Word: stricklyn
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Dates: during 1980-1989
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...Broadway show was assembled by Ray Stricklyn, who also enacts Williams, and Charlotte Chandler, who visited the playwright for her book of interviews The Ultimate Seduction. The result is a hybrid of the public and the private man: Stricklyn speaks in the guise of Williams addressing a reporter, so his rambling 90-min. monologue is unmistakably a performance. Even so, there are passages of naked confession. The time is Williams' declining years, and the prevailing tone is graveyard jollity, dancing at the abyss. Like authentic conversation, Nightingale veers abruptly from revelation to chitchat; at one moment Williams self-justifyingly remarks...
Unlike, say, Hal Holbrook as Mark Twain, Stricklyn attempts to re-create a face, voice and manner that many of his spectators vividly remember. His Williams turns out to be less a physical reincarnation than a psychological interpretation, and on that level it engrossingly succeeds. From the start, Williams' art was personal, almost claustrophobic in its griefs and grudges; yet his chosen literary form, the drama, required the constant presence of others to act and direct and design his plays, above all to receive them. Stricklyn gives poignant life to Williams' yearning for the world to look...
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