by John Lahr
McCarthyism, 665n
McClintic, Guthrie, 68–69, 110, 114, 211
McCorkle, Bella (char.), 573, 575–78
McCorkle, Charlie (char.), 575–77
McCorkle, Cornelius (char.), 573–75, 577
McCullers, Carson, 108, 325, 537, 639n
death of, 483
on Glass Menagerie, 62
TW’s friendship with, 106–10, 315, 703n
TW’s letters to, 153, 169, 174, 190, 263
on TW’s relationship with Pancho, 110
McGee, Leoncia, 233, 456–57, 491, 580–82
Meacham, Anne, 486, 492–93
Medina, Kate, 545–46, 592
Mellaril, 501
Member of the Wedding, The (McCullers; novel), 106
Member of the Wedding, The (McCullers; play), 108, 190, 342
Memoirs (Williams), 54–55, 79, 92, 93, 102–3, 112–13, 140, 141, 163, 212, 241, 273, 284, 365, 401, 418–19, 452, 454, 457, 459, 461, 495, 512, 533, 535, 545–46, 592, 598–99, 632n, 635n, 653n, 687n–88n
Memorial Hospital, 456, 457, 460, 461–62
Merlo, Frank, 168, 189, 234, 273, 336–37, 464, 699n
as autodidact, 165, 166
on Bankhead, 324
Bigelow on, 169
as B-movie actor, 167, 169
Chance as surrogate for, 380–81
death of, 456, 461–63, 466, 472, 503
drinking by, 328, 404–5
Evans on, 169
funerals of, 463–65
Gionataiso’s letters from, 165–67
illnesses of, 325, 418, 429, 452
jealousy of, 246, 326–27
lung cancer of, 455, 456–59, 460–61
Milk Train as portrait of, 448–49
as model for Alvaro, 190–91, 209, 233
poetry of, 404, 405
St. Just and, 299
TW’s eulogy for, 463–65
TW’s final breakup with, 417–21, 428, 429, 431, 452–53
TW’s guilt toward, 458, 465, 544
TW’s letters to, 240, 374–75, 417–18
TW’s love for, 403, 420, 460
as TW’s personal secretary, 169, 174, 233, 453
TW’s relationship with, 150, 164, 170–71, 174–76, 180–81, 183–84, 188–89, 201, 208–9, 214, 233, 235, 237, 240, 246–48, 249–50, 280–81, 325–29, 350, 374–75, 380–82, 403–4, 415, 417–21, 428, 429, 431, 450–53, 489, 537
TW’s separations from, 235, 280, 324–25, 350–51, 373, 403
Walter Dakin and, 188–89, 190, 414
Wood and, 452–53
in World War II, 165–66
Merrick, David, 548
Milk Train and, 467, 472
Red Devil Battery Sign and, 547, 549–53
Merrill, Gary, 425
Merton, Thomas, 491
“Mes Cahiers Noirs” (Williams), 547
Mexico, TW in, 19, 20–21, 68–69, 94
MGM, 94–95, 312, 321–22, 372
Miami Herald, 329, 398–99, 491
Mielziner, Jo:
Camino Real and, 260
Cat on a Hot Tin Roof and, 308
Glass Menagerie and, 2
Period of Adjustment and, 406
Streetcar and, 133, 644n
Sweet Bird of Youth and, 379–80
TW’s letters to, 374, 508
Milbert, Seymour, 267, 269–71
Milk Train Doesn’t Stop Here Anymore, The (Williams), 442–49, 595
Baddeley in, 443–44, 445, 454–55, 468, 662n
Bankhead revival of, 466–72
Barter Theatre production of, 456, 461
Broadway failure of, 455
as portrait of Merlo, 448–49
reviews of, 455, 472
struggle between creativity and self-destruction in, 443–44
see also Boom! (film)
Miller, Arthur, 64, 65, 129, 131, 171, 173, 194, 198, 221, 241, 262–63, 395
on Glass Menagerie, 62
on Kazan as director, 244–45
on Kazan’s HUAC testimony, 251–52
on McCarthyism’s effect on arts, 665n
on sixties’ theater, 476
on Streetcar, 146
at TW’s memorial, 589
Miltown, 324, 420
Miriam (char.), 486–90, 486
Mishima, Yukio, 351, 485, 493–94
Missouri, University of, 46
Missouri Baptist Hospital, 360
Mitch (char.), 120, 122
Mitford, Nancy, 561
Moise and the World of Reason (Williams), 545
Moldawer, Kate, 580
“Moment in a Room, A” (Williams), 247–48
Monroe, Marilyn, 320
“Morgenlied” (Williams), 457–58
Morocco, TW’s trip to, 170–71
Morosco Theatre (New York), 310, 455
Mosher, Gregory, 597
Mr. Moon (dog), 267
Murray, Peg, 530–31, 532
Murrow, Edward R., 313
Mutilated, The (Williams), 442, 474–75, 480
Myra (char.), 17, 18, 19, 46, 335
My Secret Life (Dalí), 166
Nantucket, TW in, 106–10, 112, 460
Nathan, George Jean, 5, 8–9, 146
Nation, 439, 482
“Negative, The” (Williams), 593
Neighborhood Playhouse (New York), 14
Nembutal, 510
Neurotic Distortion of the Creative Process (Kubie), 348
New Directions, 82, 298, 420, 432, 454, 485, 503, 582
Newlin, Jeanne, and TW’s literary estate, 595
Newman, Paul, 382, 385, 389
New Orleans, La., TW in, 69–71, 73, 79–80, 83, 99–104, 279–80
New Republic, 32–33, 61–62, 64, 273, 321, 477, 567
Newsday, 569
Newsweek, 343, 472, 492, 566
New Theatre (New York), 530
New Wave playwrights, 441
New World Festival of the Arts, 579
New York, 567
New York Daily Mirror, 215
New York Daily News, 164, 273, 439, 567
New York Drama Critics Circle Award, 438
New Yorker, 66, 343, 369, 392, 412, 472
Williams Estate shenanigans exposed in, xv
New York Herald Tribune, 164, 210, 273, 274, 311, 392, 440, 472
New York Journal-American, 215
New York Post, 215, 273, 274, 276, 311, 320, 343, 371, 392, 439, 483, 566–67
TW’s letter about his father published in, 352–53
New York Times, xiv, 33, 64, 136, 187, 215, 216–17, 221, 273, 275–76, 369, 392, 406, 409, 410, 439, 482, 492, 521, 530, 547, 553, 554, 560, 572, 579, 588, 598, 665n, 668n, 714n
Barton’s attack on TW in, 532–33
Kazan’s article on Streetcar censorship in, 231–32
Kazan’s Camino Real essay in, 272
Kazan’s statement on Communist Party published in, 252
TW’s tribute to Bankhead in, 323–24
New York Times Book Review, 436
Nichols, Lewis, 64
Nichols, Mike, 441
Nicklaus, Frederick, 450, 457
poetry of, 453–54
TW’s letters to, 452
TW’s relationship with, 449–50, 453–54, 459–60, 462, 466
Night Music (Odets), 22
Night of the Iguana, The (film), 440, 466
Night of the Iguana, The (Williams), 377, 412, 413–15, 420, 428–29
Bowden and, 422–23, 424–25, 428, 433, 435
Broadway opening of, 436–37
Chicago reviews of, 432–33
Chicago tryout of, 431–36
Corsaro and, 411–13, 415, 416, 422–24, 426–28, 435, 436, 437
Davis in, 425–29, 433–36, 437–38
Hepburn and, 414, 424–25
Kazan and, 435, 436
Leighton in, 425, 426, 427, 428, 436, 437
New York Drama Critics Circle Award of, 438
New York reviews of, 437, 439, 440
as portrait of TW’s inner world, 439–40
Rochester tryout for, 427–28
success of, 437
as TW’s last Broadway hit, 436
writing of, 396, 416, 417, 421, 433
“Night of the Iguana, The” (Williams; short story), 412–13, 415, 438–39, 690n
“Nightride” (Barton), 532
1950s:
anti-Communist hysteria in, 219–20, 248–49, 251–53
homophobia in, 222–23, 258
rise of conformity in, 220–21, 225
suppression of dissent in, 254–55, 258
1960s, 396, 397
counterculture in, see counterculture
New York theater in, 477
theatrical responses to, 475–77
Nixon, Richard, 219
No Man Is an Island (Merton), 491
Nonno (char.), 414, 421, 438–39
Not About Nightingales (Williams), 16
Notebook of Trigoin, The (Williams), 717n
Notebooks (Williams), xiii, 68, 279, 588, 621n
“Not Waving but Drowning” (Smith), 456
O’Connor, Flannery, 258
Odets, Clifford, 1, 22, 65, 130, 185, 210, 275, 342, 622n, 644n
Off-Broadway, 477, 482
Oh, Coward! (musical), 531
Old Children (Carroll), 541
“Old Men Go Mad at Night” (Williams), 496
Olivier, Laurence, 196, 656n
“On a Streetcar Named Success” (Williams), 155
O’Neal, Patrick, 426, 427, 430, 433–35, 437, 440
One Exception, The (Williams), 584
O’Neill, Eugene, 20, 22, 68
On the Waterfront (film), 262, 291
Open Theatre, 476
Orpheus Descending (Williams), 281, 315, 329–36, 342, 677n
failure of, 345
Kazan and, 289–91, 679n–80n
moral atrophy of characters in, 330, 331
quest for redemption in, 332–33
reviews of, 343
revivals of, 596
see also Battle of Angels (Williams); Fugitive Kind, The (film)
Orton, Joe, xiv, 476, 573
Osborne, John, 467
Out Cry (Williams), 484, 514, 515
Broadway production of, 539
Chicago production of, 509–13
planned London production of, 514, 517, 520, 539
see also Two-Character Play, The (Williams)
Page, Geraldine, 276, 514
in Clothes for a Summer Hotel, 561, 564, 567
in Summer and Smoke, 258, 385, 650n
in Sweet Bird of Youth, 382, 385–87, 392, 399, 408
on TW’s vagueness with actors, 387–88
Palimpsest (Vidal), 418
Pal Joey (Rodgers and Hart), 22
Palmer, R. Barton, 227
Paolo (char.), 179–80
Paris Review, 361–62, 636n
Parker, Jerry, 569
Parrott, James, 80, 81
Parsons, Louella, 111
Pasadena Playbox, 629n–30n
Peoples Coalition for Peace and Justice, fund-raiser for, 526, 527–28
Pepina (char.), see Serafina (char.)
Period of Adjustment (Williams), 386, 402–3
Kazan and, 396, 405–6, 412
reviews of, 412
Perret, Edmund, 712n
Perry, G. D., 292–93
Peters, Margot, unfinished biography of TW by, 597–98
Philadelphia Inquirer, 371
Philadelphia Story, The (Barry), 20
Phillips, Margaret, 98
Picnic (Inge), 406
Pinter, Harold, 441–42, 476
Piscator, Erwin, 96
“Place of Stone, A” (Williams), see Cat on a Hot Tin Roof (Williams)
Playboy, 85, 352, 482, 545
Playhouse Theatre (New York), 1–4, 14–15, 61
Poe, Edgar Allan, 356
Poem of Two, The (Williams), 399
“Poker Night, The” (Williams), see Streetcar Named Desire, A (Williams)
Poll, Martin, 569
Pollitt, Big Daddy (char.), 285, 287, 292, 293–95, 305–7, 308
Pollitt, Brick (char.), 94, 285, 287–89, 305–8, 662n
as repressed homosexual, 304–5
see also Brick (char., “Three Players of a Summer Game”)
Pollitt, Maggie (char.), 285, 287–88, 302, 307–10, 398
St. Just as model for, 162, 297–98
Pollock, Jackson, 93
Porter, Katherine Anne, 369, 371
“Portrait of a Girl in Glass” (Williams), 34–35, 54, 367–69
Portrait of a Madonna (Williams), 133
Posada, José, 272
Powell, Margaret Lewis, 297, 672n
Practical and Theoretical Aspects of Psychoanalysis (Kubie), 349
prescription drugs, TW’s abuse of, 236, 279–80, 285, 314, 324, 349, 396, 420, 431–32, 447, 474, 478, 496, 501, 502, 507, 509, 510–11, 585, 587, 588, 704n
Presidential Medal of Freedom, 567
Presse, Die, 554
Previous Convictions (Sayre), 221
Prick Up Your Ears (Lahr), xiv
Princess Kosmonopolis (char.), see Kosmonopolis, Princess (char.)
Private View, A (Selznick), 253
Problems for the Moose Lodge (Williams) see House Not Meant to Stand, A (Williams)
Production Code Administration (PCA), see Breen office
Prokosch, Frederic, 154
Promises, Promises (Simon), 549
Prosser, William, 554
Provincetown, Mass., TW in, 88–93, 94, 136–38
Puerto Vallarta, Mexico, 466
Pulitzer Prize, 150, 160, 312
Purdy, James, 586
Purification, The (Williams), 92
Quigley, Martin, 230
Quinn, Anthony, 551, 552, 553
Quintero, José, 258, 385, 410, 561, 567, 650n
Rader, Dotson, 524, 534, 582
on Carroll, 535, 536–37, 541, 542, 544
on Dakin, 590
TW enlisted in antiwar movement by, 526–28
on TW’s counterculture explorations, 523–24
on TW’s “death act,” 555
TW’s letters to, 522, 523, 525–26
on TW’s paranoia, 515, 518
TW’s relationship with, 508, 522–23
on TW’s relationship with St. Just, 514, 515, 564, 566
Radio City Music Hall, 230
Rapper, Irving, 186
Rasky, Harry, TW’s letters to, 538–39
Rattigan, Terence, 476–77
Rawls, Eugenia, 467
Red Devil Battery Sign, The (Williams), 547–50, 552, 556, 597
Boston tryouts of, 551–53
out-of-town closing of, 552–53
reviews of, 551–52
revivals of, 549, 553–55
redemption, TW’s quest for, 29, 60, 183, 376, 446, 564, 602
in Battle of Angels, 19–20, 96–97
in Glass Menagerie, 66
in Orpheus Descending, 332–33
Reed, Rex, 515, 567
Reid, Kate, 475, 480, 481
Reitz, Bette, 79
Remember Me to Tom (E. Williams), 38, 354, 359, 653n
Repertory Theater of Lincoln Center, 689n
“Resemblance between a Violin Case and a Coffin, The” (Williams), 343
Rich, Frank, 572
Richardson, Tony, 467, 468, 470, 471–72
Rilke, Rainer Maria, 97
“Ripping off the Mother” (Williams), 526
Ritalin, 510
“Robert” (Williams), 538
Robertson, Cliff, 342
Rochester, N.Y., 427–28
Rockefeller, Nelson, 525
Rodriguez y Gonzalez, Amado “Pancho,” 102, 496, 542, 542
character of, 101–2, 103
combustible personality of, 71
drinking by, 7
1
and Glass Menagerie film, 111–12
included in TW’s meetings with Wood, 111, 640n
jealousy and bad behavior of, 102–3, 109, 110, 112–13, 123–24, 126, 137, 138, 140
as model for Stanley, 143
TW on, 72, 100, 102–3
TW’s final break with, 143–44
TW’s letters to, 109, 116–17, 118, 128–29, 139–41, 144
TW’s love for, 103, 109, 144
TW’s relationship with, 71–72, 100–105, 107–10, 116, 119, 120, 126, 139–41, 143, 169, 631n, 639n
TW’s separations from, 124, 138, 139–40
Roman Spring of Mrs. Stone, The (film), 395
Roman Spring of Mrs. Stone, The (Williams), 151, 176–82, 183, 210, 211
Rome, Harold, 275
Rome, TW in, 152–55, 171–84, 201–3, 232–33, 235, 254, 280, 284, 290–91, 325, 328, 420
Romeo and Juliet (Shakespeare), 221
Roosevelt, Franklin D., death of, 64
Rosa (char.), 182–83, 204–5, 207–8
Rosario (char.), 182, 195–96, 200
Rosenberg, Julius and Ethel, 233
Rose Tattoo, The (film), 291, 302, 315, 317, 317, 337
Rose Tattoo, The (Williams), 94, 204–10, 216–18, 233, 281
Atkinson on, 215, 223
casting of, 210, 211–12
Crawford and, 198, 200
early versions of, 176, 182–83, 190–91, 208, 655n
Kazan and, 183, 193–94, 195–96, 198–201, 203, 204, 240
Mann and, 211
Merlo given percentage of, 192
reviews of, 215, 218
rewriting of, 204
Selznick and, 193, 196–98, 214
tryouts of, 212
TW on, 218
Rose Williams Trust, 161, 591, 594
Rossellini, Roberto, 174
Roth, Philip, 64
Rothko, Mark, ix
Royale Theatre (New York), 436
“Rubio y Morena” (Williams), 71–72, 103, 113
Sagan, Françoise, 325
“Sailing to Byzantium” (Yeats), 443
Saint Denis, Michel, 159
St. Just, Lady Maria, xiii, 161, 192, 235, 362, 482, 509, 511, 513, 522, 530, 550, 555, 568, 579, 583, 589
acting career of, 159–60
Capote on, 161–62
character of, 157
as co-trustee of Rose Williams Trust, 161, 591
as fantasist, 301
invented background of, 158–59
Kazan on, 157
Laughlin and, 298–99, 300–301
and Leverich’s biography of TW, xv, 599–600
marriage of, 301–2
memoir of, see Five O’Clock Angel
Merlo and, 299
as model for Maggie the Cat, 162, 297–98
money problems of, 593–94
obituaries of, 591–92
Out Cry and, 515, 517, 520, 539
and Peters’s unfinished biography of TW, 597–98
productions of TW’s plays thwarted by, 596–97
scholarly access to TW’s papers refused by, 596
