“Getting the Colored Lights Going”: aay S36) Log befere he remade himsel into “Tennessee Williams” young Thomas Lanier Wiliams submited 2 one-act pay oa ealege play ting const fr Profesor William GB, Carson's English 16 clays at Wishinglon University in St Lous. The year was 1937, and it ‘seemed to Will's lasses forge conclusion ht the con bution by the twenty-ve-yearold undergrads, who had already Id v0 plays prodoced (Ftv Kn and Canaes roth Sur, both in 1939)by The Mummers, local evant-gade theater company, would be chssen a the winner ofthe contest and is fy-dollar pric, They had aeady seen evidence of th Young mans extreinary alent a secieso shor sketches based on his ome ie that he had proce for teeuss. Cussmate A. Hotemner described them athe most Won ef itl eagle vignotes about mother and daughter sna sn a ‘St Leui” leading him to conclude they were precursors o Will's fis great Broudway sucess, The Glass Menagerie (1943). “They were ul Iyreal” he continued, and we took i for grated that he \woutétum ina play based on these people (quoted in Givens 30) Bt Insta! ofa ply based on these intimate domestic seenes, Within submited bizare litle work, “Me, ashy,” about a megalomaniae sms nanufictrer named Sir Vsya Showing, who has Jacked his rmenully unbelaneed, aristocratic wife in thee bedoom and “whose sceretopzratons vill contol sheaf ofall ations patipt- ing inthe next work war" (1). Asthe ply ope, Vata is seated at his desk smoking cise before the bus of sme great tat,“ tively twikng.a age globe ofthe world, whe, ought mos of the phy, be... ties or stakes with is fingers” (1), he endothe ply is neurasthenc, dlsional wife, who bars fssnaingresen- ‘lancet Blache DuBois, emerges from her bsdron welding pun and avenges hor dtd lover, whom Vasa hs oat the Fonts ‘with countless other youngimen whos eas her husband hasbeen stosible for “Don't youse them, Visa?” she says of the imaginary soldiers marching before he. "They're all coming into this room. “Theyre tanng around you no. They're wating fo you to Bo wit them (20), ‘The reaction fom Will's fellow sens seems to have been amusement and contempt Hatcher called te play “pretentious sp (quoed in Given 30), while sneer clssmate Mar Shwe, ‘observed tht “ny recollection ofis dng voice and bring ply (i that they] prompted me to do my next ls" homework during the ‘eaing” (quoted in Leveich 216). Devatatd by his honorable men- ‘ion.” Wiliams refed attend th esrenony honoring the winners ‘the university's Graam Chapel His oozbook ent for June 4, 1937, ‘suggests the evel ofhisanger and rstation:“Nevera mor ignemia- ious failure! My play for English 16 etd for presentation —gven Fourth pce —MWentto Carson office ths maring tnd he gverie rnews-witoat any apparent compunetisn—But why should Texpest ‘sympathy fom anyons—especially « Wishingion University Profes- -sor—the stronghold of the Reatonaris™ (Notebooks 89) . ‘Shorty arth humiliation of “Ne, Vasa,” Williams fied his ‘inl examination n Greck and was cit leave Washington Uni- ‘ves state of mind at thistine i relied i the following ety "Having no self-respect ane does’ hav the pin of losing it. am so ‘sed co being a worm that the edition sel troubles me. Now {ace he problem ofthe summet—What will | do? Heaven knows (quote in Lever 21). "The point about this Iumtion is that twas the fst (ough Iavaly the 1s insane in which the playwrights artistic intentions ‘wore misunderstood by his public. Thou the ple was asaumed 0 be relist ( highly pretentious) depiction of world as as Wil lias new then, withthe haretr of Vashya loosely based on sel rma arms tan Si Bil Zaharo (vio ha, ike Vash, married = rea essa Araneae 3in royalty, the playwright eter observed that “A, Vashya” a8 ‘ever supposed 10 be the relic wark his fellow students sil. ited bot instead was nse as “ielokamatefntasy” quate in Lewrich 216) Sixteen years ner, a much more conspicuous and highly publicized {alate Camino Real (1953) fel vein toanaudiencesimilaly beni ered by the play's experimental stir and vision, As Wiliams ob served castialy “At each performance a number of people have stanped out ofthe auiorum, with litle regard fr those whom dey have had to craw over, almost as ifthe building ha caughton fre and ‘hs ave bean sibilities onthe way out and demands for money bei the cshir was foolish enought emi in his box” (Where £ “ive6S). Having grown used tothe remarkable characters sic of The Glass Menagerie and Seercar Name Desire (1987), aui= ences emphatically rested Williams's desir to provide “ny own Sense of something wild and anrstncted that rn ike water in the ‘mornin, or los changing shape in gale, ofthe con dis solving and ransfoming images of rea” (Wher Live 68) nbs forewordto Camino Ren ie playwright passively argued tc iis sor of fosdom is ot chaos or anarchy it ete esl ‘of lastakng design, [and | pal] mare conscious attention to form ‘and construction than T have in any work before” (Where J Live 6), [Nowetces, hostile reviews india that aniences were uniting Joinwith him ona jourey heavily iniunced by August Seindbers 14 Drea Pla (1902) and employing aechelypel rather than thee Piste as “white” agains the backérop of Stanley's “lack dyed ¥ Juin. In the “Poker Night scene, forekempe she dons the colors of ‘este witha “da ed satin wrapper” to mak eral enelly desir shee Mitch, justas she dlieratly stands in the light wearing only ink resize and white skin” to aac the men's planees when it sits er purposes Blanohe's association with “whiteness,” thon ike ‘er innocence, reveals only pat of hr charac: her innocence i ralaacously both eal nds pos that she uses asa defense and eee ina dangerous word, Interns ofthe pays complex color sytolism, this may explain why Blanehe’s “whiteness” is ofen qualified by 2 more varied vswal plete, ichoding eds, pinks and even “Della Robb ble. The blue of he rabein he ld Madonna pictures" (138) Inthe play’s final moments we sal ‘quite any address” (128), Abandoning the eleshone a a means af ‘cape, se i ef alone with ber antagonist, ands she crosses ack into the Kitchen ina frantic search fr some oso safer, Wiliams smarkbly create the disturbed topography of Blanche’ eonssiousness thvough sun and moving image: “The nil fled with human oie ie erie i he jangle... shadows an arid reflections move only as lames along the wal space (128) As Blasche plunges ‘into madness, Wiliams sks the visa stakes even higher so that tbe division beswouniterior and exterior space ils cracked open and ‘bosomes instinct: “Throng she hack wl he zooms. whi have ‘ecome nsparent, can be sce the sidewalk. prose has role dunkand He pursues herolong the wo, oveakes her and here is sireggle, A policeman’ white breaks it wp. The figures disappear" (128), Athi pony, itis imposible oa theater audience dstinguish revselywhtrnay be happeingin objecive ry fra wha i play- ‘ng out in Blanche's min, ad hiss consistent with Williams's ex prestonsc dramaruy. As tasty dsies nt "maybe you woud be bad to-—interfee with” not only do “inane jae voles vse 1p” bu Stoney himself also becomes apart fhe primo, sage @ rare ‘inicio Dee 3ruplin within her mind: “He takes a step toward her biting his ‘ogre which proms beter his fps (129, ‘The final sene, which curs several weds afer Blanche’ rape, appear ats glance to return asta the relative calm domestic elon oftheir half ofthe ply Sela is packing Blache’ things, andthe soundaf water ean be heard fom the bathroom, where Blanche bathe ing as se did eater in she play. However, ov vstl cus, Wil ‘ans maintains bifurcated sag picture. suggesting that he world of savagery is not atousther absent theresa poker game going on inthe ther, nd the stage dictions remind us tha the atmosphere “he same ra std one of he dsstons poker night "(131 Despite the presece af the world ofthe poker nigh, mach ofthe imager associated with Blanche inthis inal scene is suggestive of i vine imocence and purity. aligning her withthe Virgin Mary. Her jackets insists “Della Robbia lve. The blue ofthe oben the ald “Madonna pictures” (135), andsbe cries silve-backed ior in ber hand, image doa associated with the Vig May in Re- rssce iconography: Momens later, the cathedral chimes ar ard (te coy clean thing in the Quart,” according to Blanche (136). Even the grapes she given to eat sem lo allidet images of defied inoceace and sewed mary, She clans tht“ shall di of ‘atingan unwashed rape one day outa te ocean... And bebut= ied at ea sewn up ina clean white sack and dropped overboard—at oni the blaze of summed into a0 oes Dee [hes agai yf lover's eye” (136). ‘The play's conclusion is anything but simple oF complied ‘lane's Jepare trom the Nar mst ake her through the icon and ps e-trmenar,Saney. When she relies thatthe doctor who bas ome for he is "not the geoleman {was expecting” (138), abe at "emp o ash back into hes beroom, bu Stanley bicks ber rete ‘Once saan. the playwright employs the language of visual and aa ‘expresonim to suggest the pial tet she feels “She ruses past ‘hi in the badror, Lard reflections app nthe walls no ine ous shapes. The “arsowvana’is filtered into a wert distortion, a companied by dhe eres and aoises ofthe jul, Blasole sees the back ofa chal 0 defend erst (139) “The unity expressions distortion and peyhologcally elie haraeriantion ae pehaps most beauty counterpoint s Blanche is about to cetreat back into her badroom, Fst the maton, “a pecie arty sister ign in hor severe dvs,” advances on ber a8 het srectng, “Hello, lance," is“echoe/andreechoed by other mpster- 24s voices behind the walls. as if reverbsrated thong a canon of rock” (138). Then, Stanley asksheifsbe 3s forgotten atything,2l- “You left nothing hee bur spl tlm and old empty perme botes—unles isthe paper ante you want take with you. You wan the lantern?” As Staley taste ltr of the Fg, Wie lias ingicates that Blache “cries out as if the ante was her~ self (140). Connecting the delicate paper lana, which Blanche has bowaht ax protection against the hash Let, with heros! sel the playaright rete seamless unity betas era symbol and stage metaphor ‘The plays final moments are some ofthe most memorable in he canon ofthe Amerson these. After her renewed hysteria, Blanche ‘nssassumedakind of ea igi the ctor ters eran, "Mis Duis." and, supporting hr wit is arm escrs haute doo. n- teresting he allows herself be ld fom the Mat “arf she were Dlnd,” (142), sage dneton that ecoes the fnal moments of Sindber's Miss lo (1888), in which adoomed aristocratic worn is sinilrly draw tad her vile, lowbom executioner. And just 35 Jules inal ehoice in Strindberg’ play establishes erage digity at the expan of Jean, an adversary whe quivers atthe sound of the Counts bel and the ight ofhisboots, so lanche's ast moments may be seen as kindof rage trump swells he calmination of her scent, As Blanche exits, her ster Stelle acces her newton baby ‘wrapped ina pale blanket, symbole ef-eneweu i afer Blanche, she obstacle, has been removed from the Kowalski household. But of w rains ‘entan Sosar ome eae %course his al image of the plays more roi, textured nd om plex thi hat, In sense te final monentsof the ply belong to nei ‘her ofthe plays largcrhan-ifeaniagonins but to Sei the object of ‘heirmntuat desire and moral struggle. That Stnley as wonthebatle “for Stella's heat ac ind” clear, bt the ost af his ini not (Lond 56, In Kizan’s celebrite 1951 fl adspttion ofthe pla (the ending of which was changod under pressure om the Legion of Desency and the fim’s producer, Warer Bros} a5 Bunche is removed from the home, Silla races apstirs with her newbom baby to provide the wholes impression ht se may ao otun to Stanley. However a the play, the imagery of rebit is powerfully underut when Stanley ropes the opening oF his wie’ blouse, murmuring “olypaoush, soothingly Now, bone Nov, love. Now, nw love" (142). Theimgli- cations ofthis ending are highly suggestive: by choosing to accent Stanly’s“love" andthe life with hin the Quarter, Sta ay besa "cig er integrity a well ashe ss. The ply ends wit Sells Sobbing “with nkuran abandon” (142, suguesting the magnitude of the hoe awaiting he. A he beginning of seene 1 she confides 0 her eighbor “I couldnt believe he story 2nd goo living with Stan ley” towhich Eunice eps, “Don ever bliveit Life bas otto go on. Nomater what happens, you've got to keep on gon" (133) But what ifacommesatin ie siti, of bing on,” involves living a erp le? The ply then ends nt so much witha mage of possi ble eneval a it does wit Sel’ choice of either motherhood and new ife wit Staley or eceptance ofthe consequences othe at that the father of her newborn bus raped her sister. This eoice wil be the cul pie of her remaining With Stanly and embracing bis "colored Tights” at al costs, Its inthis comes tht the plays ial Hine, “The ‘game ic sevor-er std (142), 4 a brataly appropri response 19 ‘he suetion that opened the "Paks Nigh” scene: “Aayehing Wilds eal?” (5), Uke the compromised, sae" anster provided to gen- ral auiences atthe end ofthe fil, Willams’ pay’ ends with sin age oftesfvng, ope-endedncertny on which the atv ofthe child wrapped in his pale Bue blanket” 142) aust be scent com> ‘ment ionic. Blanche has Boon freibly moved fom the Kowalski home in favor ofa baby eho ats mc stores the reatened union between Stanley and Stella as conceals tsnne eerupton These ae, of course, as many Sete as there ae decor. No single analssisof he scrip, noone production caneverbe declared de Tink, even it celehented premiere, Sena producions will make more oles se of Wiliams incisive, pte stage drston o is remarkably detailed suggestions wih reg te costume, ihting nd Sound dosig, Some productions wll undoubadly emphasize the play's expressonistic posites more than oles. However, any director cor stuent of the play must come o terns withthe fet that Sreercaris «uniquely baltaeed concandance of tw» distinct impulses skeady present in Wilms dramatrgieal arsenate begining of his 3+ ‘eet psythologic! realism and expressionism. fn his one ply, he ‘niqoly able mare these wo potently contin tendencies ina ‘vay that i very close to perfection, Cerny no American play has done it beter. Ina fener to Elia Kazan, the ple's fst dicta, Wiliams oo «quenly points ou that the plays best quality iit "outhentiyoris felt toi.” This aspect i foundin the rnp anions bind ‘nes fo ane another "Nobody ses anybady rly but ll hough he Naws oftheir own ego. That th way weal ee each the in ie.” “Thus Stanley ses Blanche a “calculi bite,” not he desperate, riven erate sei, Blanche, intr smlny blinded to Stanley’ ature and Sel’ needs. la atonal drama, however, Wiliams a- ‘ges, people are never depicted 3 they ely ae: “We see fom he oltsde what cad not bese win sno that one esa Was bed ‘or goo oe rght or wrong bu hal jude fel concerning ech fotier” Adding that he has writen this ox in ease Kazan is uelear ‘over my intention” in the play, Wiliams points out the neeesity of ‘ging “a diwetor who ean bing his pay to ie exaly Ae w Calis\werehuppenng i if The quails he sees, however ae paradox «ally not found in convetiona realism, concluding tha “somctines 3 living quali is eau bene by exzesinism than what s supposed to bereaistisreaen™ (quoted in Kazan 330). Kazan noes is hisab- ‘wbiogay that Wilans's ane “beeame the key tthe rodstion | re" (330, and I think it might be and that should be eesti realing br any director or tent of th play. ‘hansen of ome on 0-9) 08 Bay A Corns sin Theaom 1 Seer Nom Dn” or sv He wing esr Src The thle The Pay Conon noe in thera day pret oon mi dei) slants il oil s ‘to 3 1 tee Wilms ins kt er Earn enpti e lus ofthe Sampo shal beens oxi geod ‘Stray et on ha be sl de onthe web ay ly slang ws fh oy pn Toe roe py, Woe ‘gee wo bel hy a ow abo a tegen Ren seta enn Myon Ow nF ree aan in. 4 1 New Yor Alfa A Koo 88 Et Lp Yo Pe Uni Teen iNew Yas Co, {ona Fete Harn “8 Ses Rang Fly Yer” The Cn Sedu 97 436 ‘Maan iV Von Gol Th fea Wik fe Tr Cain Muay Bd Tr Wins Laan: Claes he Thre Now Ya Conk UP 182 \aljnac lr. evel Grn preter Dao Tape he Nin Ther” Een a Tis ite Psomno. 2 Uich Weah 17, ‘wth “ann” a tiny Phe Willan Teme Te Gir hom 94 New Yor: New Destin, A SMa tem ene Ving Sut nt owe a ios ‘ranaamA anew WanedDeeee