Sorry about this. I thought about just keeping the excellence of this weekend’s installment of the Unknown Williams series to myself— but that would run counter to the Time Out New York mandate. We see something, we say something. So, it’s with a heavy heart that I tell you: Some wild and wonderful stuff is happening this weekend at the Bushwick Starr. Target Margin Theater, the David Herskovits joint, has started a marvelously useful policy of pairing its shows with festivals. When Herskovits did The Argument, TMT produced a hectic tribute to the Greeks; now that he’s on a Tennessee Williams kick (first Ten Blocks on the Camino Real, now The Really Big Once), the TMT and Bushwick Starr are playing host to almost a dozen shows from the dustier pages of Williams’s catalogue. The final set—Green Eyes, The Remarkable Rooming-House of Mme. Le Monde and The Pronoun ‘I’—are up now and from what I saw in the dress rehearsal, they are worth getting on the waiting list for Saturday’s show. In the first of the trio, Erin Markey loses her clothes and her mind but gains a southern drawl for a bravura performance as a bride on a bitter honeymoon; in the second, Shannon Sindelar directs a feverdream about turning into an unloveable creature suspended from hooks in a madwoman’s attic (lay off the bourbon, Tennessee!) and in the third, the magnificent Laura von Holt, the cheerful pin-up, goes the full Ionesco for Michael Levinton’s hot-pink take on Williams’s French absurdist period. The performances are wild, flailing things with budgets that wouldn’t buy a hot dinner. But the rawness and danger feel just right. No more dainty glass menageries for this crowd: They’d bust ‘em to hell.