The Night of the Iguana Reviews
Stage and Cinema- Recommended
"...And yet Iguana stands apart. It and Camino Real (which Kubzansky directed at Boston Court in 2011) are his only works set outside the United States; it avoids the eruptions of extreme violence that punctuate much of Williams' other plays; and there is an odd religious rippling that never roils into the dramatic strength needed to become a thematic wave."
Stage Scene LA- Highly Recommended
"...Boston Court Pasadena revitalizes Tennessee Williams’s last Broadway success with artistic director Jessica Kubzansky’s excitingly cast and powerfully performed The Night Of The Iguana."
ArtsBeatLA- Recommended
"...When one reads the title The Night of the Iguana, one hopes that it will be one of those Fifties flicks about radiation creating a giant iguana terrorizing hapless humans. But, alas, it is not so. It is instead a 1961 play by Tennessee Williams, which was shortly thereafter made into a film by John Huston starring a miscast Richard Burton."
Stage Raw- Somewhat Recommended
"...Tennessee Williams’ The Night of the came into being first as an essay, then a short story, and lastly as a one-act before finally emerging as a full length theater piece, though that too went through a couple of permutations before premiering on Broadway in 1961. Regarded as Williams’s last major drama, the play embraces multiple dichotomies: the material versus the spiritual, social convention versus personal liberty, faith versus heresy, sexual compulsion versus its moral opprobrium, the struggle to salvage the self versus an even greater urge to destroy it. As with all Williams’ work, its most compelling aspect is how brilliantly it illuminates the fragile dreams and terrible loneliness of so many of us, the marginalized in particular."
Ticket Holders LA- Highly Recommended
"...I hearby officially change my mind. This production is absolutely a glowing representation of a truly magnificent work of art. It is beautifully designed, brilliantly acted, and directed with an obvious passion for honoring the words and poetry of Williams more than I've ever seen accomplished in a previous mounting of the classic since our groundbreaking production-which of course ended up extremely successful after Tennessee's five-week rewrite session which culminated in closing our Chicago run just before Crissmiss of 1961."