Review: CAT ON A HOT TIN ROOF Transforms Tragedy To Tolerance

One of the most exciting aspects of live theatre is the storytelling. There are endless tales to be told, and creative minds all around the world are adapting those tales to become live performances. Hearing a story for the first time is powerful, but the classics are the anchors that pull us toward our deepest passions for art. The Classics Theatre Project is back to perform another classic, Cat on a Hot Tin Roof by Tennessee Williams.

The intimate setting of The Karol Omlar Studio Theatre perfectly suited this production. Its performance space is small, which provides spatial limits, but it also creates an opportunity for an intentional, impactful use of lighting, stage properties, and permanent set elements. I first noticed the warmth of the performance space-red and orange lights, red fabrics-and the sharpness of the white bedsheets. The action of the entire play takes place in this small, intimate space, but with this play's profound conflicts and resolutions, the size of the space did not confine the actors' abilities.

Prior to the start of the show, The Classics Theatre Project (TCTP) welcomed the audience, reminded us of their amazing work and passion for art, and shared the news that artists and audience members fear: a main character, Maggie, would be played by an actor holding a script. Theatre-goers know that this is always a possibility, and when it does happen, it acts as a forced reminder of the challenges that come with being an artist. This is a humbling reminder to receive, but the script was still distracting. Devon Rose, playing Maggie, still gave a compelling performance, exuding passion and displaying emotion as she read her lines with minimal, yet noticeable, mistakes. I was in awe of Rose, despite the script distraction, as she demonstrated her raw talent and craft.

Maggie was the first character we met, and the more she spoke, the more we learned about her husband, Brick, and his family. Devon Rose delivered most of her lines from the bed, her beautiful white dress and slip paralleling the white sheets. Rose's voice evidenced the character's longing for recognition from her drunken husband, Brick, played by actor and Scenic Designer, Joey Folsom. For the entirety of the play, Brick heavily drinks and hobbles around with a cast and crutch, a combination that leads to multiple arguments, falls, and even laughs. At the first sound of his mother's voice, Brick makes a quick escape, meaning Folsom speedily crutched himself out of the room, only to return moments later to pour himself a cocktail and make another quick exit. Despite this moment reflecting the grim nature of his drinking and distance from his own mother, the audience was giggling at his speedy escape from interaction. In contrast to this comedic moment, Maggie tells her drunken husband that "laws of silence don't work here," in response to his refusal to converse with her on a meaningful level. In a brilliant use of stage properties, sound, and direction, Brick himself was silent, but the sound of him swirling the ice in his glass was loud, symbolizing his drunkenness as his only form of communication. This performance was full of subtle, powerful moments like this, where the words themselves weren't the only means of communicating, like Brick's whistles in response to the sound of birds chirping and squawking.

The complexity of Brick's character is especially notable, but this complexity does not stand alone; his family members are full of jealousy-ridden, attention-seeking behaviors. Brick's brother, Gooper, played by Brian Witkowicz, initially seems to be trustworthy and calm, but Witkowicz's performance late in the play shocked the audience with his aggressive tone and unpredictably threatening verbiage. Continuously supporting her husband and chiming in to every conversation was Gooper's wife, Mae, portrayed perfectly by Jenny Webb. Mae's character is cringy yet comedic, and Webb was not afraid to embrace the best and worst attributes of the character. Taking after their mother were the children of Gooper and Mae, frequently running around the performance area screaming, singing, and smashing together lids of kitchen pots. I will admit, the children were successful in appearing at the most inconvenient times, interrupting the action, and causing the audience to internally plead for them to exit the stage.

Although there would've been enough family tension between the two brothers, their wives, and the children, the biggest stage presence was yet to come-Big Daddy. The anticipation of this character's arrival was tangible, which I believe was partly because of his iconic contribution to this piece of art, but it was mostly because the audience was ready for Terry Martin, former Artistic Director of WaterTower Theatre for 17 years, to enter the stage. Big Daddy's transformation over the course of the performance was tumultuous yet beautiful, especially during his interactions with his son, Brick. Martin's booming voice instilled fear and unsettlement in the audience, but his soft spoken and kind tone later on allowed us to see the peace-the "tolerance"-in him. Big Daddy's counterpart, Big Mama, played so well by LuLu Ward that I felt like I could go give her a big hug, was a woman full of good intentions and well wishes, which unfortunately couldn't protect her from hard truths she had no choice but to face. Ward's comforting yet confrontational nature reflected that of a southern mother, and she brilliantly portrayed her emotions on her face for the audience to see. Late in the performance she received gut wrenching news, leading to a monologue that brought me to tears. Tennessee Williams's writing of these words is powerful, but LuLu Ward allowed the audience to witness a mother saying them, feeling them, and wishing them away.

Existing alongside these loud personalities were two supporting characters-Rev. Tooker and Dr. Baugh. Both of these characters were subtle but crucial to the action of the performance. John Pszyk as Rev. Tooker authentically portrayed a supportive, family-focused reverend who knew the ins-and-outs of familial chaos. Dr. Baugh's subtlety was short-lived due to his delivery of devastating news late in the play, and Stephen Miller's portrayal of regret and sorrow was both convincing and compelling.

Complementing the boldness of the writing in Cat on a Hot Tin Roof were the simple yet effective uses of costume, props, sound, and light. There were few costume changes-the change from a dress to a slip, an addition of a robe, the removal of a hat-so all costumes were intentional. Bruce Coleman's costume design mirrored the simplicity of the space. This theme of subtlety remained true in the use of sound and light. The collaboration of Gabe Coleman's lighting design and Lowell Sargeant's sound design-most notably sounds of fireworks paired with the flashing of colorful lights-was infrequent but noteworthy.

Cat on a Hot Tin Roof asks the audience to witness unbearable inner-turmoil and characters' journeys toward healing and satisfaction. There is wicked competition and rejection of one's self and family members. The characters in this play are some of the most complex to understand, possibly because their troubles are so raw and authentically human. There are sharp arguments and physical fights, but most importantly, there are raw moments when difficult truths are exchanged and acceptance is extended to those who need it most. Although these characters suffer deaths, drunken stupors, terminal illnesses, selfish acts, and distrust, the audience is still left with a sense of conclusion and calm at the end of the play.

Don't miss out on your chance to celebrate the beauty of Cat on a Hot Tin Roof by Tennessee Williams. The Classics Theatre Project will transport you to 1950s Mississippi as a complex family does its best to maneuver tragedy, terrible news, and a yearning for truth.

Details:

Addison Theatre Center August 26-September 11. Purchase tickets through The Classics Theatre Project's website. Run time: roughly 2.5 hours including one 15-minute intermission.

Director: Susan Sargeant

Stage Manager: Louis Shopen

Graphic Designer: Devon Rose

Photo Credit: The Classics Theatre Project

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