First Preview of Cat on a Hot Tin Roof — Page 4

Back from tonight's performance and I have had some time to gather my thoughts.

First things first, I rushed, arriving at about 6:30 and got the lower box house left. The view was partial in the first act and I had to do lots of shifting to see everything but I had a very good view in the subsequent acts when the other 2 people disappeared and I rearranged the chairs to give myself a good view. I stage doored and it was absolute insanity. The vast majority of people there clearly did not see the show. Scarlett came out at about 11:30 and signed for maybe 10 people then ran into her car.

Now, the important things. The set is absolutely gorgeous, though it did feel a bit too spacious in the first act since only Brick and Maggie are in the room and even more so during Brick and Big Daddy's scene in Act 2. Scarlett Johannson is a revelation as Maggie. As many have said, this is (I think) entirely the original version of the script where Maggie isn't very sympathetic and from the moment Scarlett walks onto the stage she commands attention and excitement. In some ways, she overshadowed what was a bit of a confusing performance from Walker. Walker played the nonchalant, distant role beautifully in Act 1 but showed absolutely no transition into his more forceful attitude in Act 2. Sure, the mention of Skipper is supposed to make him snap but a lot of the drama is lost if we don't feel the building tension and frustration. The throwing of the glass just seemed random and not the climax of tension.

Debra Monk as Big Mama is another standout. She steals the show in the third act and her breakdown is shockingly more tragic and emotional than anything Walker executed. Her lines are delivered with an authenticity (and a consistent accent, something Walker and Hinds seemed to have trouble with) that made me feel she was Big Mama. Ciaran Hinds is solid as Big Daddy and the only gripe I really had were the weird accents he kept switching in and out of. Emily Bergl is phenomenal as Mae, a role that can sometimes seem thankless.

The storm effects were a bit cringeworthy, we get it and quite frankly it was so over the top and unrealistic that it was a bit insulting to the audience. I would agree with the assessment that it seemed like it was some young director who just realized the storm is supposed to parallel the tumult inside - something everyone understands. I didn't find Ghost Skipper quite as distracting as some here have written but it's definitely unnecessary and could easily be cut. To answer previous questions, no one refers to the ghost or acknowledges its existence so it would really be as simple as just not having the ghost there to fix it.

Overall - solid production with phenomenal performances by Johannson, Bergl, and Monk. There are some odd directional choices but ultimately they don't detract too much from the piece. If this wasn't going to be revived five more times in the near future with star casting and if the most recent revival wasn't a few years ago, it would be a must see. However, in a season with two superior revivals of classic plays (Golden Boy and Who's Afraid of Virginia Woolf), I would recommend it but wouldn't put it at the top of any list.

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Updated On: 12/29/12 at 01:17 AM

Saw this Thursday afternoon (Dec. 27th). I had read the script before, but never saw a production or the movie before.

I loved this production. I'm not sure about Scarlett Johannson's Maggie a little whiny at times, but I there were times where I felt that she cares about Brick, because he made her dream come true about being "someone". I always thought Big Daddy was more of a strong, forceful character who was always trying to understand what happened to his son. So, it seems interesting to hear about Big Daddy in the last revival.

I actually loved the set/design for the show. I'm all about symbolism for shows, and the fact that the room in circular, and full of windows, to me seems like a cage that everyone can look out of but Brick can't leave the "cage", as much as he wants to. He may go on the porch, but can't leave. All the characters are frustrated and trying to break free of something, and keep coming and going, walking around and around the set. I think it really helped to see the struggle. I was in the first row of the rear mezzanine, and I felt s bit of a distance from the action, so I will agree and say that its a little big of a theatre for the show. Again, kinda goes back to my "cage" idea.

Oh, I didn't mind the ghost of Skipper. I liked it actually. I'm also a visual person, so seeing it, made it real for me. I also would be surprise if Debra Monk or Ciarán Hinds get a Tony nomination.

Fun fact, Rob Ashford was sitting in the last row of the front mezzanine, so I kept looking for his reactions at the ends of the acts. He seemed pleased at the ends of the second and third acts. But, not so much at the end of the first.

followspot said: "Eric, as far as I could tell at least the majority of this production's Act Three is the original. There could very well be some elements of other versions blended in."

So Big Daddy is absent from the final act? (I'm not doubting you or trying to be obnoxious, I swear--stuff like this really fascinates me. It always seemed like nearly all productions now basically used the 70s revision).

For anyone interested (and it is much more interesting than my rambles during insomnia I posted here), the Tennessee Williams Review had a (long) essay about the myriad of various versions of Act III of Cat. It can be read here: http://www.tennesseewilliamsstudies.org/archives/2000/6parker.htm

(I had no idea that Williams was against Bel Gedde as Maggie, but Kazan wanted her, and had some qualms about casting "a singer" as Big Daddy).

The originally published version with the original ending act, and a slightly revised version of the "Kazan" Broadway ending act, is what is usually reprinted today (i know it's the one in my American Library two volume collection of Williams). But the final revised 1974 one Williams prefered is the one published in the recent edition with a great intro by Albee, for anyone interested.

I do think--getting back to the film--besides cutting much of the homosexuality for obvious reasons, Brooks felt that he had to give more of a resolution. Even with Kazan's Act III many critics who loved the play seemed unhappy that nothing seemed to be resolved by the end (which seems to me to be part of the point, really). So he tacks on that ridiculous ending (which in a way, I suppose, was hinted in the Kazan revision where Williams' added the line with Brick saying that he respects Maggie, as well as the stage direction at the end that has Brick sit down on the bed, and not remain standing).

But the whole film is askew, IMHO, because instead of some unresolved homosexual feelings--ambiguous or not--the whole theme becomes the fact that Brick is in some sort of delayed adolescence he has to snap out of, which just doesn't ring true for me.

I'm seeing this tomorrow, via TDF. Anyone have any clue where those seats have been lately?

My TDF seat was Orchestra Row T on the side.

Our TDF seats last night were Orchestra Row Q only a few seats off the center.

2 hours and 45 minutes or so.

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Well, I saw it tonight and was just blown away. I didn't think we needed another revival of this play so soon but man, am I glad we got it, if just to wash the taste of that last one out of my mouth. The ONLY thing I can find fault in was Hinds' accent. As someone who grew up in the south, I'm very particular to southern accents and his went from a Georgia accent to a Kentucky accent and at different times seemed a bit all over the place. I'm sure he'll get it though.

I, on the other hand, thought the ghost Skipper was excellent. It added this sense of sadness to the scenes that I thought was beautiful. And I ADORED Walker. I think Brick is an exceptionally hard role to pull off and he did it with flying colors. Just phenomenal.

I thought this would be such a hot ticket, but it's always on TDF.

Hm. Maybe they just aren't quite marketing this yet. Letting it find its feet before plastering the subways and cabs, etc.

I'm looking to get tickets for this for two weeks from now and had a few questions. Firstly, it's consistently been on TKTS, but do you think it still will be once it opens? Also, has anyone gotten the partial view seats from ticketmaster and how are they? I really want to see this, but I'm also trying to save money if I can. Thanks!

Attended the matinee today and was disappointed overall. Johansson is a fine if not revelatory Maggie. She has impressive authority and control for someone still so young and relatively new to the stage, she moves well, and her performance is pleasingly multidimensional, although lacking the variety and shading a more accomplished stage actress might bring to the role. It's definitely an actor's performance as opposed to a star turn (the ensemble bows at the end felt appropriate). I love Debra Monk but she seemed lost here and didn't make much of an imprint on Big Mama. It didn't help that her beautiful final speech has to compete with some distracting lighting and sound choices. Hinds doesn't do any bad acting but he doesn't have the requisite larger than life quality or the earthiness and bluster Big Daddy needs. Brick is such a tough role and I liked Walker. He carries his act two Skipper monologue, and he has a nice moment at the end when he takes Johansson by the shoulders and wittily inflects, "I admire you, Maggie!". Speaking of Skipper, the ghost I'd read about here was entirely absent today. Sounds like that's probably for the better, although I was curious to see how the director worked it out. Don't know if that's a permanent change or not. The direction overall was poor, I thought. The sound and lighting design, overdone and artificial storm effects, and elaborate harmonization of the onstage singers made the third act feel overly busy and unfocused. There was a lot of awkward blocking throughout, and the flow of movement through the open, airy set (which, although pretty, is misconceived) was confusing and undefined. So not a travesty, not horrible, but not a particularly distinguished production. Also, lots of empty seats upstairs today, and on the way to the train noticed the show was on the board for tonight at TKTS.