Whatever else you might say about Tennessee Williams, his plays have the best titles. Cat On A Hot Tin Roof isn’t a play I’m familiar with, but the prospect of a Young Vic production in the West End was too good to pass up.
Directed by Benedict Andrews, the 1955 Pulitzer Prize winner stars Sienna Miller and Jack O’Connell as Maggie and Brick, a troubled couple struggling to relate to one another and battling their demons. Maggie wants a baby, but Brick won’t touch her: he steeps himself in whisky to try to cope with his own feelings over the death of his friend Skipper, and as the play goes on we learn that there was more to their friendship than meets the eye.
The play has attracted some very mixed reviews, but I honestly enjoyed it, and the near three-hour running time flew by. I found Miller convincing as Maggie, and O’Connell even more so as Brick, his body language saying a great deal. It’s true there’s nudity in the play, but I found it appropriate to the production: we see Brick naked in the shower, nursing a damaged leg, at the beginning of the play and this emphasises his physicality, his past as a professional footballer and his awareness that he is getting older. Similarly, Miller’s nudity shows how Maggie is willing to use her body to get what she wants.
The strongest scenes are those featuring Maggie and Brick, but dramatic tension is added with the entrance of family patriarch Big Daddy (an excellent Colm Meaney) and his overbearing wife, their other son and daughter-in-law and their clutch of children. This intimate domestic drama becomes a family saga as there is the threat that the family estate will be left to the larger family, and Big Daddy learns of his approaching death from cancer.
I wasn’t sure about the bare gold set, which would have looked fine in the Young Vic itself but seemed a bit out of place in the ornate Apollo. The production as a whole, though, held my attention and it’s one that I’m glad I’ve seen.