Monday, June 29, 2009
Uncategorized Cat on a Hot Tin Roof is built like a brick house
Posted by Curt Holman @Curt_Holman on Mon, Jun 29, 2009 at 8:37 PM
Georgia Shakespeare doesn't program modern plays lightly, but Tennessee Williams’ 1955 Pulitzer Prize winner Cat on a Hot Tin Roof feels even more Shakespearean than some of the Bard’s own work. Where some of the playwright’s lauded contemporaries, such as Arthur Miller, age less gracefully, Williams’ best plays seem increasingly at home in the classical canon, as attested by the grand production of Cat directed by Jasson Minadakis.
In addition to its sturdy “Daddy’s dying — who’s got the will?” plot, Cat on a Hot Tin Roof sets up an axis between three characters, each of whom could come from a different major literary tradition. “Big Daddy” Pollitt (Tim McDonough) looks like King Lear transplanted as a rich midcentury Mississippi farmer. Like Lear, Big Daddy succumbs to both a towering temper and the lies of his untrustworthy children. He also proves reckless in the disposal of his kingdom, “28,000 acres of the richest land this side of the River Nile.” Cat takes place on the eve of Big Daddy’s massive 65th birthday party, and outdoor fireworks provide booming accompaniment to his most explosive speeches, like Lear raging against the tempest.
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(Photo by Jennifer Hofstetter)
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