By Misti Wills
Cat on a Hot Tin Roof was last revived in a less than stirring production starring Ashley Judd in 2003. The current production marks the straight play direction by musical director Rob Ashford and stars Scarlett Johansson as Maggie, Ciaran Hinds as Big Daddy, and Benjamin Walker as Brick. The real star of this production however, is Debra Monk as Big Mama.
Cat can be described in one word: mendacity. Everyone is lying about something, especially
their relationships. Big Daddy doesn’t
“like” his wife Big Mama, His son Brick “can’t stand” his wife Maggie, his
other son Gooper pretends to like his father and his wife Mae, though we
suspect this apple also doesn’t fall far from the tree.
Set in a gorgeously designed bedroom with sheer draped
fabric curtains and high ceiling fans on a wealthy estate in the south (Christopher Oram, scenic design), the
story of unhappiness unfolds. Brick and
Maggie have a loveless marriage because Brick’s best friend Skipper took his
life when Brick hung up on him during a phone call where he confessed feelings
outside of friendship. Before this, Maggie suspected their relationship had
crossed a line and she slept with Skipper for revenge.
Brick is unable to forgive himself or her and
spends the entire play drinking his life away. He is stuck in many ways, especially since he
got injured while running the night before and his foot is broken in a cast,
leaving him only able to walk with a crutch. Maggie is desperate to have a baby but Brick
refuses to sleep with her and she is left to badger him to give in to her needs. He
simply tells her that if she feels like a “cat on a hot tin roof”, why not just
jump off? Neither, though clearly
miserable, refuses to leave their marriage for either society’s sake or some
sense of duty.
Big Daddy’s birthday is being celebrated and we find out that they thought he had cancer but the tests have come back negative and he only has a spastic colon. Everyone except Big Daddy and Mama know the truth however, that in fact he does have cancer and it is terminal.The doctor later breaks the news to Big Mama with the support of everyone in the family except for Big Daddy. After verbally abusing everyone in the family, Big Daddy insults Big Mama in front of everyone and then is left alone for a talk with his favorite son, Brick.
Big Daddy’s birthday is being celebrated and we find out that they thought he had cancer but the tests have come back negative and he only has a spastic colon. Everyone except Big Daddy and Mama know the truth however, that in fact he does have cancer and it is terminal.The doctor later breaks the news to Big Mama with the support of everyone in the family except for Big Daddy. After verbally abusing everyone in the family, Big Daddy insults Big Mama in front of everyone and then is left alone for a talk with his favorite son, Brick.
Brick and Big Daddy
have a long discussion where they display a close relationship, despite their
tense talk. Big Daddy favors Brick over Gooper and wants to know why Brick is
drinking his life away. He finally gets the truth out from Brick about what
happened with Skipper. In a drunken rage, Brick retaliates by telling Big Daddy
the truth about his cancer.
After all has been revealed, Gooper tries to get Big Mama to
sign papers giving he and Mae and their five "no-neck" children the estate. She refuses and only wants to talk to
Brick. Brick tells Gooper to take it all,
but Maggie wants to fight for their rights to the property too. Big Daddy returns and in a moment of
brilliant desperation, Maggie tells him she is pregnant with Brick’s child and
he will have another heir. The final
moments of the play are Maggie and Brick in a rough embrace where we are not
sure if they will try to make her lie come true or not.
Johansson carries off the longing of Maggie
to be loved and find her place, though it never quite reaches a deeper
desperation stage. Her chemistry with
Brick is often off, mostly due to some awkward staging moments (Rob Ashford directs) trying to help
him up when he can’t reach his crutches.
She misses the moments of where her longing could be excruciating like
when he is close enough to touch her or undresses in front of her.
Walker, last seen in Bloody Bloody Andrew Jackson, has the stoniness
of Brick and shows us the inheritance of verbal abuse he’s received, but also
never quite connects deeply with the material. Of course, it’s difficult to connect
when the action that is written is to simply drink and try to move without a
crutch. Walker's obvious physical prowess
also makes it difficult to believe that this man can’t lift himself up without
the use of a crutch. He has a beautiful
scene with Big Daddy when the truth comes out about what happened with
Skipper. He says very clearly that he
never struggled with homosexual feelings, though we are left wondering.
Hinds (TV's "Game of Thrones") plays the southern tyrant with calculated
ease. Unlike other Big Daddy’s I’ve
witnessed, he doesn’t shout while verbally abusing everyone but uses a steely
calculated gaze and intimidating physique that could make all of the no-neck
children terrified. His rapport with
the amazing Debra Monk is stellar. They clearly are expert players here not
missing a beat or intention in William’s language. Monk's response to his abuse is incredible -- she is at once ashamed and takes it in and yet also shows strength rising up in
her to become someone new when he is gone. Her love for him is present in spite
of the abuse and we can’t help but cheer for her.
All in all, the evening is an enjoyable one, presenting a
clean production of a classic story.
Will it be remembered for years to come? Probably not, but it’s a roof
worth staying on for three hours at the Richard Rodgers stage.
Cat plays through March 30 at the Richard Rodgers Theatre, 226 West 46th St., NYC. Tickets: 800-745-3000, 877-250-2929; http://www.catonahottinroofbroadway.com/.
Christians also might like to know:
-- Nudity
-- Language-- God’s name taken in vain
-- Show posts a MATURE advisory
-- Language-- God’s name taken in vain
-- Show posts a MATURE advisory
Misti Wills is an accomplished director, actress, adjunct professor of theater and member of The League of Professional Theatre Women. http://www.mistiwills.com/.
