A profile of artist Zaria Forman, who has journeyed to the ends of the Earth for her inspiration. And a visit to The Morgan Library & Museum for a look at the exhibition “Tennessee Williams: No Refuge but Writing.”

View Transcript

> COMING UP ON NYC ARTS, A PROFILE OF ZARIA FOREMAN, WHO HAS JOURNEYED LITERALLY TO THE ENDS OF THE EARTH FOR HER INSPIRATION.

I GOT AN EMAIL ONE DAY.

IT WAS LIKE THE MOST EXCITING EMAIL I EVER RECEIVED.

IT WAS, YOU KNOW, SOMEONE SAYING HEY, WOULD YOU LIKE TO COME FLY WITH US OVER ANTARCTICA, LOVE, NASA.

I'VE BEEN TRAVELING TO ICY LANDSCAPES A LONG TIME NOW.

SO I FELT I HAD A FAIRLY DEEP UNDERSTANDING VISUALLY OF ICE.

BUT THIS IS A WHOLE NEW BALL GAME AND WHOLE NEW PERSPECTIVE.

AND A VISIT TO THE MORGAN LIBRARY AND MUSEUM FOR A LOOK AT THE EXHIBITION TENNESSEE WILLIAMS NO REFUGE BUT WRITING.

AND THIS IS THE MOMENT HE IS ABLE TO TAKE ALL OF THESE EARLY, EARLY DRAFTS, THE EARLY ONE-ACTS WITHIN KIND OF PULL OUT THE ELEMENTS OF WHAT WILL BECOME THE GLASS MENAGERIE.

FUNDING FOR NYC ARTS IS MADE POSSIBLE BYES ROSALIND P.

WALTER, KATE W. CASSIDY FOUNDATION.

. JEAN DUBINSKI APPLETON ESTATE.

JOHN AND JODI ARNHOLD, THE LOUIS SUNNY TURNER FUND FOR DANCE.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

AND ELROY AND TERRIE KRUMHOLTZ.

FUNDED IN PART BY THE NEW YORK DEPARTMENT OF CULTURAL AFFAIRS.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

GLRK ARTS IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

ANNOUNCER: FLEXIBILITY, COORDINATION, EXCELLENCE.

FIRST REPUBLIC PRIVATE WELT MANAGEMENT, IT'S A PRIVILEGE TO SERVE YOU.

AND BY SWANN AUCTION GALLERIES.

SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS OFRPG VINTAGE BOOKS AND FINE ART SINCE 1941 WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, WHETHER A LIFELONG COLLECTOR OR SELL OTHER LOOKING TO SELL INFORMATION AT SWANN GALLERIES.COM.

♪♪

> GOOD EVENING AND WELCOME TO NYC ARTS.

I'M PAULA SWAN AT THE TISCHWNEST STUDIOS.

TONIGHT WE MEET AN ARTIST WHO HAS LITERALLY JOURNEYED TO THE ENDS OF THE EARTH, INSPIRED BY VISITS TO THE COAST OF GREENLAND, THE MALDIVES AND ANTARCTICA, ZARIA FOREMAN CREATES LARGE SCALE CHALK PASTEL DRAWINGS THAT CAPTURE MELTING ICE AND RISING SEAS.

IN 2016 NASA INVITED FOREMAN TO PARTICIPATE IN THE ICE BRIDGE EXPEDITION WHICH DOCUMENTED THE CHANGING ICE SKAP OF THE ARCTIC AND ANTARCTIC.

THE PHOTO SHE SHOT ABOVE THE GLACIERS ARE INSPIRATION FOR THE LATEST SERIES OF DRAWINGS.

NYC ARTS SPOKE WITH THE ARTIST AT HER BROOKLYN STUDIO.

I GREW UP WITH AN ARTIST MOM AND SHE WAS IN LOVE WITH THE MOST FAR OFF REMOTE LANDSCAPES SHE COULD FIND AND VENTURE TO.

EVERY YEAR AS A CHILD WE WOULD TRAVEL TO REMOTE PLACES FOR A MONTH AT A TIME.

THAT INSTILLED IN KNEE A LOVE OF LANDSCAPE.

WE PLANNED A TRIP TO GREENLAND IN SOW TOGETHER.

BUT MY MOM WAS DIAGNOSED WITH BRAIN CANCER AND PASSED AWAY BEFORE WE COULD TAKE THE TRIP.

I THOUGHT THAT WAS THE END OF MY TRAVELING DAYS.

I DIDN'T THINK I HAD IT IN ME TO PLAN THE EXPEDITIONS SHE DID.

I DECIDED TO DO IT IN HER HONOR AS I WAS SPREADING HER ASHES ON THE TRIP IN SEVERAL PLACES.

THAT WAS THE FIRST TIME I DREW ICE.

I HADN'T DRAWN IT BEFORE THAT TRIP.

GREENLAND IS EPIC.

THE SUN IS AT A LOWER ANGLE, AND SO THE ICEBERGS ARE LIT UP IN THE MOST DRAMATIC WAY.

AND THE FOG HOVERS OVER THE HORIZONS.

ESPECIALLY MY ICEBERG DRAWINGS, I SEE THEM AS PORTRAITS.

BY THE TIME I'M FINISHWOOD THE DRAWING OF AN ICEBERG IT'S COMPLETELY MELTED OR LOOKS COMPLETELY DIFFERENT.

UNDERTAKING THAT TRIP I THINK IS WHAT GAVE ME CONFIDENCE TO CONTINUE.

STANDING NEXT TO A GLACIER, YOU FEEL SO TINY AND COMING BACK FROM THESE PLACES AND WANTING TO REPRESENT THEM AS BEST AS I CAN AND TRYING TO GIVE THE VIEWER THAT EXPERIENCE OF WHAT IT'S LIKE TO STAND NEXT TO A GLACIER OR AN ICE WE AGREE, THE ONLY WAY I FEEL LIKE I COULD COME AS CLOSE AS POSSIBLE TO THAT IS BY DRAWING AS BIG AS I POSSIBLY CAN.

SO WHEN I TRAVEL, I TAKE THOUSANDS OF PHOTOGRAPHS ON-SITE AND TRY TO SOAK UP THE LANDSCAPE VISUALLY NOT ALWAYS HAVING THE CAMERA IN FIBRIN OF MY FACE.

AND I GET BACK TO THE STUDIO AND WORK FROM MY MEMORY OF THE EXPERIENCE AND THE PHOTOGRAPHS TO MAKE THE LARGE SCALE COMPOSITIONS.

AS I'M DRAWING I'M RECALLING THE EXPERIENCE I HAD IN THAT MOMENT, YOU KNOW, ON THE CUSTODY YACK LOOKING AT THE ICEBERG AND REMEMBERING WHAT THE LIGHT LOOKED LIKE AND HOW THAT EXPERIENCE FELT.

I TRUE TO PUT THAT IN THE POSITION WITH AS MUCH OF MY MEMORY AS I CAN.

I WANT IT TO LOOK AS REALISTIC AS POSSIBLE.

UP CLOSE IT BECOMES VERY ABSTRACT.

AND LOOKING AT LINE AND FORM AND SHAPE AND COLOR.

I HAVE JUST ALWAYS HAD AN OBSESSION WITH CHARCOAL AND SOFT PASTEL, SOMETHING ABOUT THE MATERIAL I LOVE, THE SIMPLICITY OF MAKING A MARK ON THE PAPER AND THAT'S WHAT IT IS.

I CAN MOVE THE PIGMENT AROUND AND CHANGE THE WAY IT LOOKS.

THERE IS NO OTHER FACTOR OTHER THAN JUST ME AND THE MATERIAL.

I JUST GOT AN EMAIL ONE DAY.

IT WAS LIKE THE MOST EXCITING EMAIL I EVER RECEIVED.

IT WAS, YOU KNOW, SOMEONE SAYING, HEY, WOULD YOU LIKE TO COME FLY WITH US?

LOVE, NASA.

NOT EXACTLY LIKE THAT.

BUT IN SO MANY WORDS THAT'S LIKE -- IT WAS A VERY BRIEF EMAIL.

AND IT WAS LIKE HERE MY NUMBER DO YOU WANT TO COME FLY WITH US OVER ANTARCTICA IN THE SPRING.

I THOUGHT IT WAS A HOAX, LITERALLY UP UNTIL THE DAY I LANDED AND MET THE SCIENCE TEAM AND WE HAD OUR FIRST MEETING AND I WAS LIKE, OKAY, THIS IS NASA.

IT'S EXTREMELY GRUELING WORK.

ESPECIALLY THE ANTARCTICA FLIGHTS.

THEY ARE ON AVERAGE 10 TO 12 HOURS LONG, EVERY SINGLE DAY.

IT'S LIKE FLYING ACROSS THE PLANET DAY AFTER DAY AFTER DAY.

AND IT'S SOME OF THE MOST IMPORTANT WORK HAPPENING IN THE WORLD NOW BECAUSE THERE IS SO MUCH WE DON'T KNOW ABOUT HOW ICE MOVES AND MELTS.

AND I'VE BEEN TRAVELING TO ICY LANDSCAPES FOR A LONG TIME NOW.

AND SO I FELT LIKE I HAD A -- A FAIRLY DEEP UNDERSTANDING JUST VISUALLY OF ICE.

BUT THIS IS LIKE A WHOLE NEW BALL GAME.

AND WHOLE NEW PERSPECTIVE.

AND SEEING IT FROM THAT PERSPECTIVE REALLY MADE ME REALIZE NOT ONLY THE SCALE OF ICE BUT THE SCALE OF THE GLOBAL CLIMATE CRISIS THAT WE'RE IN THE MIDDLE OF IT.

IT'S SO MUCH ICE.

YOU CAN REALLY SEE HOW, LIKE, IF THAT'S MELTING AT THE RAPID PACE IT'S MELTING OUR GLOBAL SEA LEVELS WILL RISE, AND THERE IS A LOT OF HORRIBLE CONSEQUENCES.

THIS IS THE 7 GLACIER IN GREENLAND AND DISPENSES THE MOST AMOUNT OF ICEBERGS INTO THE OCEAN OF ANY OTHER GLACIER IN THE ARCTIC.

WE FLEW OVER IT FOR HOURS AND HOURS.

I TOOK THE PHOTOS FROM THE PLANE.

IT'S AN AERIAL VIEW.

IN BETWEEN THE RIDGES IS PROBABLY ABOUT 150 FEET.

THERE IS A WHOLE BATCH OF NEW COLORS IN THIS PIECE.

SOME THAT ARE REALLY LIKE BRIT AND LUMINOUS.

AND IT'S ALSO JUST PERSONAL FOR ME BUS THE FJORD WHERE THIS DEPENDENCES ICE INTO IS WHERE I SPREAD MY MOM'S ASHES.

I FEEL SHE IS PART OF THAT LANDSCAPE.

I'M TRYING TO PORTRAY THE BEAUTY IN THE PLACES IN THE FOREFRONT OF CLIMATE CHANGE.

AND JUST GIVE A MOMENT IN TIME IN PEOPLE'S LIFE TO KPLIET IT.

BECAUSE IT'S NOT PART OF OUR EVERY DAY LIFE.

I WANT PEOPLE TO UNDERSTAND AND I WANT PEOPLE TO BE MOVED BY IT.

AND HAVE AN EMOTIONAL REACTION TO IT AND FALL IN LOVE WITH THE ICE AS I HAVE.

WHEN YOU LOVE SOMETHING YOU WANT TO PROTECT IT.

IT MAKES THEM THINK WHAT CAN I DO TO HELP PROTECT AND PRESERVE THE LANDSCAPES THAT ARE CHANGING SO QUICKLY?

♪♪

> GOENG.

I'M CHRISTINA HA WITH TONIGHT'S NYC ARTS NEWS.

WE'RE AT THE BROOKLYN MUSEUM ONE OF THE LARGEST AND OLDEST MUSEUM IN THE COUNTRY.

I'M STANDING IN DAVID BOWIE IS, A MONUMENTAL MULTIMEDIA EXHIBIT DEDICATED TO THE LIFE AND MUSIC OF ONE OF THE MOST INFLUENTIAL PERFORMERS OF THE MODERN TIMES.

THE BROOKLYN MUSEUM IS THE FINAL STOP FOR A WORLD TOUR OF THIS EXHIBIT.

ORGANIZED BY THE VICTORIA AND ALBERT MUSEUM WHICH TRAVELED FROM HIS BIRTH PLACE IN LONDON TO NEW YORK.

THE CITY HE CALLED HOME FOR OVER 20 YEARS.

THE EXHIBITION IS THE UNIQUE IMMERSIVE EXPERIENCE WITH WIRELESS HEAD PHONES PROVIDED TO TAKE YOU ON A JOURNEY THROUGH BOWIE ARTISTIC INFLUENCES.

IT COVERS THE MANY ERAS OF HIS CAREER OVER FIVE DECADES.

FROM SPACE ODDITY TO BLACK STAR.

HIS LAST ALBUM RELEASED JUST DAYS BEFORE HIS DEATH IN JANUARY, 2016.

BOWIE CONTINUALLY REINVENTED HIMSELF, PURSUED INVENTIVE COLLABORATIONS WITH OTHER ARTISTS.

AND REVOLUTIONIZED HOW WE SEE MUSIC.

IT FLUS FOOTAGE OF LIVE PERFORMANCES, MUSIC VIDEOS AND FILMS AS WELL AS PERSONAL ITEMS FROM THE ARCHIVES.

SET LISTS LYRICS, MUSICAL SCORE AND SKETCHES.

ORIGINAL COSTUMES RANGE FROM ZIGY START-UP TO BODY SWOT TO A ALEXANDER McQUEEN UNION JACK COAT.

DAVID BOWIE IS REMAINS ON VIEW AT THE BROOKLYN MUSEUM THROUGH JULY 15th.

♪♪

ALSO ON VIEW AT THE WHO IS ACHMEDMATER A LOOK AT CHANGES UCHLD NYSTAGMUS THE CITY BY A SAUDI ARTIST.

GUN IN 2008.

HIS MONUMENTAL PROJECT FEATURES LARGE SCALE PHOTOGRAPHS AND VIDEO AS WELL AS INTIMATE IMAGES OF MECCA'S DIVERSE INHABITANTS.

IT'S THE HOLYIEST CITY IN SLAM.

AND THE ANNUAL PILGRIMAGE FOR MILLIONS.

HIS PHOTOS PROVIDE A WINDOW IN THE EVERY DAY LIFE OF THE CITY, OPEN ONLY TO THOSE OF THE ISLAMIC FAITH AND A CHRONICLE OF THE RAPID AND ONGOING DEMOLITION AND RECONSTRUCTION OF THE HOLY CITY.

AHMEDMATER JOURNEY HAS BEEN EXTENDED THREW JUNE 17th.

> THE BROCK LYNN ACADEMY OF MUSIC PREVENTS THE PRODUCTION OF EUGENE O'NEILL PULITZER PRIZE WINNING MASTER WORK LONG DAY'S JOURNEY INTO NIGHT.

SET IN 1912 THE PLAY GIVES AUDIENCE AS PORTRAIT OF A FAMILY TOURN APART BY DRUG ADDICTION AND LOST LOST IN DEFILE.

A STORY THAT'S POWERFUL AND RELEVANT TODAY.

SIR RICHARD ERR DIRECTS THE DRAMA OF RESENTMENT AND DRAMA.

BETWEEN AN ALCOHOLIC RETIRED ACTOR HIS MORPHINE ADDICTED WIFE AND THEIR TROUBLED ADULT SONS.

TONY AND OSCAR WINNER JEREMY IRONS IS THE PATRIARCH.

HIS WIFE IS UNABLE TO ADMIT HER OWN ADDICTION.

THIS IS ON GONE IN THE PAST NOW.

BUT IT'S ONLY THE BEGINNING OF THE AFTERNOON.

HOT WILL YOU BE TONIGHT.

EUGENE O'NEILL'S LONG DAY'S JOURNEY INTO NIGHT IS AT B.A.M.

MAY 8th THROUGH THE 27th.

> HEAD TO THE METROPOLITAN MUSEUM OF ART FOR A LANDMARK EXHIBITION FEATURES THE ARTS OF THE ANCIENT AMERICAS.

THE EXHIBITION FEATURES THE RARE WORK OF INDIGENOUS ARTISTS, INCLUDING THOSE FROM THE MAYA AND AZTEC AND INKA CIVILIZATIONS AMONG OTHERS.

GOLDEN KINGDOMS ABLUXURY AND LEGACY IN THE ANCIENT AMERICAS SHOWCASES MORE THAN 300 OBJECTS FROM 12 COUNTRIES FROM PERU IN THE SOUTH TO MEXICO IN THE NORTH.

IT INCLUDES SOME 2000 YEARS OF GOLD WORKING.

OBJECTS RANGE FROM PENDANTS AND PLATES.

TO HEAD ORNAMENTS FOR THE FACE AND NOSE, FOREHEAD AND EARS, AND EVEN LIP PIERCINGS.

THE EXHIBITION ALSO REVEALS THE DISTINCTIVE WAYS ANCIENT AMERICANS USED NOT ONLY METALS BUT ALSO JADE, SHELL AND TURQUOISE AND MOTHER-OF-PEARL.

ALSO ON VIEW IS A IF YOU KNOW EARLY MASK FOUND IN THE MAY YAN TOMB OF RED QUEEN.

THE EXHIBIT IS ON VIEW AT THE MET FIFTH AVENUE THROUGH MAY 28th.

> THE LAMON DANCE COMPANY RETURNS WITH FRESH TURKS ON DANCES CREATED BY JOSE LIMON IN THE '40s AND '50s.

THE SEASON FEATURES A MAJOR REVIVAL.

A PIECE SET TO MUSIC BY HUNGARIAN COMPOSER.

OTHER WORKS INCLUDE THE UNSUNK FOR AN ALL MALE CAST AS WELL AS THE BODY OF THE HOUSE WITHOUT WALLS.

A BRAND-NEW WORK WHICH ARTISTIC DIRECTOR COLIN CONNOR FOR AN ALL FEMALE CAST, SET TO MUSIC BY BET HOEVEN.

. IT FEATURES SHORT, BY CHOREOGRAPHERS.

INCLUDING A NEW WORK COMMISSIONED BY THE COMPANY.

THAT'S THE NYC ARTS NEWS.

> NEXT, WE VISIT THE MORGAN LIBRARY AND MUSEUM FOR A LOOK AT THE LIFE AND WORK OF ONE OF AMERICA'S MOST CELEBRATED PLAY WRITES.

TENNESSEE WILLIAMS, NO REFUGE BUT WRITING, EXAMINES THE CREATIVE PROCESS OF A WRITER WHO OFTEN WROTE ABOUT AND REWORKED THE RAW MATERIALS OF HIS PERSONAL LIFE.

WILLIAMS HAD AN UNHAPPY FAMILY LIFE AND LATER STRUGGLED WITH ALCOHOL AND DRUG ADDICTION.

HIS PRIVATE LIFE INCLUDED A SEARS OF STORMY RELATIONSHIPS AND OFTEN AT ODDS WITH CRITICS AND CENSORS OVER THE TREATMENT OF SEXUALITY IN HIS PLAYS.

THE MORGAN EXHIBITION FOCUSES ON THE PERIOD BETWEEN 1939 APPEAR 1957, A TIME WHEN WILLIAMS' MIND AND SHAPED HIS DIFFICULT PERSONAL EXPENSES INTO SOME OF THE GREATEST WORK THE THEATER CAROLYN VEGA ASSOCIATE KURTER AT THE MORGAN WILL BE OUR GUIDE.

THIS EXHIBITION, TENNESSEE WILLIAMS, NO REFUGE BY WRITING, FOLLOWS THE LIFE AND CAREER OF THE PLAY WRITE TENNESSEE WILLIAMS FROM HIS YOUNGEST YEARS THROUGH THE YEARS WHEN HE WAS A STRUGGLING WRITER, UP UP THROUGH THE YEARS THAT BROUGHT HIM THE GREAT SUCCESSES OF GLASS MENAGERIE.

STRET CAR NAMED DESIRE AND THE ROSE TATTOO AND CAT ON A HOT TIN ROOF.

THE EXHIBITION INCLUDING WILLIAMS'S TYPEWRITTEN PLAY SCRIPTS THAT HE HEAVILY REVISED.

SOME OF HIS OWN PAINTINGS, PHOTOGRAPHS.

AND THE PHRASE NO REFUGE BUT WRITING COMES FROM AN INTERVIEW THAT HE GAVE MERE THE END OF HIS LIFE TO THE PARIS REVIEW IN 1981.

HE TALKS ABOUT HOW WHEN YOU HAVE A BROKEN LOVE AFFAIR, THE DEATH OF SOMEONE YOU LOVE, SOME OTHER DISORDER IN YOUR LIFE YOU HAVE NO FLUJ BUT WRITING.

IT WAS WHAT HE ALWAYS CAME BACK TO AND WAS DRIVEN TO HIS WHOLE LIFE.

ONE OF THE THEMES WE ARE EXPLORING IN THE EXHIBITION IS WILLIAMS'S COMPULSIVE PRACTICE OF REWRITING HIS WORK.

FOR EXAMPLE, THE PLAY THAT WE START WITH IS WILLIAMS'S FIRST COMMERCIALLY PRODUCED PLAY, BATTLE OF ANGELS.

IT WAS SORT OF A EPIC FAILURE.

AND HE WENT BACK TO THIS PLAY EVERY FEW YEARS, COMPLETELY REWRITING IT.

AND IT FINALLY REEMERGED ABOUT 17 YEARS LATER AS ORPHEUS ASCENDING.

HE DREW INCESTANTLY FROM HIS OWN LIFE WHEN WORKING ON HIS PLAYS.

SOME OF THE CLEAREST EXAMPLES ARE THE WAY HE DREW FROM HIS FAMILY LIFE FOR THE GLASS MENAGERIE.

HIS FATHER WAS A HEAVY DRINKER.

HE WAS A GAMBLER.

A WOMANIZER.

HIS RELATIONSHIP WITH WILLIAMS'S MOTHER WAS VERY STRAINED.

SHE IN TURN WAS SORT OF PHYSICALLY RESERVED WITH HER CHILDREN.

SO NOT A LOT OF PHYSICAL SHOWS OF AFFECTION IN THE FAMILY.

SO NOT A HAPPY HOUSEHOLD.

WILLIAMS WAS EXCEPTIONALLY DEVOTED TO HIS OLDER SISTER ROSE.

ROSE SUFFERED FROM MENTAL ILLNESS FOR HER WHOLE LIFE.

SHE WAS IN AND OUT OF PSYCHIATRIC HOSPITALS.

AND THEN IN 1943 SHE WAS SUBJECTED TO A FRONTAL LABOTAMY PMT HE DIDN'T LEARN ABOUT THE OPERATION UNTIL TEN DAYS AFTER.

THIS WAS THE MOMENT HE TOOK ALL THE EARLY DRAFTS, THE EARLY ONE-ACTS AND KIND OF PULL OUT THE ELEMENTS OF WHAT WILL BECOME THE GLASS MENAGERIE.

SO ROSE TRANSFORMED INTO THE SISTER IN THE PLAY, LAURA.

WILLIAMS'S MOTHER EDWINA IS TRANSFORMED INTO THE MOTHER IN THE PLAY, AMANDA.

HIS ABSENT FATHER SORT OF REFERENCED THERE.

AND THEN TOM, THE CENTRAL CURBING IS TENNESSEE WILLIAMS HIMSELF OF COURSE.

THE GLASS MENAGERIE ACTUALLY STARTED OUT WITH THE TITLES, THE GENTLEMAN CALLER.

WILLIAMS FIRST TRIED TO TURN IT INTO A FILM STORY EXTREMIST WHICH WAS REJECTED.

HE COMES BACK TO IT AND DEVELOPS A FULL-LENGTH PLAY.

WHEN HE FINISHED THE GLES MENAGERIE AND SENT IT TO HIS AGENT.

HE THOUGHT IT WAS RELEGATED TO THE RESERVOIR OF NOBLE EFFORTS HE CALLED IT.

BUT IT WAS THIS MASSIVE, MASSIVE SUCCESS.

IT MADE HIS CAREER.

THERE IS NO OTHER WAY TO SAY IT.

ON THE OPENING NIGHT THERE WERE 34 CURTAIN CALLS BEFORE WILLIAMS WENT UP TO THE STAGE.

IN THE SECTION DEVOTED TO A STREETCAR NAMES DESIRE, WE HAVE A LOT OF EARLY DRAFTS.

WE HAVE A ONE-ACT PLAY CALLED THE DRUM.

AND IT IS A CHARACTER STUDY FOR THE WOMAN WHO WILL BECOME CARTE BLANCHE.

WE ALSO TAKE A CLOSE LOOK AT TWO EARLY ONE-ACT PLAYS, BOTH ENTITLED INTERIOR PANIC.

THEY EXPLORE IN GREAT DETAIL CARTE BLANCHE'S PSYCHE.

WE SEE ONE OF THE CHARACTERS NAMED GLADYS WHICH WILLIAMS GOES BACK TO AND WRITES IN BLANCH.

SO THIS IS WHERE WE CAN SEE HIM MAKING THAT DECISION.

. A STREETCAR NAMED DESIRE FOLLOWS CARTE BLANCHE AS SHE ARRIVES IN THE FRENCH QUARTER AT THE HOME OF HER SISTER TELLA AND HER HUSBAND STANLEY.

AND HER SLOW DESCENT IN MADNESS.

WE HAVE VARIOUS ENING.

AND THE VERSION OF STRET CAR THAT WE ALL KNOW, IT ENDS WITH CARTE BLANCHE BEING RAPED BY HER BROTHER-IN-LAW, STANLEY.

AND SOME OF THE OTHER ENINGS, STANLEY AND BLANCH HAVE A CONSENSUAL RELATIONSHIP.

AND SHE DECIDES TO VOLUNTARY LEAVE AFTERWARDS.

AND OTHER VERSIONS IT'S MORE VIOLENT THAN THE ONE THAT WE KNOW.

THE YEARS THAT WILLIAMS WAS WORKING MOST CLOSELY ON THE PLAY THAT WOULD BECOME 'A STREETCAR NAMED DESIRE.'

HE WAS LIVING WITH HIS LOVER PONCHO RODRIGUEZ.

AND HE DREW ON THIS RELATIONSHIP HEAVILY IN THE DEVELOPMENT OF THE PLAY.

THEIR RELATIONSHIP COULD BE TUMULTUOUS AND ARGUMENTS SOMETIMES TURNED VIOLENT.

IT WAS THE ELEMENTS HE DROU ON IN DEVELOPING THE CHARACTER OF STANLEY.

WILLIAMS'S PLAYS TRY TO EXPLORE SOME OF THE MOST BASIC RELATIONSHIPS PROBLEMS AMONG THE PEOPLE ON THE STAGE IN AN EFFORT TO GET CLOSER TO THE TRUTH, NOT NECESSARILY A LITERAL TRUTH BUT AN EMOTIONAL TRUTH.

> HELLO I'M RAFAEL PI RAMAN AND WELL TO LINCOLN CENTER.

YOU KNOW ALL YEAR-ROUND NEW YORKERS AND GUESTS FROM AROUND THE WORLD VISIT THE CULTURAL MECCA FOR THE THEEFT ARE OVERFLOWING WITH THE BEST IN MUSIC, DANCE, OPERA, DRAMA AND FILM.

NEW YORK CITY BALLET 2018 SPRING SEASON RUNS THROUGH JUNE 3rd.

THE CENTER PIECE OF THE SEASON IS ROBYNN AS 100.

A CELEBRATION OF JEROME ROBYNNS NEW YORK CITY BALLET'S COFOUNDING COREOGRAPHER.

THE SPECIAL PROGRAM FOR THREE WEEKS FEATURE 20 WORKS CREATED BY ROBYNNS.

AMONG THE HIGHLIGHTS ARE PERFORMANCELESS OF FANCY FREE, THE CAGE, AND GLASS PIECES.

FOR COMPLETE DETAILS PLEASE VISIT NYC BALLET.COM.

AND FOR MORE INFORMATION ABOUT MUSIC, DANCE, THEATER, OPERA AND FILM HERE AT LINCOLN CENTER YOU CAN VISIT THE WEBSITE AT LINCOLN CENTER.ORG.

> I HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING.

I'M PAULA ZAHN AT AT WNET STUDIO AT LINCOLN CENTER THANK YOU FOR JOINING US.

NEXT WEEK ON NYC ARTS.

PAULA ZAHN WITH DEBRA BOARDA PRESIDENT APPEAR CEO OF THE NEW YORK PHIL HARM ONIC.

PHIL OUR LITTLE JOKE IS A SERIES OF CONCERTS WHERE TICKETS ARE AVAILABLE FOR $5.

EACH ONE WILL BE ONLY AN HOUR.

WE ENCOURAGE PEOPLE WHO MIGHT NOT FEEL AS COMFORTABLE IN THE ART FORM COME DRESSED ANY WAY YOU WANT.

THERE IS SOMETHING ELSE THAT TOUCHES ME THAT IS THE NEW MUSIC DIRECTOR WILL CONDUCT EVERY ONE OF THE CONCERTS.

REALLY?

♪♪ ♪ ♪♪

ANNOUNCER: FUNDING FOR NYC ARTS IS MADE POSSIBLE BY ROSALIND P. WALTER, KATE W.

CASSIDY FOUNDATION, GENE DUBINSKY APPLETON ESTATES.

ELLEN AND JAMES S MARKEN.

THE LOUIS SUNNY TURNER FUND FOR DANCE.

. ELISE JAFFEY AND JEFFREY BROWNED.

AND ELROY AND TERRY KRUMHOLZ FOUNDATION.

THIS IS SUPPORTED IN PART BY THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

NYC ARTS IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

♪♪

ANNOUNCER: FLEXIBILITY.

COORDINATION, EXCELLENCE.

FIRST REPUBLIC PRIVATE WELT MANAGEMENT, IT'S A PRIVILEGE TO SERVE YOU.

> AND BY SWANN AUCTION GALLERIES.

ANNOUNCER: SWANN AUCTION GALLERIES WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941 WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, INFORMATION AT SWANN GALLERIES.COM.