Review by Daz Gale
⭐️⭐️⭐️⭐️⭐️
Tennessee Williams classics directed by Rebecca Frecknall have a proven track record at the Almeida Theatre, with the recent production of A Streetcar Named Desire proving to be unstoppable, about to return for its second West End run ahead of a New York transfer. The winning combination are now hoping to repeat that success with another Tennessee Williams classic in a new production of Cat On A Hot Tin Roof. With big shoes to fill, could lightning strike twice or would it use up one of their nine lives?
One of Tennessee Williams most famous and revered works, Cat On A Hot Tin Roof premiered in New York in 1955 and has been revived in the decades since both in the West End and on Broadway as well as its famous movie adaptation starring Elizabeth Taylor. The story centres around the Pollitt family as they gather to celebrate Big Daddy’s birthday. However, this birthday is anything but a celebration as news on his health causes rifts in a family already divided. As fractured relationships and personal battles are amplified, the question of who will continue Big Daddy’s legacy risks having no clear answer.
Tennessee Williams’ writing remains compelling throughout with Cat On A Hot Tin Roof a prime example of his knack for creating a story with recurring themes bubbling under at the heart of what is essentially a family drama. With writing that never falters, it is down to the direction in how to interpret what can only be described as a masterpiece in terms of writing. How easily this story can be interpreted and reinterpreted to create markedly different stage adaptations is a testament to the versatility of the writing, and, of course, the direction itself.
Having directed productions of both Streetcar and Summer and Smoke, Rebecca Frecknall is certainly no stranger to the works of Tennessee Williams and seemingly has an affinity with bringing something new and different to the play, while never detracting from its original or losing any of its essence. Where her production of Streetcar was met by countless acclaim (you can read my thoughts on that production here), I dare say that her production of Cat On A Hot Tin Roof is even better… in my personal opinion, that is.
Through a minimalistic stage, sparse save from a piano and a few seats that appear sporadically, there is no risk of distracting from the performers themselves in a less is more approach. That said, there is a real beauty to Chloe Lamford’s suitably metallic design, transforming and reflecting due to a stunning use of lighting design from Lee Curran, with a particularly impact effect at the close of act two. Frecknall uses these creative elements to amplify the storytelling bringing something raw, powerful and extremely tense to the fold.
Frecknall’s vision for this production of Cat On A Hot Tin Roof allows each of the three acts to be distinct and markedly different from each other. Act one is a slow-burn and a predominant two-hander between Brick (Kingsley Ben_Adir) and Maggie (Daisy Edgar-Jones) with act two beginning as a more ensemble piece before a climactic showdown before father and son, only for the aftermath of this to play out in the closing act. It is the second act where this production is at its best in an explosive and mesmerising series of events that risked me forgetting to breathe, such was the magnitude of what I was witnessing. After the pause that separates acts two and three, I couldn’t stop thinking how that had to be one of the greatest and most powerful hours of theatre I had seen this year. While act three didn’t quite match that level, the overall quality of this production levelled out to make a glorious albeit uncomfortable watch.
With Frecknall’s direction and creative elements ensuring this is a production of Cat On A Hot Tin Roof for the ages, it is the cast that bring this vision to life and completely excel in their performances. Having had Paul Mescal star in Frecknall’s production of Streetcar, it is only fitting that his Normal People co-star Daisy Edgar-Jones stars in this production, with a dominating portrayal of Maggie. It is Edgar-Jones’ turn in the first act that showcases her strengths as an actor in a performance that feels frantic at times, but works for the character and the desperateness of the situation she finds herself in. There is something so captivating about her performance in the role, though the character takes a back seat in the next two acts, she gets to bookend the production, once again proving what a force she is – both Maggie and Edgar-Jones herself.
Kingsley Ben-Adir forms the heart of the show, tying in to the other characters as Brick. A broken character, his descent into alcoholism is done with a masterclass performance – gradual, believable and utterly captivating at all times. The initial way in which he comes across defeated before he is finally allowed to explode and nuggets from his past are slowly revealed plays to Ben-Adir’s strengths in a performance that demanded you don’t take his eyes off of him, even when he is simply slumped in the background or skulking around the stage. His differing dynamics with both Edgar-Jones as Maggie and Lennie James as Big Daddy provide pure electricity on stage, showcasing the very best in acting.
Speaking of Big Daddy, Lennie James is a wonder in this role. Mostly absent in the opening and closing acts, he more than makes his presence felt in Act Two – the strongest act by far, a large part of that can be attributed to James and his incredible skills. With a larger-than-life characterisation, James’ Big Daddy is fearful and always in control, even when his situation threatens to take that away. As he struggles to break down Brick’s walls, James teases vulnerability and emotion in his characterisation in what for me was the standout performance of the evening. The tension created in this middle act demonstrated the perfect marriage of Williams’ writing, Frecknall’s direction and the outstanding performances from both Ben-Adir and James in a sequence I didn’t want to ever end… despite the rather lengthy runtime of the play.
Though largely underused as Big Mama, Clare Burt more than makes her mark when she does appear, particularly in the final Act where her heartfelt reaction provides one of the more emotional moments of the play. Largely dismissed as all the female characters tend to be, Pearl Chanda similarly enjoys a brief but memorable turn in a largely comedic performance as Mae, though husband Gooper, played by Ukweli Roach, proves to not have much to do throughout – while not good news for the actor, it proves to be a fitting reflection of his father’s disdain for him.
It is Rebecca Frecknall’s choices that left me in awe in this production. The use of a metronome on stage creates tension and at times is the only sound on an eerily quiet stage, while the inclusion of piano gives rise to one of the greatest touches of this production – “The Pianist”. An incredibly creative touch, this seemingly inconsequential character was ever-present, watching the action as if they were one of the audience… but there was far more to it than that, which I won’t spoil. When I finally realised who he was and what was going on, I felt a chill down me – a testament to Frecknall’s exceptional direction and the at-times sinister performance from actor, Seb Carrington – an unlikely standout despite having no words.
With themes of masculinity, sexuality, addiction, legacy, truth and lies all peppered throughout, Cat On A Hot Tin Roof is a rich story, beautifully explored and recrafted in this outstanding production. The word uneven in reviews is most often associated with a negative, but I use it to describe this production only in a positive way – as the differences in all three Acts create vastly different watches, all coming together to create something that on the whole is breathtaking. Though its final Act never matched the dizzying heights of its middle Act, Frecknall’s direction and its outstanding cast have led to an urgent and poignant production that continually thrills. Where Streetcar enjoyed a further life after its Almeida run, don’t be surprised if this does the same. This feels almost certain to be just the first of its many lives.
Cat On A Hot Tin Roof plays at Almeida Theatre until 1st February 2025. Tickets are extremely limited but can be purchased from www.almeida.co.uk
Photos by Marc Brenner