CAT ON A HOT TIN ROOF Reviews- Page 2

[ray-andallthatjazz86]

Posted: 3/7/08 at 2:12am

Rose is a Broadway name, but with earlier reports that the producers wanted someone like Beyonce Knowles in the part, I am surprised that Allen was able to cast her.
One of the most genius casting choices of the season.

[RentBoy86]

Posted: 3/7/08 at 2:14am

I want to see the set. The only pictures I've seen have been of the "bedroom" area.

[ray-andallthatjazz86]

Posted: 3/7/08 at 2:17am

The whole play takes place in Maggie's and Brick's bedroom in this production. The set is basically the bed, a bar, and a sofa and a chair I believe downstage center. There is a glass door on each side of the upstage wall.

[RentBoy86]

Posted: 3/7/08 at 2:32am

Oh, from the photos it just looks very boring and so - sparse? - for a Broadway production. Is there a show curtain?

[landerson]

Posted: 3/7/08 at 2:34am

No they do not use a show curtain.

Updated On: 3/7/08 at 02:34 AM

[Depaultheatrekid]

Posted: 3/7/08 at 3:16am

Thanks!

[A Director]

Posted: 3/7/08 at 3:43am

Every production of Cat is set in Brick and Maggie's bedroom because that's where the play takes place. In one review I read, it mentioned that years ago there was talk of casting Audra as Maggie.

It seems that most of the problems with the production can be blamed on Ms. Allen. Why she has hired is beyond me. As for her cringing at Howard's performance, if she isn't happy with it, replace him or better yet, help him improve. It's one of the basic duties of a real director.

If the scene between Jones and Howard is the highlight of the production, it appears that, at least, Ms. Allen had some sense to get out of the way and leave the actors alone. Of course, actors need to be directed/ guided, but if a real director isn't around, they have to do it on their own.

[South Fl Marc]

Posted: 3/7/08 at 9:34am

Imagine what this production would have been like under the hands of a CAPABLE director. Debbie Allen's directing is even worse than her choreography, and that's saying a lot.

It's also interesting that all the reviews mention the last production of Cat and no one mentions the far superior one with Kathleen Turner and Charles Durning. Mr. Durning, who only appeared in Act 2 of that production (as it should be) was positively electric in his portrayal, while Ms. Turner was perfect. I'm sorry this production wasn't picked up by Great Performances. Hopefully the current one won't. This great script has been reduced to a sitcom by it's misdirection.

[EponineAmneris]

Posted: 3/7/08 at 10:14am

I hope this weathers the mixed feelings and reviews. Such a strong, wonderful cast.

I also hope I get the chance to see it.

https://www.broadwayworld.com./viewcolumn.cfm?colid=25777

[WiCkEDrOcKS]

Posted: 3/7/08 at 11:07am

NY Post is positive:
http://www.nypost.com/seven/03072008/entertainment/theater/roof_is_the_cats_meow_100735.htm

[philcrosby]

Posted: 3/7/08 at 12:35pm

Just a note of trivia -- originally James Earl Jones was to have played Big Daddy to Kathleen Turner's Maggie in the earlier revival. He pulled out before it got to rehearsal.

[aaronssongs]

Posted: 3/7/08 at 1:00pm

Excuse me...but from the looks of your pic, who would you be to criticize anyone?
Debbie Allen has co-produced with the likes of Steven Spielberg, which ain't too shabby. Has won numerous awards for acting, directing and choreography, in television, film and the stage.
She choreographed the Academy Awards, what? Five or six times, in succession.
What would be your claim to fame? Intermission act at a circus?
Certainly not "reviewer".

[BigFatBlonde]

Posted: 3/7/08 at 1:17pm

Can you imagine if this production had been Directed by *fill in the name of any white guy* instead of Debbie Allen?

I suspect that people wouldn't be so quick to defend this ludicrously conceived production.

Some might actually be offended by how the white director reduced Williams' work and a great cast of actors to the level of WB sitcom.

Why? Why? Why? couldn't George C. Wolfe have directed this?

Updated On: 3/7/08 at 01:17 PM

[Sandy in Sable]

Posted: 3/7/08 at 2:10pm

Debbie is no slouch, but BFF, you have a point about Wolf directing. I would love to see this piece, or any Williams for that matter, in his hands. So much I want to say about things discussed re: this revival, but I really need to see if before I start defending what may not need, or may not deserve defending.

[ray-andallthatjazz86]

Posted: 3/7/08 at 2:32pm

Landerson, can you please fix the link? It's messing up the page.

I have said before that George C. Wolfe would have been the ideal director for this production. If someone could have handled Williams' beautiful poetry, it's him. However, I think people are being WAY too harsh on Allen.

[South Fl Marc]

Posted: 3/7/08 at 2:55pm

"She choreographed the Academy Awards, what? Five or six times, in succession."

Yes, and she was known for her truly tacky and horrendous production numbers. I'll cut and paste one commentary on her work which says everything I would - but much better.

"Every Oscar telecast for the past decade has allowed millions of homosexuals to howl with hilarity at the Debbie Allen Dance Number, that cobbled-together orgy of poorly thought out dance moves designed to illustrate the connecting theme of the nominated pictures. That theme, at least as far as we were concerned, was always "What were they thinking?"
As bad as you knew it would be, there would always come at least one jaw-dropping moment of truly transcendently stupid choreography. Entire gay ghettos would erupt with screams to spouses in the kitchen, "Get in here! You gotta see this!" Couples and friends would watch with hands over their mouths, not daring to move until it was over, and then shriek in
gleeful horror. It was the hoot heard round the world."

[BigFatBlonde]

Posted: 3/7/08 at 3:03pm

Yeah know Bruce Vilanch has written for the Academy Awards every year.. so does that make him equal to Tennessee Williams?

[A Director]

Posted: 3/7/08 at 3:35pm

Does everyone remember Ms. Allen's dreadful choreography the year Driving Miss Daisy won best picture. The costumes for that filled were nominated. I will never forget the dancer dressed as Miss Daisy spreading her legs as if she was going to have sex right there onstage.

And from what I've read, Ms. Allen's work on Carrie The Musical was not to be believed.

Wonder if Ms. Allen and her sister came as a package deal?

[A Director]

Posted: 3/7/08 at 6:23pm

I found this on Playbill.com. Enough said.

This left the director, Debbie Allen, to explain his new-found "Puff Daddy." She gamely sallied forth with: "I said at the beginning that I didn't want to follow all the stage directions. I wanted us to find the play. There are places where we changed the blocking. I said, 'Why don't we walk around? Walk behind Terrence, James, while you're talking,' and it turned into that tender moment. A father loves his son—that's what it's all about."

Allen, a Tony-nominated Sweet Charity when she last performed on Broadway, now comes in hyphenated form—director-choreographer—and this is her Broadway-directing debut. It's a dramatic (nonmusical) debut for her, but you wouldn't have guessed it, save for a "Happy Birthday" that comes with special choreography (she couldn't help herself). There is also an Allen-esque flourish that starts the play. A saxophone player (Gerald Hayes) enters stage left and wafts across the stage playing a haunting blues riff, never to be seen again but heard during nonverbal, emotional-recovery time. "Wasn't that wonderful?" the director beamed proudly. "I fought for that." And you know she did.

[Ed_Mottershead]

Posted: 3/7/08 at 6:29pm

I know this isn't fair, but, based on the reviews, I don't think I'm going to do Cat this go round. I never saw Ashley do it (although everyone says she was superb), but the combo of Turner/Durning is a hard act to follow (albeit weakened by a weak Brick). As a point in question, it seems that in many productions of Cat, the Brick has always been the sticking point. Not ALWAYS, but often.

[inlovewithjerryherman]

Posted: 3/8/08 at 2:03am

On a random note, Terrence Howard stopped by my school (Temple University) the other week and gave a small presentation to a large group of students in one of our large lecture halls.

I found him to be grotesquely arrogant and unappealing - and he offered the following "advice" to us. I quote: "I am the most important person in the world". and he also gave us tips on how to handle a difficult director - after getting a note, and not liking the note, do it the same way and when your director asks, "did you change anything?", say you have.

I'm sure a personality as obnoxious as this walked all over the admittedly amateurish Allen - which I would assume leads to the unfocused relationship between Big Daddy and Brick that Brantley references.

Shame, really. I think i still want to see this though, for Rose.

[ray-andallthatjazz86]

Posted: 3/8/08 at 2:37am

Inlove, don't let Howard's apparent arrogance discourage you from seeing this production. Unlike Brantley, I found him better in Act II than in Act I (his Act III was WAY too overplayed and he played drunk way too obvious to make the final scene fully work, thank God for Anika Noni Rose who basically saves his butt during the final moments of the play--even if she completely sweeps the floor with him in Act I, IMO).
I assure you that seeing Anika Noni Rose deliver her many soliloquies in Act I is worth your effort.

[LimelightMike]

Posted: 3/11/08 at 6:28pm

I have the prime opportunity to see CAT from front row at the Broadhurst in May, and I'm wondering if it's worth it? I REALLY REALY want to see this for the cast - legends of their time - James Earl Jones and Ms. Rashad. Any and all insight appreciated.

Best,
- Mike

[nmartin]

Posted: 3/11/08 at 6:38pm

Mike, Jones is indeed a legend and a wonderful actor
Rashad is neither and never will be.

[LimelightMike]

Posted: 3/11/08 at 6:54pm

I stand corrected...

But, is CAT ON A HOT TIN ROOF worth seeing???