It was startling enough that the world premiere of a new Tennessee Williams play should take place in the relative ob scurity of a London experimental the ater. It was even more surprising that Michael Redgrave and Alec Guinness should both have rejected the proffered male lead. Unusual also was the fact that critics were barred from attending the first two weeks of a limited Siweek run. Most of the reviewers, moreover, were nonplused by a play that lacked the familiar shape and sound of a Williams drama. "Seldom, even in the half-light of the theater, have I seen...
To continue reading:
or
Log-In
