In New York, the Tormented, Triumphant Life of Tennessee Williams At the Morgan Library & Museum, photos, posters, letters and even the playwright’s own paintings By Brenda Cronin
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Playwright Tennessee Williams said that he found “no refuge but writing” and couldn’t resist gilding even his paintings with words. On one self-portrait, the author scrawled “very flattering”; on another, he signed the canvas on the white undershirt he is wearing.
The pictures—one is from 1939, the other isn’t dated—capture Williams’s face and his bare shoulders, in a simple representational style, against a vivid blue background. They are part of a wide-ranging exhibition on the writer of plays such as “The Glass Menagerie” and “A Streetcar Named Desire,” opening Feb. 2 at the Morgan Library & Museum in New York. Williams started painting as a young man and made it a lifelong hobby. The exhibit also includes an undated oil portrait by Williams of Pancho Rodriguez, his lover at the time he was working on “Streetcar.”
The poems of Hart Crane entranced Williams, but in 1936, a performance of Henrik Ibsen’s dark drama, “Ghosts,” literally propelled the would-be-poet from his seat and into pacing back and forth. The drama “took the top of his brain off,” said Carolyn Vega, an associate curator in the department of literary and historical manuscripts at the Morgan, who organized the exhibition.
The Morgan exhibit focuses on six plays Williams created between 1939 and 1957, from the threshold of fame to the height of his powers. He left behind a prodigious trail of journals, letters, poems, short stories, one-acts and full-length plays. The exhibit also includes first editions, posters, programs and photographs from his plays—including a 1947 image of a then-little-known Marlon Brando and his co-stars on the first day of rehearsals for “A Streetcar Named Desire,” which made Brando’s name. CONTINUE AT SITE
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