Concept+Statement+for+The+Night+of+the+Iguana

LMRS Productions “The Night of the Iguana” by Tennessee Williams Concept Statement To our audience,

“The Night of the Iguana” is a drama that demands your attention. It’s thriving with raw emotions and conflict. It details the story of a defrocked clergy man, Larry Shannon, who senses his dark thoughts beginning to consume him, to crack him. He finds himself amongst peoples who seek these taboo thoughts and actions freely and yet the audience cannot help but notice he was drawn to these peoples by his own free will. There is a violent contrast within himself that one is able to see transform into a cathartic emotional monologue.

Williams wrote this play to draw attention to the contradictions within ourselves and how our environments will draw out these contradictions no matter how hard one fights. To come out with triumph, Williams insists we seek and create human connections despite these hardships. This will enable us to be at peace with our conflicts. Shannon finds himself charmed by a poor spinster named Hannah who seeks nothing more than bare necessities and good conversation. Yet, he also seems to be at ease with another character, Maxine, who is very open about her desires and lusts. To the outside world, Shannon must retain a holy composure, never expressing these desires as freely as Maxine. In this way, Shannon finds an outlet through Maxine, but this escape does not last forever. As his desires and regrets enrapture him, his internal struggles become palpable and vivid. Williams’s writing takes the audience through Shannon’s tribulations in an almost dream-like manner, creating reality and fantasy simultaneously. For this company’s production of “The Night of the Iguana”, the producers, directors, and designers decided to take William’s idea of contradiction a step further. Typically set in a 1940’s Mexican-coast bungalow, this show takes place in modern Miami, Florida. Williams’s concept of repressed sexuality and building human bonds is just as important in 1961 when it was first presented as it is now. It’s relevance is so universal and time-less that we can stage and create the play in a completely different landscape and time zone. Williams’s original play finds Shannon in a wild jungle attempting to run from his “spooks” or personal demons. Our production will place Shannon in an urban jungle, trying to escape the same terrors.

The location of an urban jungle further emphasizes the internal conflict within Shannon. As the original play was set in 1940’s during the second World War, occasionally there is a troop of Nazi supporters who harmlessly march about, reciting Nazi songs. However, each time they appear, Williams’s describes the atmosphere as “startling” and “dreamlike”. Their overall part in Williams’s production was somewhat unclear, mostly stirring up trouble and perhaps driving the plot forward. During current times, their entrance or involvement would not be probable. This is where the beauty of the change to the urban jungle lies. The audience can think of them as a dream or imaginative barbaric group that tromps around inside Shannon’s withered mind; there is no need for a clear reasoning for their purpose of than they serve the purpose of emphasizing Shannon’s slow mental deterioration. Another instance of this occurs when Maxine’s helpers capture an iguana and tie it to a pole to consume later. An establishment during modern times and within the USA would never chase down and consume a “lizard”. This barbaric behavior in this setting forces the audience to instead focus on its symbolism. Before, it was perfectly plausible for a low-class hotel within the Mexican jungle to consume this lizard and it would not be thought about as deeply. But in modern Miami, rational can longer be focused on the action but will be focused on its latent meaning. The iguana represents the human condition in which we are trapped and restrained by society; our bonds to what we believe is the right or wrong way to follow desires need to be cut before it leads to our demise.

Based off these previous thoughts, the physical design of the production was used to emphasize contradictions as well. The costumes were designed based on each characters’ actions and how their desires were expressed through the clothing. Maxine wears the most colorful outfits with revealing cuts and loosened buttons. Her vibrancy highlights her confidence in that she knows what she wants and is not afraid to discuss her desires. Shannon’s costumes were chosen in neutral colors. Although he’s filled with frustrations and torments, his outside appearance remains calm during most of the show. His neutral appearance conflicts this concept until we reach the climax where he finally reveals his true colors and startles the audience out of believing his outer appearances. Hannah’s character is the only one who remains true and genuine through the entirety of the play and her costume reflects that. With solid, cool tones, Hannah’s flowy clothing physically represents the other side of the spectrum of woman that surround Shannon in that she’s calming and trustworthy.

The set and lighting design were mirrored after Shannon’s rising conflict. The set begins highlighting neutral tones with whites, browns, and light blues. The edges of the veranda are curved, taking away harsh corners that create a visual conflict. A simple beige hammock hangs and there is sparse furniture. There is sign with a blue text giving the name of the hotel (Costa Verde) but it sits at a soft, mellow blue. The lighting appears warm and inviting as Shannon and Maxine casually converse in the beginning. Slowly as the play carries out and more and more conflict is revealed, the sun begins to fade out, casting large ominous shadows about the curved edges. This fading light begins to enhance the blue “Costa Verde” sign with the skyline fading to black. As night falls completely, Shannon finds himself completely bathed in the neon blue lighting as his troubles come to fruition. Again, here is another contradiction. Typically, the color blue has a calming effect, like Hannah’s subtle blue clothing. In this instance, the blue is intense and creates harsh lighting. It makes you uneasy and want to avert your eyes. The color blue was chosen to show how something that appears calming can become very unsettling under certain environments and conditions, just like Shannon himself.

The company decided to advertise at centralized, populated locations near the venue where it is to be performed. Using small posters and a few large posters, the producer hopes to reach students, faculty, or other community members as they carry on their everyday routines. Numerous post cards were created as another memorable way to attract attention to the show. Post cards are small, convenient, and affordable. They are a perfect fit for the concept of a beach getaway to Miami that Shannon hoped to find. In order to take advantage of preferences for internet communication, the company will also create a short YouTube ad to reach even larger audiences. The advertisement designs were based on bright colors and headlines to grab people’s attention. The deign emphasized the location of Miami as it is well known for its reputation of a bolstering, lively culture that draws hundreds of tourists each day. The design, large title, and other essential information will give people an understanding of what to expect and how to attend.

In order for the play to be performed adequately, an exceptional cast was hired. Several of the minor characters were casted based off their physical features that fit the desired look perfectly. Some, like Shannon, we casted based on personality and reputation. Woody Harrleson is an excellent actor whose demeanor is effortlessly witty and blunt yet he’s emotional enough to portray such a tortured character. Physically, Harrleson presents another example of contrast in that he is not typically thought of as a handsome man but young women and older women are still drawn to him. The play is to be performed so that we reach an obvious climax at which Shannon is tied to the hammock but we also reach a subtler climax afterwards. As he remains tied to the hammock, Hannah and Shannon discuss past behaviors and relationships; they build a relationship and Hannah admits that she respects Shannon. This scene must be handled with care as it emphasizes the most important theme Williams’s expressed in this play: the building of true emotional connections with another despite each other’s’ internal conflicts. Their distrust is replaced by trust and Shannon finds solace in this new bond. He can be at peace with his internal desires as he establishes a connection with someone who understands his conflict and is there to share the load, not to exile him because of it.

LMRS Productions wishes its audience to find comfort with their own internal conflicts and to be better understand one’s own desires.

Sincerely, Robert Rawls (Producer) Lily Housten (Director) Jameson Lindsey (Set/Lighting Design) Maria Flores (Costume Design)