The play, directed by Bick Goss, is a chronological journey through the lives and careers of Williams and Magnani beginning in 1945, just before their first meeting. It opens with Williams (Roy Miller) directly addressing the audience as he composes a diary entry upon his arrival in Italy. Though Miller bears a certain physical resemblance to Williams, his performance is stilted and unconvincing; the actor declaims rather than speaks, and he never seems emotionally connected to the words he utters. In contrast, Franca Barchiesi is engaging and believable as Magnani, possessing a captivating stage presence that brings this diva to life.
Magnani served as inspiration for several of Williams' most memorable female characters -- including Serafina in The Rose Tattoo, for which role she won the 1956 Oscar for Best Actress. Roman Nights does not stop at examining the pair's artistic collaboration, however; D'Alessandro tries to cram in as much biographical detail about both characters as possible but often fails to make the necessary segués in dialogue, and so the characters jump from personal revelation to personal revelation with nary a transition to make these leaps even remotely believable. Nor do the characters display much consistency. In one scene, Anna tells Tennessee that they need to be quiet as her son Luca is sleeping in the next room; but just a few minutes later, Anna is yelling from offstage, her son quite forgotten. Anna also goes out for a long night on the town with her friend right after explaining that Luca, who suffers from polio, is home from the clinic for only a brief visit.