readable and accessible here, and several are appearing in print for the first time.
The quality of the early short sketches varies. They reveal a young Williams developing his craft in comedy, melodrama, tragedy, and social commentary. We might not be interested in all of them if we didn't know they were written by Williams. "At Liberty," "Honor the Living," "The Dark Room," and "Every Twenty Minutes" show his gift for dialogue. "The Case of the Crushed Petunias" is a highly enjoyable playlet written after Williams' first major play production failed in Boston. It features a young shopkeeper in the town of "Primanproper," Massachusetts and a young man who encourages her to explore new things and advises that "Boston's a state of mind that you'll grow out of."
"The Pretty Trap" and "Interior: Panic" present the characters and ideas of "The Glass Menagerie" and "A Streetcar Named Desire," but with more optimistic outcomes than the famous plays. "Kingdom of Earth" also exists as a full-length play, and "I Never Get Dressed Till After Dark on Sundays" is a somewhat experimental treatment of characters who appear at greater length in "Vieux Carre."
One of the most powerful pieces in this collection is the 1980 play "Some Problems for the Moose Lodge." It was expanded into a full-length play ("A House Not Meant to Stand") but works well as a one-act. The aging and probably dying mother Bella, becoming more incoherent as the play proceeds, speaks with unintended poetry at the end, expressing Williams' insight, stated in his plays in so many different ways, that her life and everyone's life is "a question of time."
It's too bad that the one-act play "American Gothic" did not make it into this collection. It premiered at the 2010 Provincetown Tennessee Williams Theater Festival. In it, Williams brings the Midwestern farm couple from the famous Grant Wood painting to life, the husband with a pitchfork and the wife who observes that thirty dry summers have made her hard. Their son, a bank robber on the run from the law, arrives with his "floozie" wife, followed not long after by the police. In the notes, the editor states that the existing drafts of this play are unfinished or incomplete, but readers and audiences will certainly enjoy this play, even in an incomplete or somewhat reconstructed form. Let's hope that it appears in a future volume.
Thanks to New Directions and all involved who are promoting the rediscovery of Tennessee Williams.
0 of 0 people found the following review helpful.
Why are They Doing This?!?
By Kenneth Dosch
Here we have another collection of Tennessee Williams' fringe output...which would've been cool had this book chose a focus. What we have is 3 of the 5 plays from the "American Blues" collection. The two left out? ...plays that were early drafts of larger works...but wait! the main draw of this collection is that it contains 5 early drafts of other Williams plays...so wouldn't the inclusion of those two missing plays work to the better good? Plus there are two other early shorts that became major works floating around only available recently with the purchase of "Sweet Bird of Youth" and "The Rose Tattoo" separately. (of note one of the missing "American Blues" plays is tagged up with the "Camino Reel" release.) Why not include those plays in this collection also? I guess I don't get why three previously published plays made the cut when thematically the other 4 plays should have been included here. I'd rather just read these plays at the public library and hold out hopefully for a "Theater of Tennessee Williams Vol. 9 and 10" instead.
0 of 0 people found the following review helpful.
Delightful and Surprising.
By David H Cohen
As a huge Tennessee Williams fan I was tickled with this collection of one-acts. Some are rough sketches and/or lighter, funnier versions of his more famous works while others are delightfully surprising. I bought the book because I'm looking for several of his short plays to string together for an evening of Williams. I'm struggling with which ones to choose because they all deserve to be experienced. If you're a fan like I am, you won't be disappointed by this lovely collection.
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