Review of "A Cat on a Hot Tin Roof"

Why go to see a classic play, especially if you’ve seen it before? Either you love the show, want to see a new interpretation, or admire the actors. The latest version of Tennessee Williams’ “Cat on a Hot Tin Roof” stars Scarlet Johansson as Maggie, wife of Brick and the younger son of Big Daddy Pollitt (ps) who’s dying of cancer. The recurring themes of the play include greed, superficiality, mendacity, sexual desire, repression, and death.

With her top billing, and her picture (a sultry full-lipped Scarlett in a low cut dress) on the cover of the Playbill, it’s no doubt who the star of this production is. She’s even featured in the first pages of the program in a make-up ad wearing even less. And the first question I’ve heard from most people was “how was she? Note: few asked how the play was.

Johansson won over some die-hard theater critics and the Supporting Actor Tony with her excellent performance in “View From the Bridge.” She is a proven, capable actress. As Maggie, she is throaty and sensual. At times her Southern accent slips a bit, but generally she’s fine.

Ciaran Hinds, a fine strong actor, is pale and lackluster as Big Daddy. Consequently his shift from blustery and bigger than life in Act II to shaken and shrunken later is less noticeable. Benjamin Walker who was so exciting in Bloody, Bloody Andrew Jackson is bland and pallid. True his character, Brick, the alcoholic, despondent husband of Maggie, is using alcohol to withdraw from a world filled with ‘mendacity.” Yet Walker’s good looks creates no sex appeal (Remember Paul Newman in the role in movie version?) Brick is indifferent to his prattling wife, even as she slithers around in her slip. But, quite frankly, Johansson’s droning prattle made me tune out too. The one character who offers some momentary humor is Debra Monk as Big Momma. Although she’s a bit cartoonish, which undoubtedly was not Williams‘ intention, at the beginning she brings some freshness to a lackluster play.

The Pulitzer-Prize Winning play that first opened in 1955, is still remarkable given its time period. Williams explores sexuality in a time when it would have been shocking to hear such references on stage. Even more taboo is the unspoken theme of homosexuality.

A Cat On A Hot Tin Roof can be a difficult play to enjoy. The last revival offered all African-American cast, but this version of Cat directed by Rob Ashford offers nothing new. iIf you haven’t seen enough of Johansson in movies and print ads and want to see her close up, this may be an opportunity. Otherwise, why bother?