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The Rose Tatoo was first produced on Broadway in 1951, Camino Real in 1953 and Orpheus Descending in 1957. Taking up where Bernard Shaw and others had left off, Tennessee Williams exploited, in such plays as these, the full visual, aural and emotional possibilities of the theatre. Each of these plays demonstrates certain of his concerns and achievements as a playwright: his urge to create drama outside of time, which destroys life and makes us small with its 'whirling wire-cage of business activity', and yet to recognize the hold of time over the audience; his drive to extend the visual range of the stage by lighting and transparent walls; his composer’s gift for orchestration, blending human dialogue and the noises of the town into one score; and finally (above all in Camino Real), his perfection of a freedom and mobility in poetic expression as the vehicle for a work of art that is, before all else, dynamic and organic.