GenQ

“Big Daddy is dying; the vultures are circling.”

Applauded by modern audiences, Cat on a Hot Tin Roof was not as well received when it was first performed in 1955. Tenessee Williams holds a mirror up to middle class society and mercilessly forces his characters (as well as his audience) to face the unnameable. Lies, decent, manipulation, greed, homosexuality. Take your pick as to what Williams wanted his fellow human beings to uncover about us as a species, it’s all here for the taking.

Cat on a Hot Tin Roof revolves around an extended family get together for Big Daddy’s birthday. The rumour is that Big Daddy is dying (although does not know it yet) and has not written his will. Enter the family who try in vain to gain Big Daddy’s affections through superficial laughter and love. The youngest son, Brick takes a step back from the pretence by means of his alcoholism, dealing with the death of his best friend, Skipper. His wife Maggie carries on, attempting to coax Brick out of his apathy with rumours surrounding his supposed friendship with Skipper. As they all tussle and whinge amongst themselves over his fortune, their true colours are gradually exposed through enflamed arguments and secret revelations. Despite their insistence against it, every single one of them is guilty of lying.

In July, 2008 Auckland Theatre Company present Cat on a Hot Tin Roof as directed by Colin McColl, one of New Zealand’s renowned directors. Having directed Cat before, McColl takes it in a slightly different direction this time with a new location, forcing the characters into even less privacy than before. The staging is white and Spartan, with the brightly lit bar being the operative element as Brick continually refuels his glass, highlighting his definitive addiction. Plastic sheets stream down from the ceiling and are completely transparent, enabling the audience to spy on those who would eavesdrop on other characters. They also have this wonderful affect of creating a maze for any who wish to get to the stage (although Big Daddy’s brilliantly enraged exit has him smashing through the plastic walls as if to destroy the lies that have been slowly smothering him). It’s the illusion of the white stage that evokes a sense of innocence and purity, perfect as a backdrop for mendacity.

Maggie the Cat, played by Toni Potter, dances around the other characters, hissing mean comments where necessary and then playing the predator with her husband. Potter’s close attention to her lines and femineity as a prowling feline is apparent, a stark contrast to Brick’s slow, almost immoveable form and mindset. Gareth Reeves plays Brick, a stoic, manly ex athlete, happily married to the bottle who continually spurns the advances of his wife. It is uncertain as to whether Brick is dealing with internalised homophobia or he is simply guilty with the way he treated Skipper’s confession regarding their friendship. His reaction to Big Daddy’s constant questioning is to admit the physiological baggage he has been carrying since Skipper’s death. The revelation of the truth saves neither Brick nor Big Daddy, as another lie is disclosed, setting up the final confronting scene.

Williams is well known for his scripts being just ‘talking heads’. This play is no different. In only two acts, there are two scene changes. McColl’s directing has action taking place behind the talking, giving the audience and the main characters no privacy. Kids run through the plastic maze, screaming and singing in the background and even the weather has to have its dramatic say, complete with thunder and lightning. The wild animalistic groans of Big Daddy in pain accentuate the ongoing deceit and urgency of the situation for those still onstage. However it is Maggie who gets the final say, it being a lie, of course.

As you leave the theatre, you realise: Williams doesn’t necessarily wanted you to learn anything. His characters certainly didn’t seem to get their comeuppances and nothing appears to have changed. Williams just wanted you to see what we are capable of as human beings, the taboo capabilities of society. 

GenQ posed questions to Cat on a Hot Tin Roof Actor Michael Keir Morrissey about feeling during rehearsals, his favourite scene and whether or not one of the main characters was gay...

Cat on a Hot Tin Roof runs until August 2^nd at the Maidment Theatre in Auckland. Bookings can be made at the Maidment Theatre (09) 308 2383 or www.atc.co.nz.

For a preview of the show, see this scene below or go the the ATC Youtube page, linked below.

Tags: Cat on a Hot Tin Roof