Fugitive Kind, one of Tennessee Williams's earliest plays, is one of his richest in dramatic material. Written in 1937 when the playwright was still Thomas Lanier Williams, Fugitive Kind introduces the character who will inhabit most of his later plays: the marginal man or woman who, through no personal fault, is a misfit in society but who demonstrates an admirable will to survive. Signature Tennessee Williams' characters, situations, and even the title (which was used as The Fugitive Kind for the 1960 film based on Orpheus Descending) have their genesis here.

At age twenty-six, Williams was still learning his craft and this, his second full-length play, shows his debt to sources as diverse as thirties gangster films (The Petrified Forest, Winterset) and Romeo and Juliet. Fugitive Kind, with its star-crossed lovers and big city slum setting, takes place in a flophouse on the St. Louis waterfront in the shadow of Eads Bridge, where Williams spent Saturdays away from his shoe factory job and met his characters: jobless wayfarers on the dole, young writers and artists of the WPA, even gangsters and G-men. Fugitive Kind was also Williams's second play to be produced by The Mummers, a St. Louis theatre group devoted to drama of social protest. Called "vital and absorbing" by a contemporary review in The St. Louis Star-Times, this play reveals the young playwright's own struggle between his radical-socialist sympathies and his poetic inclinations, and signals his future reputation as our most compassionate lyric dramatist.

When Memoirs was first published in 1975, it created quite a bit of turbulence in the media--though long self-identified as a gay man, Williams' candour about his love life, sexual encounters, and drug use was found shocking in and of itself, and such revelations by America's greatest living playwright were called "a raw display of private life" by The New York Times Book Review. As it turns out, more than thirty years later, Williams' look back at his life is not quite so scandalous as it once seemed; he recalls his childhood in Mississippi and St. Louis, his prolonged struggle as a "starving artist," the "overnight" success of The Glass Menagerie in 1945, the death of his long-time companion Frank Merlo in 1962, and his confinement to a psychiatric ward in 1969 and subsequent recovery from alcohol and drug addiction, all with the same directness, compassion, and insight that epitomize his plays.

From the master twentieth-century playwright Tennessee Williams-an adaptation of Chekhov's The Sea Gull, never before available to the general trade. The Notebook of Trigorin is faithful to Chekhov's story of longing and unrequited love. Set on a provincial Russian Estate, its peaceful environs offer stark contrast to the turbulent lives of its characters. Constantine, a young writer, must compete for the attention of his mother, a self-obsessed, often comical aging actress, Madame Arkadina, and his romantic ideal, Nina. His rival for both women is Trigorin, an established author bound to Arkadina by her patronage of his work, and attracted to Nina by her beauty. Trigorin cannot keep himself from consuming everything of value in Constantine's life. Only in the final scenes do all discover that the price for love and fragility can be horribly high. But if the words in The Notebook of Trigorin are essentially Chekhov's, the voice belongs firmly to Tennessee Williams. The dialogue resonates with echoes of the themes Williams developed as his signatures-compassion for the artistic soul and its vulnerability in the face of the world's "successfully practiced duplicity" (Act I).