‘Cat’ is out of the bag at London’s Novello Theatre

Tennessee Williams’ Pulitzer Prize winning play, Cat on a Hot Tin Roof, is on at the Novello theatre in London’s West End until 10th April 2010. After its huge success on Broadway, it has once again received excellent reviews; and with good reason. The production is directed by Debbie Allen and boasts an exceptional all African-American cast. Led by Academy Award Nominee James Earl Jones as Big Daddy, along with Phylicia Rashad as Big Mama, Adrian Lester as Brick and Sanaa Lathan as Maggie, the cast skilfully captures the drama of ‘Cat’; a dysfunctional family whose relationships are governed by egocentricity and greed while they try to live up to the expectations of the very traditional society in the Southern States around 1950, as well as the play’s unique, witty but bittersweet humour.

Loyal to Williams’ particular stage directions, the adaption conveys the ingenious theme of the indifferent and oblivious continuity of life in general, even when the life of individuals is severely altered. Having the character’s most critical moments of climax interrupted by the shout of children or a confused vicar asking for the way to the gentlemen’s lavatory gives a comic edge to the sinister message, leaving the audience both amused and disturbed.

Another of Williams’ critiques on society was the hypocritical attitude held by many towards the play’s theme of ‘mendacity’. His use of irony, by having the characters constantly lie to, betray and deceive each other, is expressed in a believable way. Consequently, Williams’ intention in writing the play as a way of express his view of this world and its people, remains clear to the audience.

The ending however, as the subtle changes made give the characters a more approachable and likable side, is surely different from what Williams intended. He wanted his audience going home feeling somewhat hopeless about the human race by making each character, although showing that their initial suffering is often caused by things out of their control, thoroughly unlikable and unable to move the audience to sympathy.

With a slightly different edge throughout Act 3, this particular production leaves us with a feeling of hope that everything will get better for the ‘Cats’. The characters, although outrageously cruel throughout the first two acts, are portrayed in a slightly more pleasant way than in the original and will possibly even stir a little pity in most members of the audience. This version of ‘Cat’ is therefore likely to appeal to a larger range of audiences, especially those unfamiliar with the play, whilst leaving true lovers of Williams’ classic possibly a little unsatisfied. Nevertheless, especially its beautiful staging and exceptional cast make this version of Cat on a Hot Tin Roof well worth seeing.