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London Theatre Plays 
| Night of the Iguana | Night of the Iguana Theatre tickets from London Ticket Web | Night of the Iguana Mexico 1940 is the steamy setting in which an alcoholic defrocked priest, T. Lawrence Shannon, at odds with his sexual desires, arrives at a rundown coastal hotel owned by an earthy widow, Maxine Faulk. Also staying at the hotel is the spinsterish Hannah, a resilient woman painfully trying to reconcile herself to loss, loneliness and the bitter struggle she faces in looking after her ailing, elderly poet grandfather. In this sea of sexual tension, they struggle with their inner demons and questions of faith, sexuality, life purpose and duty.The cast is lead by Academy Award nominee Woody Harrelson as 'T. Lawrence Shannon', Clare Higgins as 'Maxine Faulk' and Jenny Seagrove as 'Hannah'. | 
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Night of the Iguana
Lyric Theatre
Shaftesbury Avenue London
W1V 7HA
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Booking Until: 25 March 2006
Running Time: 2hrs 45mins
Performances
Evenings: Monday - Saturday at 7.45pm
Matinees: Thursday and Saturday at 3.00pm
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| | What's New | Night of the Iguana Play by Tennessee Williams. Directed by Anthony Page with designs by Anthony Ward, lighting by Mark Henderson and sound by Colin Pink |
| Theatre Review | Night of the Iguana Woody Harrelson... tackles the part in Anthony Page's accomplished, largely persuasive revival at the Lyric. It proves to be a shrewd piece of casting... Though he could usefully turn up the heat on his performance, Harrelson makes a strong impression as a man nursing a fever and tormented by paranoid inner demons... Jenny Seagrove's compelling performance... movingly underlines Hannah's dignity in destitution... Playing her antithesis Maxine, the splendid Clare Higgins gives the proceedings a regular booster-jab of raunchy, bacchanalian energy. Nichola McAuliffe turns a fiercely funny cameo..." The Independent Harrelson finds more intensity in Act Two. And much else is right with Anthony Page's revival, especially Clare Higgins as the American widow who runs this last-chance hotel. She's in the play to represent the claims of the flesh, and does so in a raucous, slouching, slatternly style which, nevertheless, doesn't quite conceal a vulnerability and need beneath the surface. The Times |
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