Dan's Papers - March 28, 2008 - review: cat on a hot tin roof...

The new production of Tennessee Williams' Cat On A Hot Tin Roof, historic in its use of an all African-American cast, is not the crowning achievement the theatre community had hoped it would be. Yet this incarnation of Williams' 1955 Pulitzer Prize winning masterpiece, directed by Debby Allen, scores points as entertainment nonetheless. Approved by Williams' estate for Broadway, the revival has a star-studded cast of charismatic actors who understand the passions of Williams' dysfunctional family, allowing the magic of the playwright's language to overcome Allen's uninspired direction.

This is clearly not what Williams had in mind when he conceived the Mississippi Delta dynasty. But by not making the story time specific to the 1950s, when it was originally set, it is conceivable to imagine an all black Pollitt family existing in the deep South around the turn of this century. The themes of the three-act drama - denial, lust, greed and mendacity - remain the same. The rhythms are somewhat different, but the spirit of the text lives on as the Pollitts draw battle lines in the struggle to control Big Daddy's plantation in the face of his presumed fatal illness.

Allen's ordinary staging reveals few surprises. Her inexperience as a director of serious drama shows in the evening's lack of subtlety - numerous clichéd and tasteless choices detract rather than add. The naturalism of Williams' dialogue coupled with his extravagant monologues can be tricky. Allen's melodramatic flourishes, intended to punctuate the text, feel more appropriate to dance (she excels as a choreographer) than anything else. The effect of highlighting selected passages with dramatic lighting actually disengages us emotionally from the unfolding action.

Nevertheless, the spirited ensemble soars, grabbing hold of Williams' magnificent language as if his words were the air that sustains them, and managing to blur Allen's missteps with their consummate skill. Despite the shortcomings, Cat On A Hot Tin Roof has a ring of authenticity that feels robustly real and this is a major accomplishment.

The multiple-award winning cast includes a theatrical legend, James Earl Jones, who was a recent Kennedy Center honoree, as Big Daddy and a bona fide movie star Terrence Howard (Hustle And Flow and Crash), making an impressive Broadway debut, with three fellow cast members who are Tony award winners.

Howard's restrained, understated performance as alcoholic Brick, a disillusioned former football player tormented with questions of his possible homosexuality, is the focus of Allen's Cat. He drinks to avoid the emotions he would rather not confront after the death of his best friend and teammate, Skipper.

Jones is commanding as Big Daddy, delivering a finely nuanced performance that boils with cruelty, yet displays unexpected flashes of tenderness. This is especially apparent in the second act confrontation with his son that is the heart of this production. Their powerful scenes together give the play a loving core and we understand these two men are bound together in their common disgust for mendacity, which seems to run in their blood.

Phylicia Rashad, fluttering about with restless nervous energy in a heartfelt performance as Big Mama, is another standout. She reveals a woman adept at denying the hurts that Big Daddy relentlessly hurls at her. His abuse has not destroyed the deep love she still feels for him.

As Maggie the cat, Anika Noni Rose is a sensual beauty poured into Jane Greenwood's figure hugging dresses that include the essential satin slip. Confident of her charms and determined never to be poor again, Maggie is a fierce competitor but lacks the needed desperation to expose her vulnerability.

Williams wrote in a 1954 letter, "Vitality is the hero of the play!" His masterpiece brims with vitality like you've never seen before.

Cat On A Hot Tin Roof opened on March 6, 2008 at the Broadhurst Theatre, 235 W. 44th St. between Broadway and Eighth Ave. Tickets are available by calling 212-239-6200 or at the Box Office.

Theater critics Barry Gordin and Patrick Christiano are members of the Drama Desk. Barry is an internationally renowned photographer and Patrick is artistic director of SilvaRoad Productions. They can be reached at bg6@verizon.net or theaterlife.com