admiration for her as “a lady, a real one and a great one,” tells her the cause of his expulsion from the church, and confesses the extent to which he is, as he says in act 1, “at the end of my rope.” Hannah responds to him empathically and tells him that she wishes she knew how to help him.

While act 2 ends with a fierce, tropical rainstorm into which Shannon extends both hands from the side of the verandah, the rain has stopped when act 3 opens several hours later. Shannon is now sitting alone at a table on the verandah, intensely engaged in writing a letter to his bishop—to ask for forgiveness and acceptance back into the church, he informs Maxine when she interrupts him. She scoffs at his plan to return to the clergy. Her desire to have him stay with her is as strong as ever: “We’ve both reached a point where we’ve got to settle for something that works for us in our lives,” she tells him, “even if it isn’t on the highest kind of level.”

Shannon’s ultimate decision to remain with Maxine, made apparent in this third and final act, is brought about partly by the arrival of another tour guide who assumes responsibility for the group of teachers. The guide and the bus driver restrain Shannon and take the bus key out of his pocket; after he runs down the hill (offstage) and urinates upon the teachers’ luggage, Shannon is again restrained and this time tied in a hammock on the verandah. Gradually—with the help of Hannah’s tea and conversation—Shannon calms down, frees himself of the rope and the hammock, and decides, at Hannah’s urging, to cut the iguana loose from its rope below the verandah. Hannah’s grandfather completes his last poem and dies sitting on the verandah, Shannon goes swimming with Maxine, and the audience watches Hannah bend slowly over her dead grandfather and place her head against his as the curtain comes down.

That all the play’s central action takes place on the hotel’s verandah not only minimizes scenic or set demands but also allows Tennessee Williams to communicate two central motifs: that individuals are essentially separate or divided from one another, and that an individual’s internal wars are manifested externally as wars between people.

Along the back wall of the verandah are several doors to separate rooms or cubicles. The doors themselves are screened with mosquito-net curtains, which are, during the night scenes, made transparent by lights within the rooms; thus, the occupant and interior of any given room are visible to the audience during part of the second act and all of the third. While the walls of these separate rooms are necessary and beneficial, they are also—figuratively speaking—causes of alienation insofar as they become emotional and psychological barriers between people. Hannah, although respecting people’s rights to their separate rooms, believes in the necessity of escaping such divisions and breaking through “gates” for open communication between people, even if what is gained is only—instead of one-night stands—“One night . . . communication between them on a verandah outside their . . . separate cubicles.”

By arranging for all the play’s central action to take place on the section of the verandah hotel guests must cross on their way to the beach, Williams can introduce and bring into focus at any moment the Fahrenkopfs, a wealthy, hedonistic, grossly physical German family. Whenever he appears, Herr Fahrenkopf—beside singing German marching songs with his family—is carrying a shortwave radio to which he listens for the latest German report on the Battle of Britain, at the climax of which this wealthy tank manufacturer shouts ecstatically, “London is burning, the heart of London’s on fire!” Such a partisan and inhuman celebration over war’s destruction of life, as well as the marching songs and the Germans’ frequent demands for beer or champagne, serves as a device by which Williams can magnify Shannon’s personal war to a global one between nations. Shannon’s natural desire and need for communion with others have become, through years of repression, crippled and uncontrollably monstrous. Repression imposed upon people by religious extremists, Williams seems to suggest, is no less destructively inhuman that that imposed upon them by political extremists.

Another dramatic device Williams uses also needs mentioning: the iguana Maxine’s young employees capture and tie to the verandah with a rope. They intend to fatten it up and then eat it. Since Shannon says several times that he feels he is at the end of his rope, since the iguana strains at the end of a real one, and since Shannon—after learning respect for Hannah and the unifying wisdom of her ways—ultimately cuts the iguana free, it is clear that Williams intends for his audience to perceive the lizard metaphorically as Shannon. Like the iguana that will chew its own tail or leg off to get free of a trap, so long as Shannon remains restrained from living naturally and uninhibitedly he devours himself from within.

Costa Verde

Costa Verde. Hotel in Mexico, its name literally means “green coast” in Spanish. Williams describes it as rustic and bohemian, situated at the crest of a hill that overlooks a beach. He also notes that it is important to recognize that this is not the Mexican coast of his present, but of the early 1940’s—the temporal setting is as important as the spatial, given the important role of the German tourists and their blatant Nazi attitudes.

The entire play takes place on the roofed veranda at the front of the hotel. The rest of the setting is presented only as hints: background noises, glimpses of light and motion, shouts by the principal characters to unseen servants. Behind this wide veranda upon which folding tables are placed for supper, there is a row of small cubicles, each shrouded with mosquito netting. During the night scenes, they are lighted from within and serve as miniature interior stages within the main stage. Williams masterfully uses this constrained setting to keep the focus of his story tightly on the problems of the tormented characters.

The early 1960s represented a period of change in American history. In 1961, President Dwight D. Eisenhower concluded his term, making way for the younger and more progressive John F. Kennedy. This era of transformation wasn't confined to the United States alone; political and cultural upheaval was prevalent globally, often involving the U.S.

One significant threat to the American mainland during the 20th century was Cuba after Fidel Castro's ascent to power. In 1961, the United States severed diplomatic ties with Cuba. Supported by the U.S. government, Cuban exiles launched an invasion at the Bay of Pigs, which ended in a disastrous failure. The Soviet Union, the United States' chief adversary, stationed missiles in Cuba targeting the U.S. These missiles were eventually withdrawn after the Cuban Missile Crisis of 1962. Later in the decade, the Soviet Union and the United States commenced disarmament talks in Geneva.

During the early 1960s, the United States also became embroiled in the ongoing conflict in Vietnam. Military assistance and advisors were dispatched to support American allies in the region. By the decade's end, this involvement would spark significant controversy and create divisions within American society.

Despite these challenges, the United States emerged as a dominant force in global political and cultural arenas. The economy flourished, and American businesses expanded rapidly both domestically and internationally. Americans enjoyed prosperity, with the development of disposable goods and a booming youth market. While America gained a reputation for technical advancements—such as Telstar, an AT&T satellite that transmitted television signals for the first time—the Soviet Union sent Yuri Gagarin, the first human, into space in 1961. This highlighted concerns that the American education system was insufficient for the demands of the modern world.

One of the most significant shifts in the United States involved women. Tensions grew due to the gap between traditional female roles and an evolving society. More women, including many who were married, entered the workforce. During World War II, numerous women joined the workforce to aid the war effort while men went off to fight. After the war, men reclaimed most jobs, but women continued working, often part-time or in traditional female roles. By 1960, 36% of women were employed, making up 32% of the workforce. The feminist movement gained traction when Betty Friedan published The Feminine Mystique in 1963. In her book, she advocated for women to pursue self-fulfillment, though they still shouldered the majority of household responsibilities.

The transformation in women's lives extended beyond the workplace. Women's fashion also evolved, becoming more relaxed. During the 1960s, it became socially acceptable for women to wear pants in formal settings for the first time. Generally, women's attire became less formal, and younger women began to follow fashion trends that shifted with each season. Additionally, women started marrying at older ages, and the divorce rate increased. Sexual activity outside of marriage became more prevalent, with premarital sex becoming more common. In 1961, the birth control pill became available to the public, significantly simplifying contraception for both single and married women. These shifts signified the dawn of modern American society.

SettingThe Night of the Iguana is a drama set in 1940s Mexico. The entire play unfolds in a single location: the veranda of the Costa Verde Hotel, along with several rooms that open onto it. This veranda serves as a corridor connecting the guests' rooms to the beach, and many characters traverse it. Key elements of the story take place on the veranda: the hammock, the railing, and its underside. Shannon's preferred spot is the hammock, where he is restrained at one point. His cross becomes entangled in the railing, nearly strangling him. An iguana is tied beneath the veranda, struggling until Shannon sets it free. The rooms opening onto the veranda are individual cubicles with screen doors. During nighttime scenes, when the veranda is lit up, the action inside the rooms becomes more visible. This illumination and separation, especially in the latter part of the play, highlight the solitude of the room's inhabitants.

SymbolismThe Night of the Iguana is rich with symbolism. The most notable symbol is the iguana itself, referenced in the play's title. Local boys who work at the hotel capture the iguana and tie it under the veranda to fatten it up for eventual slaughter and consumption. However, this does not come to pass. By the play's conclusion, Shannon releases the iguana at Hannah's urging. The iguana might symbolize various things. Many critics suggest it represents Shannon, who is also bound during the play. Like the iguana, Shannon struggles against societal constraints, fighting a seemingly futile battle. Additionally, the iguana can symbolize the human condition. Other symbols are also present in the play. The "spook" that Shannon feels is pursuing him can be interpreted as his conscience. Maxine's persistent offering of rum-cocos to Shannon symbolizes her sexuality. The looming storm throughout the play mirrors Shannon's life-altering crisis.

Costumes
The characters in The Night of the Iguana are often described with specific attire that highlights their actions. In Act II, Shannon puts on his long-unused minister's shirt and collar, along with a cross. He aims to symbolically reconnect with his past and demonstrate to the tour group that he was once a minister. However, the collar's button is so worn that it immediately pops off, making it impossible for him to wear. Later, he nearly strangles himself with the cross. At the play's conclusion, he gives Hannah his cross to help fund her return to the United States.

Simultaneously, as Shannon dons his minister's attire, Hannah steps out of her cubicle clad in an artist's smock paired with a silk tie. The smock is artfully splattered with paint to enhance her appearance as a genuine artist. Hannah wears this outfit when she attempts to persuade hotel guests to let her sketch them for payment. It gives her an "authentic" look, although she remains an artist regardless of her attire. The ensemble shapes how others perceive her, not how she perceives herself. In contrast to Shannon, she possesses a strong sense of self. Costumes also play a role for Maxine, who wears a half-unbuttoned shirt when she first encounters Shannon and attempts to seduce him.

1940: The United States observed the onset of World War II and contemplated joining the conflict. Ultimately, the nation was pulled into the war.

1961: The United States witnessed the early stages of the Vietnam War. Eventually, the nation became involved in the conflict.

Today: Although there are no major global wars, the United States continues to act as a global peacekeeper and considers intervening in various regional conflicts.

1940: The expansion of war-related industries brought nearly 12 million women into the workforce. However, after the war, women's wages decreased significantly, and they earned much less than men.

1963: The modern feminist movement begins to emerge, marked by the release of Betty Friedan's The Feminine Mystique.

Today: Women face challenges in balancing work and family responsibilities. There remains a substantial pay gap, with women earning considerably less than men for the same roles. The feminist movement appears to be waning.

1940: Various birth control methods had been available for several years, though many were still restricted. Attitudes towards sex were becoming more open.

1961: The introduction of the birth control pill provided women with unprecedented control over their reproductive choices.

Today: Birth control has become even more accessible. Devices like Norplant can be implanted in a woman's arm and remain effective for up to six months.

1940: Nazi Germany initiated the repression of Jews, manifesting in various forms across different countries, including restricted movement and denial of fundamental human rights. The Auschwitz concentration camp was constructed.

1961: Nazi official Adolph Eichmann was convicted in Israel for his involvement in the deaths of six million Jews during World War II.

Today: Efforts to preserve the memory of the Holocaust are widespread. Films on the subject, such as Schindler's List and Life is Beautiful, are well-received and win numerous awards.

The 1964 film adaptation of The Night of the Iguana was directed by John Huston. The cast featured Richard Burton in the role of Shannon, Ava Gardner as Maxine, and Debra Kerr portraying Hannah.

SOURCES
Brustein, Robert. ‘‘A Little Night Music,’’ in the New Republic, January 22, 1962, pp. 20-23.

Clurman, Harold. A review of The Night of the Iguana, in the Nation, January 27, 1962, pp. 86-87.

Embrey, Glenn. "The Subterranean World of The Night of the Iguana,'' in Tennessee Williams: A Tribute, University Press of Mississippi, pp. 325-40.

Gilman, Richard. ‘‘Williams as Phoenix,’’ in the New Republic, January 26, 1962, pp. 460-61.

McCarten, John. ‘‘Lonely, Loquacious, and Doomed’’ in the New Yorker, January 13, 1962, p. 61.

Taubman, Howard. ‘‘Changing Course: Williams and Rattigan Offer New Styles,'' in the New York Times, January 7, 1962, sec. 2, p. 1.

‘‘Tennessee in Mexico’’ in Newsweek, January 8, 1962, p. 44.

‘‘Tough Angel of Mercy’’ in Life, January 22, 1962, pp. 67, 70.

FOR FURTHER STUDY
Boxill, Roger. Modern Dramatists: Tennessee Williams, St. Martin's Press, 1987.
This book explores Williams's journey as a playwright, concentrating on his significant works, including The Night of the Iguana.

Hardison Londre, Felicia. World Dramatists: Tennessee Williams, Frederick Ungar Publishing, 1979.
This publication offers a critical analysis of each of Williams's plays in detail and provides a timeline of his life.

Hayman, Ronald. Tennessee Williams: Everyone Else is an Audience, Yale University Press, 1993.
This is a comprehensive biography of the playwright, detailing his entire life and professional journey.

Williams, Dakin and Shepherd Mead. Tennessee Williams: An Intimate Biography, Arbor House, 1983.
This biography, authored by his younger brother, delves into the personal life of the playwright.