The Night of the Iguana

Front Cover
Dramatists Play Service Inc, 1963 - Drama - 93 pages
43 Reviews
An outstanding Broadway success, this ingeniously devised thriller builds steadily in menace and suspense until the final, breath-stopping moment of its unexpected, twist ending. A most superior thriller...which from its first blood-curdling scream to it
  

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Review: The Night of the Iguana (Acting Edition)

User Review  - Eiler Schiotz - Goodreads

This play was short and strange. The bohemian characters and setting seemed cliche to me, but that may be because this could have been the original work that made such characters cliche. I also do not see how the Nazis were at all important to the plot. Read full review

Review: The Night of the Iguana (Acting Edition)

User Review  - Laura Little - Goodreads

Perhaps this play (screenplay?) translates better on stage, or in the John Huston film. The only redemptive part, for me, were the frank exchanges between chaste Hannah and cracked-up has-been priest ... Read full review

Selected pages

Contents

Section 1
3
Section 2
4
Section 3
5
Section 4
49
Section 5
80
Section 6
81
Section 7
82
Section 8
88
Section 9
89
Section 10
94
Section 11
96
Copyright

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Page 1 - And so as kinsmen met a-night We talked between the rooms Until the moss had reached our lips And covered up our

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About the author (1963)

After O'Neill, Williams is perhaps the best dramatist the United States has yet produced. Born in his grandfather's rectory in Columbus, Mississippi, Williams and his family later moved to St. Louis. There Williams endured many bad years caused by the abuse of his father and his own anguish over his introverted sister, who was later permanently institutionalized. Williams attended the University of Missouri, and, after time out to clerk for a shoe company and for his own mental breakdown, also attended Washington University of St. Louis and the University of Iowa, from which he graduated in 1938. Williams began to write plays in 1935. During 1943 he spent six months as a contract screenwriter for MGM but produced only one script, The Gentleman Caller. When MGM rejected it, Williams turned it into his first major success, The Glass Menagerie (1945). In this intensely autobiographical play, Williams dramatizes the story of Amanda, who dreams of restoring her lost past by finding a gentleman caller for her crippled daughter, and of Amanda's son Tom, who longs to escape from the responsibility of supporting his mother and sister. After The Glass Menagerie,Williams wrote his masterpiece, A Streetcar Named Desire, (1947), along with a steady stream of other plays, among them such major works as Summer and Smoke(1948), Cat on a Hot Tin Roof (1954), and Suddenly Last Summer (1958). His plays celebrate the "fugitive kind," the sensitive outcasts whose outsider status allows them to perceive the horror of the world and who often give additional witness to that horror by becoming its victims. Stephen S. Stanton has summed up Williams's "virtues and strengths" as "a genius for portraiture, particularly of women, a sensitive ear for dialogue and the rhythms of natural speech, a comic talent often manifesting itself in "black comedy,' and a genuine theatrical flair exhibited in telling stage effects attained through lighting, costume, music, and movements." After The Night of the Iguana (1961), Williams continued to write profusely---and constantly to revise his work---but it became more difficult to get productions of his plays and, if they were produced, to win critical or popular acclaim for them. Williams won the Pulitzer Prize for drama for A Streetcar Named Desire and Cat on a Hot Tin Roof. He won the New York Drama Critics Circle Award for these two and for The Glass Menagerie and The Night of the Iguana.

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