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Kingdom of Earth
Lot is a weak and ailing youth who suffers from an attachment to the memory of his late mother. He has come to his ancestral home, a derelict house on the edge of a soon to be flooded river, with his new bride, Myrtle, a television actress. Somewhat reminiscent of Blanche Dubois from Williams's classic play , Myrtle is a luckless young woman trapped in a world of romantic illusions, one of which is to nurse Lot back to health so they can consummate their marriage. Myrtle soon discovers, however, that Lot only wants to use her to steal the deed to the property from his embittered half-brother, Chicken, a Stanley Kowalski type, brimming with masculinity and assertiveness and a few romantic plans of his own.
First published January 1, 1968
About the author
Tennessee Williams
548 books3,396 followersThomas Lanier Williams III, better known by the nickname Tennessee Williams, was a major American playwright of the twentieth century who received many of the top theatrical awards for his work. He moved to New Orleans in 1939 and changed his name to "Tennessee," the state of his father's birth.
Raised in St. Louis, Missouri, after years of obscurity, at age 33 he became famous with the success of The Glass Menagerie (1944) in New York City. This play closely reflected his own unhappy family background. It was the first of a string of successes, including A Streetcar Named Desire (1947), Cat on a Hot Tin Roof (1955), Sweet Bird of Youth (1959), and The Night of the Iguana (1961). With his later work, he attempted a new style that did not appeal to audiences. His drama A Streetcar Named Desire is often numbered on short lists of the finest American plays of the 20th century, alongside Eugene O'Neill's Long Day's Journey into Night and Arthur Miller's Death of a Salesman.
Much of Williams' most acclaimed work has been adapted for the cinema. He also wrote short stories, poetry, essays and a volume of memoirs. In 1979, four years before his death, Williams was inducted into the American Theater Hall of Fame.
From Wikipedia
Raised in St. Louis, Missouri, after years of obscurity, at age 33 he became famous with the success of The Glass Menagerie (1944) in New York City. This play closely reflected his own unhappy family background. It was the first of a string of successes, including A Streetcar Named Desire (1947), Cat on a Hot Tin Roof (1955), Sweet Bird of Youth (1959), and The Night of the Iguana (1961). With his later work, he attempted a new style that did not appeal to audiences. His drama A Streetcar Named Desire is often numbered on short lists of the finest American plays of the 20th century, alongside Eugene O'Neill's Long Day's Journey into Night and Arthur Miller's Death of a Salesman.
Much of Williams' most acclaimed work has been adapted for the cinema. He also wrote short stories, poetry, essays and a volume of memoirs. In 1979, four years before his death, Williams was inducted into the American Theater Hall of Fame.
From Wikipedia
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Displaying 1 - 13 of 13 reviews
June 2, 2023
Kingdom Of Earth
This Tennessee Williams play with two names, "Kingdom of Earth" and "The Seven Descents of Myrtle", failed within one month when it was produced on Broadway in 1968. A product of Williams' long years of decline, the play borrows heavily from the playwright's earlier works in its characters and plot devices. As with other works of the late Williams, "Kingdom of Earth" is better than its reputation.
Set in the rural Mississippi Delta in the early 1960s, the play has three characters, Lot, Myrtle, and Chicken. The action takes place in a decrepit farmhouse on a single night. A severe flood is about to burst through the levees and submerge the farmhouse and its surroundings.
Lot, the owner of the farm, and his new wife Myrtle return to the farm in the midst of the impending flood. The couple married on television in a tawdry prize show. Lot did not tell his bride-to-be that he had only one lung and had been diagnosed with a fatal case of tuberculosis. Lot is also impotent, attached to his dead mother, and a transvestite. Myrtle, for her part, is busty and full of life. She has been a sleazy showgirl and probably a prostitute and has borne four children out of wedlock. She wants to make a home for and be a mother to her husband. Chicken is Lot's half brother and is part African American. He is raw, uncouth and sensual. Chicken manages the farm under an agreement with Lot under which he will become the owner upon Lot's impending death. The marriage to Myrtle threatens this arrangement. Lot and Chicken try not so subtly to out-maneuver each other with Myrtle as the pawn. Myrtle ultimately is taken with Chicken and his magnetism as Lot dies in the oncoming flood.
The play is in a mix of styles. Portions of the work are laugh-aloud funny while in other parts Williams imitates himself. Although lengthy, the play reads quickly and well. It becomes a crude form of a Southern Gothic melodrama with the old house, the storm, the crass behavior and development of the past of the characters. I enjoyed getting to know the play.
"Kingdom of Earth" received mostly negative reviews on its original production. Clive Barnes of the New York Times saw considerable merit in the work and in Williams' character of Myrtle as portrayed by Estelle Parsons. Barnes wrote:
"What is good about the play -- and this survives all Mr. Williams' nonsensical flim-flam about sex and nature -- is the character of Myrtle. ... Mr. Williams seems to have fallen in love with Myrtle, and he has drawn her with affection, humor and observation. If only he had set her down in a proper play rather than some dirt track apparently leading off Tobacco Road, all might have been saved, for here is a real girl caught with a shabby, yet honest poetry. The tart of gold is not an original in dramatic literature, but Myrtle is sweeter and funnier than most." (New York Times, May 28, 1968)
In 1970, a film version of the play was released under the title "The Last of the Mobile Hot Shots". Gore Vidal wrote the screenplay, which featured Lynn Redgrave as Myrtle. The play has had several revivals since its original failure. The reviews of these productions suggest that the play can work successfully with careful staging and acting. The work is included in the second of the two Library of America volumes devoted to the plays of Tennessee Williams.
Robin Friedman
This Tennessee Williams play with two names, "Kingdom of Earth" and "The Seven Descents of Myrtle", failed within one month when it was produced on Broadway in 1968. A product of Williams' long years of decline, the play borrows heavily from the playwright's earlier works in its characters and plot devices. As with other works of the late Williams, "Kingdom of Earth" is better than its reputation.
Set in the rural Mississippi Delta in the early 1960s, the play has three characters, Lot, Myrtle, and Chicken. The action takes place in a decrepit farmhouse on a single night. A severe flood is about to burst through the levees and submerge the farmhouse and its surroundings.
Lot, the owner of the farm, and his new wife Myrtle return to the farm in the midst of the impending flood. The couple married on television in a tawdry prize show. Lot did not tell his bride-to-be that he had only one lung and had been diagnosed with a fatal case of tuberculosis. Lot is also impotent, attached to his dead mother, and a transvestite. Myrtle, for her part, is busty and full of life. She has been a sleazy showgirl and probably a prostitute and has borne four children out of wedlock. She wants to make a home for and be a mother to her husband. Chicken is Lot's half brother and is part African American. He is raw, uncouth and sensual. Chicken manages the farm under an agreement with Lot under which he will become the owner upon Lot's impending death. The marriage to Myrtle threatens this arrangement. Lot and Chicken try not so subtly to out-maneuver each other with Myrtle as the pawn. Myrtle ultimately is taken with Chicken and his magnetism as Lot dies in the oncoming flood.
The play is in a mix of styles. Portions of the work are laugh-aloud funny while in other parts Williams imitates himself. Although lengthy, the play reads quickly and well. It becomes a crude form of a Southern Gothic melodrama with the old house, the storm, the crass behavior and development of the past of the characters. I enjoyed getting to know the play.
"Kingdom of Earth" received mostly negative reviews on its original production. Clive Barnes of the New York Times saw considerable merit in the work and in Williams' character of Myrtle as portrayed by Estelle Parsons. Barnes wrote:
"What is good about the play -- and this survives all Mr. Williams' nonsensical flim-flam about sex and nature -- is the character of Myrtle. ... Mr. Williams seems to have fallen in love with Myrtle, and he has drawn her with affection, humor and observation. If only he had set her down in a proper play rather than some dirt track apparently leading off Tobacco Road, all might have been saved, for here is a real girl caught with a shabby, yet honest poetry. The tart of gold is not an original in dramatic literature, but Myrtle is sweeter and funnier than most." (New York Times, May 28, 1968)
In 1970, a film version of the play was released under the title "The Last of the Mobile Hot Shots". Gore Vidal wrote the screenplay, which featured Lynn Redgrave as Myrtle. The play has had several revivals since its original failure. The reviews of these productions suggest that the play can work successfully with careful staging and acting. The work is included in the second of the two Library of America volumes devoted to the plays of Tennessee Williams.
Robin Friedman
October 13, 2014
This is true, that's Tom reading the story *drools in delight*I heard a short part of it called "stories before bedtime" its actually an erotic story. The bonus about this is, it was read by Tom Hiddleston in a 'southern accent'. It was amazing.
I was laughing out loud how Tom voiced out the characters, especially the character, Myrtle, it was hilarious. And the erotic part... Oh dear heaven, I don't know if you'll squeal, squirm, giggle or die laughing. Great to hear the story at bedtime;)
July 11, 2013
Terribly, terribly dreary. Reminiscent of some themes in his token novel Streetcar, but Williams doesn't make it seem redundant or prosaic. There is an overwhelming amount of sexual deviance in each character, a base need from repressed urges. Unfulfilled desires, greed, and anger override human decency and leaves each with less than what they had, or could have had. Recurrent mentions of an incoming flood aid the chronological progression of the plot, a ominous forecast of what's to come. A story of hope and potential happiness gone down the drain.
June 10, 2012
Recently heard a one man reading if this. Lordy.
May 6, 2021
I discovered this play a few years ago from a video of Tom Hiddleston performing an adapted section of it. I remember he spoke in a Southern drawl and told this comical yet truly heart-breaking story of a woman called Myrtle and her misfortunes with men. This story really spoke to me, so I had to find it and read it for myself.
I have read this before, but I’m only now getting round to writing a proper review. The review it deserves. This is a play that has been tragically overlooked. It’s under-appreciated and I hope it has its chance in the spotlight soon. It’s such a complex, beautiful and detailed story, and the characters are some of my absolute favourite in theatre history.
Chicken is a dark, brooding figure who wants to take over his half-brother’s farm when he dies. He has some brilliant dialogue, and he really is the epitome of a truly masculine man. He dominates the stage, and we get to see those moments of true vulnerability when he comes face to face with Myrtle, the woman his brother Lot brought home with him. Lot is a tragic character with some really stunning visual moments, and yet again, fantastic dialogue. He’s definitely a person I really feel for.
But it’s Myrtle who has my heart. I fell for her instantly. From Tom Hiddleston’s depiction of her, to reading her in the original script. She is so broken, has been through a lot of experiences I’m sure she wishes she could erase from her memory, and she’s just the whole package when it comes to dream roles for me. There’s something about the sadness beneath her smile, the heartbreak weaved between her jokes and the dying sparkle in her eyes when she goes off on these wonderfully written monologues. I loved her dialogue so much, I actually performed one of them for my audition to University to do a Masters in theatre. And I got in. 3 years ago, I got in with Myrtle’s tragic backstory, her childlike sense of wonder, how she thinks life will turn out well for her if she says it does and her accent. She’s a kid on the inside with dreams bigger than she is, bigger than her understanding of the world and bigger than she probably knows what to do with. And I completely adore her.
I’ve read this script twice now and I had a completely different experience the second time around. There’s just something about this play that gets to me. It’s under my skin, and I find myself thinking of it or quoting from it in normal conversation very often. I just love it. And I would love to either act in or direct a version of this play one day. That is my ultimate dream. That is my Myrtle sized dream.
I have read this before, but I’m only now getting round to writing a proper review. The review it deserves. This is a play that has been tragically overlooked. It’s under-appreciated and I hope it has its chance in the spotlight soon. It’s such a complex, beautiful and detailed story, and the characters are some of my absolute favourite in theatre history.
Chicken is a dark, brooding figure who wants to take over his half-brother’s farm when he dies. He has some brilliant dialogue, and he really is the epitome of a truly masculine man. He dominates the stage, and we get to see those moments of true vulnerability when he comes face to face with Myrtle, the woman his brother Lot brought home with him. Lot is a tragic character with some really stunning visual moments, and yet again, fantastic dialogue. He’s definitely a person I really feel for.
But it’s Myrtle who has my heart. I fell for her instantly. From Tom Hiddleston’s depiction of her, to reading her in the original script. She is so broken, has been through a lot of experiences I’m sure she wishes she could erase from her memory, and she’s just the whole package when it comes to dream roles for me. There’s something about the sadness beneath her smile, the heartbreak weaved between her jokes and the dying sparkle in her eyes when she goes off on these wonderfully written monologues. I loved her dialogue so much, I actually performed one of them for my audition to University to do a Masters in theatre. And I got in. 3 years ago, I got in with Myrtle’s tragic backstory, her childlike sense of wonder, how she thinks life will turn out well for her if she says it does and her accent. She’s a kid on the inside with dreams bigger than she is, bigger than her understanding of the world and bigger than she probably knows what to do with. And I completely adore her.
I’ve read this script twice now and I had a completely different experience the second time around. There’s just something about this play that gets to me. It’s under my skin, and I find myself thinking of it or quoting from it in normal conversation very often. I just love it. And I would love to either act in or direct a version of this play one day. That is my ultimate dream. That is my Myrtle sized dream.
December 26, 2020
_Kingdom of Earth_ by Tennessee Williams receives five stars from me due to his amazing writing.
Williams creates vulnerable characters. In this, there are three characters with different vulnerabilities. Lot is dying from some lung disorder; Chicken his half brother, illegitimate brother, who runs the family property but was cut out of the inheritance when the father died; and Myrtle a nymphomaniac for the times, but today we might call her sexually free.
An aspect of this text that I enjoyed was not knowing who I could believe. Will they adhere to their promises? Would Chicken really leave Myrtle to die in the rising floodwaters in order to get the property? Williams writes the dialogue so that we can't truly feel secure.
chicken's monologues deliver a punch and explicate a theme that I would like to mention--Weakness (I call it vulnerable, but Chicken calls it a weakness) He states that in life, man and life have to be the same--a rock. He maintains that life will always be strong and will always be a rock. However, if a man is weak, life will beat him down. So the theme of struggling through life In many ways, Chicken recognizes his weakness--the weakness of being illegitimate and at the mercy of his brother to keep his promise. Chicken hates weakness and strives to overcome his weakness. He never directly says this, but it is clear from the text.
I recommend this for any community theater, college, or anyone interested in reading one-act plays or plays in general. Williams is a major force in American literature.
Williams creates vulnerable characters. In this, there are three characters with different vulnerabilities. Lot is dying from some lung disorder; Chicken his half brother, illegitimate brother, who runs the family property but was cut out of the inheritance when the father died; and Myrtle a nymphomaniac for the times, but today we might call her sexually free.
An aspect of this text that I enjoyed was not knowing who I could believe. Will they adhere to their promises? Would Chicken really leave Myrtle to die in the rising floodwaters in order to get the property? Williams writes the dialogue so that we can't truly feel secure.
chicken's monologues deliver a punch and explicate a theme that I would like to mention--Weakness (I call it vulnerable, but Chicken calls it a weakness) He states that in life, man and life have to be the same--a rock. He maintains that life will always be strong and will always be a rock. However, if a man is weak, life will beat him down. So the theme of struggling through life In many ways, Chicken recognizes his weakness--the weakness of being illegitimate and at the mercy of his brother to keep his promise. Chicken hates weakness and strives to overcome his weakness. He never directly says this, but it is clear from the text.
I recommend this for any community theater, college, or anyone interested in reading one-act plays or plays in general. Williams is a major force in American literature.
February 6, 2015
I was listening to Ravel's Bolero while I finished reading this play. Bolero plays the same melody over and over again for the whole piece, only the instrumentation changes (and the volume gets increasingly louder). What a metaphor for Tennessee Williams I thought. From play to play he re-arranges the same characters around and just changes the instrumentation. This time its a house on a floodplain (probably near New Orleans) that cozily houses the Stanley Kowalski/Brick character (Chicken), the Blanche/Maggie character (Myrtle) and the Tennessee Williams character (Lot).
I won't replay the plot, but it seems to me to be about acceptance of one's "Lot" in life and to fight over the things you can't accept. The "Kingdom of Earth" is just that, and finding the love that makes that acceptance bearable.
I won't replay the plot, but it seems to me to be about acceptance of one's "Lot" in life and to fight over the things you can't accept. The "Kingdom of Earth" is just that, and finding the love that makes that acceptance bearable.
October 20, 2014
A really dark take on what apparently is one of Williams' favorite subjects, mainly, sexual healing. This time sex seems to cure racism, which isn't that hard for me to believe, honestly. Anyhow, this play is the delightful story of two half brothers who hate each other, one of them gleefully waiting for the other to die of TB. Like I said, dark stuff, but it's also an enjoyable, fast read, and Chicken's resentment is completely justified.
January 2, 2018
Panned on Broadway, Kingdom of Earth (previously known as The Seven Descents of Myrtle) is a blender of biblical references, common Williams themes and characters, and plenty of bawdy yet touching charm. Tennessee may have been past his prime but he never lost his knack for romantic, sweeping lyricism and sad, strange, and pitiably funny characters that claw at your heartstrings. Excessive and overwrought, this script would have been well served as a one act play.
November 15, 2011
Performed character Lot in October 2008 for The Players at Barker Playhouse.
August 1, 2019
A really enjoyable Tennessee Williams’ play. I loved the characterization and the general plot, but something was missing for me to absolutely love this work
June 1, 2023
What a surprise! Southern gothic noir in a "Psycho"-like setting with at least three bizarro, grand guignol set pieces plus a Biblical Mississippi flood... and more! Remember the time when a single use of the f-word did shock? When kinky sex seemed really kinky? When interracial sex was just a no... live on stage? It would have been a blast to see this on Broadway with Estelle Parsons in 1968. This is one of my favorites of TW. Oh, the parlor scene near the end...
January 5, 2024
Tennessee Williams juxtaposed the lurid and poetic so well in plays like Streetcar. This one pretty much just covers the lurid.
Displaying 1 - 13 of 13 reviews