My dissertation offers an interdisciplinary framework to rethink production histories of The Glass Menagerie, A Streetcar Named Desire, and Cat on a Hot Tin Roof. I focus my study on twelve productions, four of each play, that demonstrate the gap between embodied memories from the productions and normative evaluation, to recover the role of minoritarian identity ignored and erased by traditional criticism and scholarship. To foster this questioning, I develop the term production counter-history. In these production counter-histories, I adapt concepts from memory studies in order to rethink the normative form of production histories by integrating overlooked evidence about oppressed identity. By adapting concepts from memory studies, I foreground the role of memory in shaping the differences in how theatrical practitioners and scholars remember productions of Tennessee Williams's most popular plays.