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Parallel - By the end of the story Chance and Princess have switched roles -  the blackmail forgotten)
Symbolism - Chance - focused on the past - still calls place hometown when it really isn't his anymore
Princess - trying to get a better future
Clock - Time, Continues, He can't move backward without messing it up.
Audience effect - it really makes the audience think about their own lives.
Soliloquy - Princess accepting loss of youth/effect of it: this is her world, development.

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hard pill to swallow- accepting your faults
chance had downed pills at one point but got worse
pink pill

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One of the things that I most noticed as odd in the last act was the part immediately after when the Princess finds out that her movie was incredibly successful, why does she, according to the stage directions, loses her fury suddenly? Why do you think she just loses her oomph suddenly?

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With this being the final acting done, Tennessee succeeded in completely shoving every theme in order to get the reader to understand the entire situation. Of course, we will only cover the most important.
Youth- This last scene finally concludes the theme of youthfulness, especially emphasized by the slight interaction that went on between Chance and Princess as she was selected for a role.
P: "Chance, you've gone past
something you couldn't afford to go past; your time, your youth, you've passed it. It's all you
had, and you've had it."
C: "Who in hell's talking!"
Her apparent issues with her aging is suddenly backtracked as she accepts this situational change, completely dismissing Chance's younger age when she realizes that as soon as her role is over, she will still continue to age yet, she finds comfort in this fact. Her resolution to accept her fear is reflective of Tennessee's own insecurities. This conflict leads into the next prominent theme; though, besides that, there is also the fact that everyone had come to terms with aging, everyone except Chance, who, in the final scenes, still tries to fight his case, showing the flip side of the coin that will always regret.
Hypocrisy - After completely berating Princess for her complex mood shifts, he completely ignores the stubborn way his memory seems to never catch up to him as he blindly pursues Heavenly.
CHANCE [rising and advancing to the forestage]: I don't ask for your pity, but just for your
understanding--not even that--no. Just for your recognition of me in you, and the enemy, time,
in us all.

class: (He tries to let them reflect on how similar the two of them are?, dont follow my footsteps- everyone will still do so, his struggle against time, )

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Throughout the play, we have been granted grandiose cliffhangers that left the audience on the edge of their seat, sick with prediction and . Yet, the ending had been such a flat one to a fast-paced act that the reader is just left spinning and disappointed. What would be the reason for Tennessee to do this? Was there a double motive when finishing his work?

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Chance: A good first thing to note is that Chance is very drunk in this scene. (PRINCESS: "You couldn't drive through the Palm Garden." ) At this point in time, Chance's relationship with the Princess has developed completely, and all the way through at that. He now seems incredibly bored with her and her antics, saying "I'm waiting for you to shut up." Chance is past being somewhat nice to her, and at this point is simply speaking his mind. At some point, Chance calls Sally Powers, and the plan is to have Princess tell Powers about the beauty contest. However, his plans are thwarted, as Princess finds out her movie was a success. Chance however shows his (seemingly) unending dedication to Heavenly by continuing to pester Princess while she is on the phone. He even goes so far as to call Princess a b****. Even when the princess leaves st. cloud, Chance decides to stay, even though it means certain death.
Princess- Princess comes rather full circle in this scene, from what I see. Towards the beginning of the scene,  the princess is still on the more subservient side to Chance, however, once she receives word that her movie was not a flop, her mood turns around, and she now has more power.

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Now that we've seen Chance's true nature, AKA his special pill problem, it kind of sheds light on the reason he's been acting the way he has. Do you think this has been affecting his decisions thus far throughout the play?

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(Aileen) CHANCE [stretching phone cord]: This is as far as I can stretch the cord, Princess, you've got
to meet it halfway.
With this quote, we- as the readers- sense a strong irony playing out from the moment Chance says this to the Princess. Not only does it hold a double meaning, he also says this in a tone that implies that he holds a sense of satisfaction at her helpless self. Since the beginning, the Princess has been strung along on empty promises made only on her behalf, and for Chance to taunt her with a comment as sardonic as this concludes that Chance's character was never one to like.
(Cam) CHANCE: "Me! Me!- You bitch!"
This shows the new point Chance will go to. At this point in the play, he has no regards whatsoever for Princess's feelings, and has no sympathy. He thinks he has her under his manipulation, and part of me believes that he is genuinely a little bit surprised when she gains the power back again.
(Noah)
(Gabriel) "Broken Box-Office records. The Greatest comeback in the history of the industry, that's what she calls it..."
This shows the point that Princess finds out that she didn't fail herself and is still a good actor and she can go back and show herself around town and feel that she isn't washed up and old.

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Conflicts- In this scene, Chance and Aunt Nonnie meet up and she tries to convince him to leave town before something bad happens. This seems like it is going to turn into a bigger conflict but it never pans out into anything. Real conflict begins when Chance and Ms Lucy see Chance's old friends. These friends all seem to know that Chance hasn't being doing what he's told everyone and treat him like he's a washed up lunatic. Chance starts drinking and popping pills. Which probably wasn't the best idea at this point but he's in too deep. His friends leave and it seems as if all the conflict has ended but here we go again. He sees Heavenly as she enters the rally with her father and this sends him on a drunken tirade against her brother and two of his old friends
Climax- the climax comes when he decides to talk to Tom Jr. alone and try and somewhat hash out what happened. THis is when we finally are told about the STD that Chance gave to Heavenly that required the operation to fix. After this they all enter the Rally and to Chance's disbelief, Heavenly is on the arm of her father. This hurts him very much and makes him stay very subdued throughout the rest of the rally, even when the Heckler is being beat and he might've thought of helping.

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In this scene, we are able to witness the consequences of all characters' previous action handed back to them.
**C
**Stuff - Introduced as a local bartender, Stuff tends to keep out of situations and is careful about his actions.
**Heckler - Known for "heckling", he is just there to interview Boss and seems to contrast Stuff's appearance; troublesome character.
Aunt Nonnie - Nonnie begins to crack as she begins to see the negative side of Chance. Her desperate pleas of understanding him let the reader know of this. We also see how close she is to Chance as she knows what happened that night; this is assuming they have the reflective conversation often. Despite this, she still shows that he is a fragile character while simultaneously knowing that Chance isn't a great person to get involved with.
Princess- Our previous assumptions were confirmed with her sudden appearance as she professes her love for Chance proves her longing for a youthful experience once more; this is evident by the fact that she "begins" to feel pity.
Chance - More backstory on him shows that he is an active alcoholic and drug user. It's revealed he regrets taking Heavenly's virginity at such a young age, yet his details don't seem to line up. He seems to see everything in blacks and whites yet they might be the opposite when everyone else sees it.
Tom Jr. - Contrasts his father

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This scene is definitely one of the longer ones in the play. In this scene, we are introduced to several new characters as Chance attempts to show off amidst his old friends, and gets shunned by most of them.
The fleetingness of Youth- As per usual in the play, a main theme in this scene is the quickness with which youth disappears. When we are young, we believe we will be young forever, but as Chance very well knows, this is not the case. The audience sees this especially in Nonnie's line: "No Chance. She's not young now, she's faded, she's..." With regards to Heavenly, this line shows certainly that her youth has faded, whether or not Chance knows it.
The egotistical side of nostalgia- The audience can witness this theme specifically in the line when Chance starts reminiscing of the old days: "Man, don't you know... and I looked better in it than he did, and almost as good in it as you do, ha ha..." This line seems to show specifically how Chance gets a kick out of being back in the old hotel bar, remembering the days when he stood in the place of Stuff, wearing the same outfit. There is also a heavy tone of cockiness in his voice, and one can tell Chance is egotistical in real life, as well as when remembering the past.

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In the final scenes when Heavenly is revealed to the audience, this particular event occurs: "When Chance sees the Boss's arm around Heavenly, he makes a noise in his throat like a hard fist hit him low. . .]" This came off with mixed signals to me, as I don't understand why Chance would have such a reaction like this? If anything, I'd believe he'd be represented head over heels after seeing her. Does seeing her with her father strike him as betrayal to their past love?

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(Cam) CHANCE: " I go back to Heavenly, or I don't. I live or die. There's nothing in between for me."
I believe this quote really truly shows how far Chance thinks he will go for Heavenly, and how obsessed with the thought of her he is. Chance really does believe that he will die without heavenly. It also seems to foreshadow two possible outcomes to the play: Chance and Heavenly run away together, or Chance 'dies' in some way, or merely gives up. Overall, we see that Chance is full of extremes.
(Aileen) MISS LUCY: Wait till they turn down the chandeliers in the ballroom. . . . Why don't you
switch to a question that won't hurt his daughter?
With this quote, we are able to see the development that Miss Lucy receives, with Williams providing the opposite perspective; instead of just being a mistress, she is represented as someone who has strong feelings about her situation and the people involved. I believe that she could be the very symbol for the cruel mistakes humans often disregard, showing both the -- that she acts on by having the affair with Boss, yet shows the fragile consciousness that emotionally drags her down.
(Gabriel) "Nothing goes that quick, not even Youth."
This quote shows some irony in the fact that Chance is looking for Heavenly's youth while also avoiding the fact that they are not young anymore.
(Noah) Scotty: "I guess they didn't recognize you, Chance"
This quote shows just how long Chance has been detached from his hometown. It may seem simple, but it is part of the bigger picture of this scene; that Chance has been lying about his past all up until this point.

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There is one part in this scene that does confuse me a little, admittedly. When 'the boys' and 'the girls' are at a table with Chance, do the girls leave, and then the boys? Do the boys exit and reenter at some point? I got a bit confused by the stage directions.

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Why do you think that Boss Finley still carries the grudge against Chance, I understand he released illicit pictures of his daughter and such but that was ages ago why does he still care?

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Stream of consciousness- Chance after he took the pink pill and vodka

Juxtaposition - Tom and Dad

Symmetric structure- Chance and Heavenly

Irony - Hypocrite Chance/Self Evaluation "Irony of hypocrisy/practice what you preach"

Parallelism- Boss and Chance, priorities not set straight, plus they both are really blind to what's important

Persona- Chance and his past

Stage Space - Entrance, Exits + Suspense

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This scene introduces us to the Finley family in person.
Boss Finley-  Up until now we've only heard of him and his massive actions. Now we've seen him and a lot of his character. Boss Finley is a cold man with no real concern for anyone else's feelings. He acts like he cares about his kids but he's just doing it to placate them so everything goes away. Even when he was talking about his dying wife  it still sounded selfish. This scene moves Boss Finley from a mere idea to a rounded character.
Heavenly Finley-  In this scene we meet Heavenly and learn more about her and the operation that changed her. It appears now that Heavenly really did love Chance and even tried to arrange their marriage.  But something happened and then the operation was required and her family's demeanor towards Chance changed entirely. After the operation she is saying that she feels empty and like a corpse. I think that this is going to become  a major plot point later in the story causing problems between her and chance
Tom Finley Jr.-  Tom Finley Jr. is portrayed as kind of a dolt who doesn't know what he's doing. The way he talks about his dad makes it sound like he's just been trying to make his dad proud for his entire life  and it has never actually worked, much to his disappointment. This scene introduces and develops his character and shows many of his underlying feelings of desire towards his dad.

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Nostalgia, Youth, and Regrets are in this scene because of Heavenly reminisces about her past about when she was 15 and how it was when her and Chance were together. Her and Chance we to be wed but Heavenly's father wouldn't abide by their union. In the present will everything going on she kinda has regrets about not being able to marry Chance and wished they had been a happily married couple that moved far away from St.Cloud.

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Now that we have seen our first glimpse of the Finley family, how do you think Boss Finley's treatment of his children has influenced the way they act now and the way we see them acting and what it shows about their character?

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In my opinion, Heavenly´s reactions and backstory on her ¨operation¨ make for there to be a lot to be left up for grabs. While the other characters seem to be mirroring each other, she seems to be a stand-alone (unless you compare her to her mother, who seems to be a flat character) character. With that said, I wonder if Heavenly is the actual protagonist of the story, with Chance simply being a character to further build up her own back story? What kind of effect could that have later on in the drama?

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(Cam) BOSS:  "It's a curious thing, a mighty peculiar thing, how often a man that rises to high public
office is drug back down by every soul he harbors under his roof. He harbors them under his
roof, and they pull the roof down on him. Every last living one of them. "
Here, we see in words the conflict between Boss Finley and Aunt Nonnie, who seems to like and support Chance. Boss is a no-nonsense kind of man, and this trait is especially shown here.
(Aileen) HEAVENLY: You wouldn't dare.
BOSS: You want to take a chance on it!
In this short excerpt (happening shortly after Chances arrival) the strained relationship between the two really emphasizes the tear between young and old as they verbally ¨duke it out¨over what morals they should hold true to themselves. This efficiently outlines the theme of youth with Heavenly's viewpoint being a stronger argument when compared to her father's, with him trying to put on a strong front; this is comparative to the phrase ¨pick on someone your own size¨ with his tone of voice completely changing as if they are both the same age. The opposite can also be said, with Heavenly saying she is basically an old woman.
(Gabe) "BOSS: Has he checked out yet?
TOM JUNIOR [entering]: Hatcher says he called their room at the Royal Palms, and Chance
Wayne answered the phone, and Hatcher says . . . "
I think this quote shows how much Boss has really been spying on Chance. He has his people having their people call Chance just to make sure that he's where they think he is and that really makes things interesting especially since Chance is in town to get Heavenly back but how is he gonna be able to get close when boss has him on 24 hour surveillance, we will just have to read and find out.
(Noah) BOSS: "Mind your own goddam business. A man with a mission, which he holds sacred, and on the strength of which he rises to high public office-crucified in this way, publicly, by his own offspring."
I think that this quote is symbolic of his relationship with his kids being entirely for his own personal gain instead of actually loving them and caring for them the way other fathers do. This shows how selfish Boss is about everything in his life and reveals a major facet of his character

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I think it is really weird how Heavenly just somewhat randomly screams in a scene. Most people don't just start screaming and laughing hysterically in conversations with their parents (although parents do often anger their children). They also refer more to "the operation" in this scene. Do you think that this operation (personally I believe it was an abortion) affected Heavenly's state of mind?

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What moves the plot forward- BOSS: "When she was fifteen he had her. Know how I know? Some flashlight photos were made of her, naked, on Diamond Key." This quote from Boss Finley connects back with a quote from Chance in the last scene, and shows why Boss despises Chance so much. Now that the audience is beginning to get more of the story, Boss' character has a motive for disliking Chance so much, and it gives him more purpose in the play. This moves the plot forward, and foreshadows that Boss Finley will continue to try to get rid of Chance. Another thing that continues to move the plot forward is the slow reveal of more information about the "operation". All we know so far is that Heavenly has had some sort of operation, and as the full picture is revealed very slowly to the audience, they begin to guess and speculate about what has happened to Heavenly. This "operation" and its negative effects end up being the motivation at the end of the scene for Boss to force Heavenly to come to the Jr Boss Finley club meeting in all white.
Climaxes- A certain climax is seen when Nonnie enters the house, "terribly flustered".  The audience only learns a tiny bit of information regarding Nonnie's relationship with Chance, but it seems rather scandalous in terms of the family, and gives Boss another reason to hate Chance. The tension between Nonnie and Boss Finley is the first point of high tension in the story so far. Another point of climax is the drawn-out argument between Heavenly and Boss Finley. At one point, "Heavenly starts to laugh and then screams hysterically."  This crazy argument scene is relatable for many audience members, and again increases tension in the plot, and gives characters even more of a motivation in the play. In this case, this scene gives Heavenly even more motivation to have Chance back and gives Boss Finley even more reasons to dislike Chance, and keep his daughter away from him.

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What dramatic vocabulary terms apply?
-  Stage Space
>> The emphasis on the  scenery involved in the scenes makes for there to be a more of a novel-type story and immerses the reader
i.e. [...This marks a formal division in the scene.] / [The light change is not realistic; the light doesn't seem to come from the coach lamp but from a spectral radiance in the sky, flooding the terrace.] / [The flagged terrace may suggest the parquet floor of a ballroom ... The change towards 'stylization' ought to be held in check.] / [He turns and plods
wearily, doggedly off at left...]
- Mirroring
>> Boss develops greatly in this new act and seems to directly parallel  Chance when he tries to parade Heavenly himself without knowing that Chance would do the same. This makes them to be on the exact same side of the coin while thinking each other is on the opposite.
- Coming of Manners
>> Heavenly´s attitude towards her father seems to be quite flippant; though this can be due to the divide between them, this can also be an effect of a troubled upbringing. With her attitude starkly contrasting what Williams had set up for a coming-of-manners effect.
- Alienation Effect
>> The scene is set up to be a sort of controlled chaotic beginning to Act Two, with multiple characters walking in and out of the viewers vision of stage space, making for the actual conversation to be disconnected and making for the entire dialogue exchange to be overwhelming and will likely hit the viewer only after finishing.

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Based on my quote, it is evident that there will be development on Chance for the better or worse, especially with him beginning to bring in his messy life to the Princess and her willingly deciding to help him. What would happen if she is pushed to the limit? IS this a side effect of love?

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As previously seen in Act 1, scene 1, we primarily only see two main characters: Chance and the Princess, both of whom experience a lot of development in this scene.
Chance- Compared to scene 1, in scene 2 of the first Act, we see Chance more for what he truly is. In the first scene, as the audience is still being introduced to Chance's character, they cannot make any definite arguments about the type of person he is. Now, based off of several quotes and interactions with the Princess, the audience can safely make judgements on his character: he is a very shallow man, interested in his good looks, others' opinions of him, and of course, his obsession with Heavenly. Already, on the very first page of scene 2, we can see that Chance really means to go through with his manipulative plan of blackmailing the Princess to get what he wants (Chance: "You have to tell the cashier you're sending me down with some travelers' checks to cash for you." Princess: "Have to? Did you say have to?"). Another point when Chance's character really shines through is when he discusses a portion of his life story, saying that "I gave people more than I took. Middle-aged people I gave back a feeling of youth. Lonely girls? Understanding, appreciation!". Just the fact alone that Chance believes that he gave the girls he had 'relations' with a gift simply by being with them shows how unapologetically self-centered he is. It seems especially bad that, throughout these 'relations' he still believed himself to be loyal and true to "his girl" Heavenly. It is unsurprising that we later learn that Chance essentially "flunks" out of the navy, becoming sick with the thought of himself losing his youth. All of these things reflect on how self-centered and manipulative Chance is (this can be seen with regards to the Navy situation that he didn't actually 'become ill' or sick, he freaked out that he was in the military rather than living it up at clubs (or whatever 20-some year olds do) and lost a few hairs).
Princess- The Princess Kosmonopolis presents an interesting case: In some situations, she allows herself to be manipulated and blackmailed by Chance, yet in others, it seems like she is the one in charge, and Chance is merely the boy (as she so often refers to him as). Another example of Princess's interesting, somewhat flip-flop personality can be seen in the line "So... I'm being used. Why not? Even a dead race horse is used to make glue." In this case, Princess almost seems rather dismissive of Chance's manipulative behavior, although she now knows that he has no real emotional investment in her. We also see more of the Princess's confusion in this scene, as she does not recall purchasing clothes for Chance, ("Did I buy you fine clothes?") and she is rather naive in saying "This was not necessary, all this. I'm not a phony and I wanted to be your friend." In this particular case, we can see just how "young" the princess truly is: she is somewhat goofy in real life, and often seems to not know truly what's going on. Only time will tell how these two characters continue to progress.

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(Cam) PRINCESS: "I'm not ready to be left alone in this room."
This quote may seem rather direct, however it also seems like a much larger reference to how Kos truly feels. In this great big world, Kos feels as if she has no one left who loves her for her acting, as if she is "all alone" in the world. Perhaps she feels so isolated that she cannot even bear to be left alone in a hotel room for a few minutes. This quote shows how damaged her character is by her acting career, and the simple fact that she has aged. In addition, the audience can see that her last movie failure was so detrimental to her health, that she cannot be alone with her own thoughts, even.
CHANCE: "I gave people more than I took. Middle-aged people I gave back a feeling of youth. Lonely girls? Understanding, appreciation! An absolutely convincing show of affection. Sad people, lost people? Something light and uplifting! Eccentrics? Tolerance, even odd things they long for..."
This quote shows Chance's twisted viewpoint on what he's been doing while he's gone. He is justifying giving himself away to these people. This is significant because it is the first real time we see how Chance is so ignorant of the consequences of his actions.
Chance: "That was when Heavenly became more important to me than anything else...."
Princess: " Is Heavenly a girl's name?"
Chance: "Heavenly is the name of my girl in St. Cloud"
I feel that this bit of dialogue really show how little Princess knows of Chance and his motives. It shows how straight forward their relationship is, it shows how little they actually know about one another and it really shows how Chance really hasn't opened up to Princess.

(Aileen) CHANCE: "You could pretend it was true."
PRINCESS: "If I didn't despise pretending!"
CHANCE: "I understand. Time does it. Hardens people. Time and the world that you've lived in."
Clearly, this is from Chance's perspective that time is the cause of adult behaviours that, quite frankly, would not be accepted if given a child's (or just someone that is younger/ innocent) judgement. This gives insight to who he would put to blame in the --- when everything goes wrong; not all of the blame would be on him himself.
Given that Chance has already given the introduction of the blunder he has gotten into, with his passive tone that he supplies to the Princess, hints that this could either stay the same or improve.

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Staging effects - Is prominent throughout the scene where the two go from talking to one another to go about talking on the phone or leaving and sending kisses to one another such as "She looks at him then goes to the phone"
Alienation of effect - How chance and Princess talk about sexual intercourse so casually and during the 60s casual talk about sex wasn't really prevalent.
Stage Space - There is only one quazi-soliloquy in the scene. Where the character chance goes to the forstage of the stage and he kinda introduces himself as a character again and tells a little bit of his back story but in the same time is telling another character.

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Desire-  Chance is showing his inner desire  for Heavenly when he describes how he would always come back and Heavenly would be his support net for his sadness about failure. This ties into the next theme of nostalgia
Nostalgia- The theme of nostalgia has been present throughout the entire play so far. Chance is constantly talking about the "old days" and how he's back in town to reclaim her

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In this Scene, Chance seems very motivated to include Heavenly in his life at all times, even when he has been unfaithful. This intense dedication to heavenly is almost disconcerting. I think he's attaching more to her than just being who she is. What could Heavenly be symbolic of?

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Personally, I have a question to the group about Princess Kos' character. It seems that she is acting a bit different than before her and Chance had 'relations'.  Now, she seems more subservient to him, and seems to be forced to do what he tells her to do. Why do you think she is suddenly in debt to him? Is it only because of the case of the blackmailing, or does her character have something to do with it as well?

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*Dramatic action: drama moving story involving conflict, tension, suspense, etc.; character should not be the one moving plot out of passive action*

- Introduction of family issues
>>fear + anxiety + frustration
Marketable and relatable\\relating to the theme of nostalgia of a life he left, Chance is left with only his memories of the past and attempts to keep it as such

- Washed-out starlet appearance
>> lighter mood + confusion
Appearance of common misconceptions\\ issues relating to youth and the way that the Princess reacts to her situation in such dramatics is supposed to exemplify how a younger generation can make for it to seem unreasonable; a cliche

- Rift of misunderstanding continuing, differing goals
Relatability\\ themes of lust come into play when the reader finds that this is a common occurrence for both the Princess and Chance

-The fact that Chance carries different names around
Mystery\\ connections can be made with the fact that the temporary names could represent the passing of time (as it changes character development) as well as the obvious deceptive nature

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In this scene, it really shows what kind of person Chance is we see that he really only cares for Heavenly and Princess is kinda just a mistress for Chance to use for his own pleasure. Why do you think he treats her this way? I mean I understand you got mad blackmail on her but still she's a human being just like you.

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Aileen- Williams' intent to draw in the reader by proposing such convoluted circumstances has, admittedly, made me much more interested to continue reading. Though I presume that these questions will be answered in the following acts to come, I truly wonder if Williams would expand on Chance's "walking on eggshells" personality, and how would it relate to the themes to come? How could we predict this based on the first act?

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The exposition for Act 1, scene 1 is rather long when compared with say, a Shakespeare exposition. Not only do we get a multitude of information about A1, S1, but in this long exposition, we also get a lot of information about the rest of the play. Although the exposition reveals the most about the setting, it indirectly reveals things about the time period, as well as the characters, and how future settings could possibly be set up. Interestingly enough, the exposition is written in first person, not third, like most seem to be. This gives off a rather personal, informal feel, and helps the reader to really visualize the set, as the reader can only read the lines, and does not have the ability to actually watch the play. We first see the use of "I", in the line "I think of it as resembling one of those "Grand Hotels" around Sorrento or Monte Carlo, set in a palm garden." With this seemingly general description, the reader gets a rather vivid, yet personal image, as each individual conjures up what a Monte Carlo hotel would look like to them.
The exposition also does a fantastic job of setting up the scene, describing things that are specifically used in the scene - like the "wicker tabouret and two wicker stools," - seeing as two characters sit on or near these chairs later in the scene. Important details that are extremely relevant to the scene are given in the exposition, like the "silk white pajamas" and the action of Princess Kosmonopolis "tossing on the bed as if in the grip of a nightmare." The audience is also immediately introduced to both the time period and the general character of Chance, as he is "lighting his first cigarette of the day." In the exposition, we are also introduced to an idea previously mentioned in the scene breakdown, the concept of "the lament". In the exposition, when saying "Outside the windows there is heard the soft, urgent cries of birds, the sound of their wings," the reader knows that "the lament" will make an appearance in the scene.

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Cam-At this point in the play so far, we know a great deal about two specific characters, and their habits. While much is already known, it seems that underlying motives are still up in the air. Personally, I am curious as to why Princess Kos desires to have an intimate relationship with Chance, even though it seems that Chance is rather vocal about "his girl" (and he definitely isn't referring to Princess Kos as "his girl"). Does she just not care? Is she looking for a purely physical relationship?

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Deception- In the first scene, the theme of deception is presented several times. First when we learn that Chance is traveling with a woman who has had such bad trauma that she wishes to (unsuccessfully) hide her identity from the people she will encounter.
Love and Lust- this theme is shown when Chance is talking about his past lover and how he intends to get her back while at the same time
Nostalgia-  The two main characters in this play both seem to be chasing their pasts. Chance wants to rekindle his love that he has always chased and Princess K is chasing the looks she once had while drowning her current pain in drugs and alcohol

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Cam's Prediction - Based on what I've read so far about the characters, I believe a definite main theme throughout the play will be human nature, and how humans make decisions and go about their lives. It will certainly be interesting
Noah's Prediction - I think that there will be  a big conflict that comes up from his past that becomes the main conflict of the film
Aileen's Prediction - With the background and preview previewed, my prediction would follow the lines of being a major drama with an underlying theme of time's passage and its effect on the characters. Within this major plotline, there is space left for there to be the usual conflict and ironic situations.
Gabe's Prediction -  hm

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March 26, 1911 – February 25, 1983
Williams has been writing professionally from 1930 until  his death.
Significance: Being written in the era before major media exposure, his works were the epitome of entertainment, an influenced author to influence others.
Genre: Historical Fiction

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How many Acts?
There are 3 acts in the Drama "Sweet Bird of Youth."
List the first five questions Tennessee Williams asks throughout Scene 1. Come up with a solution for them.
1. "Hands kind of shaky this mawnin?"- Not really, its pretty warm out today.
2. "Hey, how did you know my name?"-"I waited tables in the Grand Ballroom when you used to come to the dances on Saturday nights, with that really pretty girl you used to dance so good with."
3. "Who's that?- George Scudder
4. "How did you know I was in here?- The Assistant manager said you were here.
5. "Want some coffee?"- No I would not like some coffee, me without coffee is bad enough

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Works he is famous for:
* Williams has put together multiple plays, novels, screenplays/teleplays, short stories, one-act plays, poetry, and had put together selected works from the above. Listed below is the result of his hard work.*

- A Streetcar Named Desire (1947)
>> A play about a troubled widow moving with her sister's family after multiple losses and follows her as her mental state deteriorates with trauma following her to the new city.
- The Glass Menagerie (1950)
*Derived from his short story "Portrait of a Girl in Glass"*
>>Screenplay focused on the lives of a family of three, a deranged mother, a crippled daughter and a merchant son that acts as the stability of the family. Later on in the story, it centers around the daughter and her romantic struggles.
- The Rose Tattoo (1951)
*Also adapted as a radio drama*
>> Story revolving around the lives of a new window recusing herself and demanding that her daughter do the same. Focused on themes of death and betrayal.
- Camino Real (1953)
>> Play centered on the theme of dealing with the thought and acceptance of aging. Involves many famous characters from other works (not his own); in example: Casanova, Lord Byron, Esmeralda, etc.
- Cat on a Hot Tin Roof (1955)
>> Play focused on telling the story of a wealthy family and how it deteriorates as hidden truths are finally revealed.

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Michael Billington- This critic seems to specifically view Williams negatively, rather than the actors, or set designers. In the very first paragraph, Billington admits that "Marianne Elliott's production is first-rate. The cast, led by Kim Cattrall, is as good as any you'll find in a national company." It seems, instead, that Billington has issues with the characters themselves, and Williams' writing. Billington says, in the second paragraph, "The plot defies belief." This theme that the play is simply unbelievable in many senses is seen rather consistently throughout the play. Billington especially discusses the issues he has with the character Chance, in that it is impossible for an audience to relate with so harsh of a character, and such a "narcissistic parasite" of a man. However, as Billington goes on, we again see that he bears no hard feelings towards the actors. He proceeds to describe Cattrall's performance as Del Lago, and Seth Numrich's attempt to "do all he can with Chance." Overall, Billington's review is rather negative of Williams, and specifically for him, it all comes down to the character of Chance Wayne.
Dominic Cavendish- Cavendish's review differs from that of Billington  in that Cavendish criticizes the actors' performances far more, and Williams' writing far less than Billington. Especially in Cavendish's review, we see a general dislike of the play, as he says "you hear remarks such as “The set over-dominated the play” or “I was struggling to keep my eyes open” (as I did) from the audience hastening out..." In his critique, he underhandedly comments on the actor's performances, using words like "ouch" in reference to lines certain characters have. In some ways, it almost seems like Cavendish comments upon Williams personally with positive connotation: saying "Williams poured into it a lot of beautiful, melancholy, plainly personal reflections on the passage of time." Overall, it seems like he does not appreciate the attempt these actors make at portraying an already disappointing play.

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http://dl.book4you.org/foreignfiction/864000/47f0a2113e8d0063b72a8945f8f0d548.pdf/_as/

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Chance Wayne- 29 year old man returning to his hometown after 10 years of performing in dramas.
Princess Kosmonopolis-  Retired movie star who has befriended Chance and joined him on his journey.
Tom "Boss" Finley- Patriarch of the Finley family and influential political presence in the South
Heavenly Finley-  Second child and only daughter of Boss Finley. Chance Wayne's longtime sweetheart
Tom Finley Junior- Oldest and only son of Boss Finley. Leader of the "Youth For Tom Finley". Old friend of Chance
Aunt Nonnie- The aunt of Boss Finley's children. Catholic. Very much likes Chance
George Scudder- Chief of Staff at Thomas J. Finley hospital. Close confidant of the Finley family.
Miss Lucy-  Boss's longstanding mistress with expensive tastes and a pocketful of Finley money
Charles- The Finley family servant. Knows more than he lets on