Cat On A Hot Tin Roof: Gripping And Faithful

Tennessee Williams' plays have the intoxicating ingredients that make the difference between average theatre and involving high drama. Suddenly Last Summer and Night Of The Iguana both feature sexuality, religion and family secrets. Likewise Cat On A Hot Tin Roof still retains its appeal via the spiralling, out of control nature of its narrative. It begins in a static like fashion until the house spills out its secrets leaving all of the characters visibly shaken which mermerises the audience.  

This touring production of Williams' classic is no mere workman-like adaptation. This is the definitive version that the writer himself actually preferred. Do not be put off by the three hour running time though as there is so much to savour here that the time simply flies by. 

Big Daddy (William Gaunt) is a frightening creation. He is a rich and successful man but has the power to frighten every member of his family with his forceful, outspoken ways. Gaunt captures his towering persona wonderfully well. The audience on the night I attended could be heard gasping at his scary actions.  

The tyrannical man is 65 and his family gather to celebrate. Only he is not in the mood to do so. Instead he decides to grills his son Brick and attempts to uncover out why, this quiet, married man chooses to seek solace from the bottom of a spirit glass. He also finds time to tell his overbearing wife Big Mamma what he thinks of her too.

Each time a character closes a door to stop another family member overhearing their conversation, the metaphorical closet door opens and skeletons come crawling out of it. Brick seems to drink in attempt to be numb to what is going on all around him. His wife Maggie (Lesley Harcourt) pounces on him at every opportunity like the cat of the title. She is aware deep down that he is no longer in love with her and  fears that his earlier friendship with male friend Skip is the root of his indifference, silence and his pain.  

Meanwhile his mother (Rosemary Leach) longs the couple to give her and Big Daddy a grandson. This upsets her other son Gooper who has plenty of children which the family seem to ignore.  

This slow burning tale is hard to take your eyes of for a second. Williams' writing is filled with meaning and each line has a resonance which leaves you smiling at its clever and timeless appeal. "I never could keep my fingers off a sore" says Maggie as she probes her husband for the root behind his drinking problem. Lines like this keep you gripped and the magnificent cast deliver them with the precision required.  

William Gaunt is simply amazing as Big Daddy. From the minute he steps onto the stage he inhabits his monstrous shell so well that you may well avoid eye contact if you see him in the bar afterwards! He spits out his lines with real rage and hatred whilst at the same time masking the truth behind his ghastly actions. He also brings real biting humour to the role which leaves the audience laughing through their hands.  

Ben Hull handles the difficult role of Brick very well indeed. His quiet, steady ways are a perfect match for Lesley Harcourt's feline Southern temptress. The two share some heady scenes and create some truly believable chemistry. Hull looks guilt stricken throughout and pitches this perfectly. Rosemary Leach complete with sequinned frock and orange wig; makes Mamma human rather than the nagging wife of a monster. The rest of the cast all give very good supporting performances. The one thing they all achieve is a real understanding of the great man's work rather than simply going through the motions as they could have easily done.  

Richard Baron's direction is inventive as having three acts is very brave in an age where the attention span of an audience wanes. But he has returned to the epic quality of the original piece rather than a condensed version and this is a better play for it. The great writer himself would be very proud.  

Edward Lipscomb's opulent set highlights the greed of the family really well and adds the finishing touches to what is already a truly unforgettable and gripping production.

Glenn Meads (Reviewed at the Lowry, Salford, UK)

Tour Dates

Week Beginning:

11 Sept - Lowry, Manchester

18 Sept- Malvern Theatre, Malvern

25 Sept- Civic Theatre, Darlington

2 Oct- Grand Theatre, Wolverhampton

9 Oct- New Theatre, Cardiff

16 Oct- Theatre Royal, Plymouth

30 Oct- Devonshire Park Theatre, Eastbourne

6 Nov- Yvonne Arnaud Theatre, Guildford

13 Nov- Richmond Theatre, Richmond

 

 

 

 

To post a comment, you must register and login.