There’s something underlining all of Williams’ works that is so enticing, whether or not you like his drawn-out monologues (yes, sister, I’m talking to you). (Whatever.) I’m not about to jump down the theatre rabbit hole, but it’s true that many of WIlliams’ plays are a nice, chili powder-stained crock pot, filled with fallen Southern belles, abusive relationships, love, loss, sexuality, addiction of all forms, alcohol, painfully detailed stage directions and the Bayou. You’ll see a lot of people, when reviewing Williams, say “Oh, that’s sooooo Tennessee.” I’ve said it myself. The funny moments in his place are so smartly placed, where they act as both alleviation from the plot and continuation of its bizarre motifs. I’ve come to realize that a lot of Williams’ work is a type of dark humor that’s really hard to describe. Maybe I read Williams with an impenetrable tragic voice, so it’s hard for me to read it solely as a comedy, as he meant. It’s a short play, one that was written in 1946. (photo source: link)Ģ7 Wagons Full of Cotton is, very Tennessee-like, about three main characters: Jake Meighan, Flora Meighan and Silva Vicarro. University of Missouri’s Production of 27 Wagons Full of Cotton at the Rhynsburger Theatre.
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