Review: CAT ON A HOT TIN ROOF, Curve Leicester
Photo credit: Marc Brenner
Sharp, nuanced and innovative. A play as uncomfortable as its title. By the end, we all identify as the cat, tentatively stepping from one foot to another, in order to remain up on that hot, tin, roof.
Tennessee Williams is often referred to as one of the greatest American playwrights of the 20th century. His most famous play A Street Car Named Desire often featured on the English Literature Syllabus here in the UK. Cat On A Hot Tin Roof has had many revivals since its first Broadway production in 1955, including the 1958 movie starring Elizabeth Taylor, an all-black version directed by Debbie Allen in 2008 and the 2017 National Theatre version starring Sienna Miller and Jack O’Connell is still available to stream via the National Theatre website. Despite its vast history, we walked into the stunning Leicester Curve not knowing anything about the play beyond its title, Cat On A Hot Tin Roof.
Rosanna Vize’s set design is an indicator of the central theme, a large round translucent circular curtain frames the main acting space, whilst the soundscape by Giles Thomas sets the tension levels. Between the two, the atmosphere is defined and it is not a comfortable one. The constant pulsing and dripping of the soundscape weaves in and out of your consciousness, whilst the curtain sinisterly moves in the air. The design is clear, you can be alone, but still be seen.
Though billed as an ensemble piece, Siena Kelly as Maggie, Oliver Johnstone as Brick and Peter Forbes as Big Daddy carry the greatest weight. Williams’ play is wordy; very, very wordy. Yet these three manage to execute vast monologues with ease, though the content of the monologues is often exhausting. Kelly is sultry and alluring; they hold their own power and are unapologetically honest regarding their own desires and aspirations, which is often described as ‘catty’. Kelly is the one we should be routing for and though ultimately Maggie’s journey is the one we as an audience most identify with, you don’t end up routing for any of them.
Sam Alexander’s Gooper is quite possibly the most likeable of the team but this is largely down to a small section of extreme tension that takes place in the central acting space. Gooper is sat to the side, silently eating a birthday cake which is not theirs. Simple and hilarious. What to do when in an uncomfortable situation which you don’t want to get involved with. Eat cake.
As a piece, it felt like it achieved everything director Anthony Almeida wanted it to achieve. It is tense, relentless and uncomfortable. Having not seen any previous productions, it is impossible to comment on how it deviated from the original but this fresh take is intricate and nuanced. Despite the play’s age, its content is still relevant today and this, above all, is the most difficult pill to swallow. We would like to believe we have come so far in the past 70 years and we have. Yet we as people, still struggle with communication, hold fast to a view that keep us unchanging, and choose self-destruction over the pain of growth. The overarching circular motion is reflected at every opportunity from the set, the sound, the conversations, even through to the closing and opening moments.
There is something for everyone in this production. It is full of stylised and artistic moments. Linguists and lovers of literature will dance in the long monologues and witty exchanges. It is doubtful that any hardcore Tennessee Williams fans will be offended or disappointed with this adaptation. There are insufficient light moments to tip this solidly into the realm of enjoyable; that being said, enjoyment was probably not one of its aims. It left us frustrated and we can’t help but question if this was indeed Tennessee Williams’ aim and Anthony Almeida has been bold enough to see it through. It is sharp, innovative and nuanced and the production itself cannot be faulted or its delivery but it isn’t a comfortable ride.
**** Four stars
Reviewed by: Alanna Boden
Cat On A Hot Tin Roof runs at Curve until 18 September before visiting Liverpool, Canterbury, Ipswich, Mold and Southampton. Tickets are available via the individual venue’s websites.