Franklin’s Teche Theater for the Performing Arts chose Tennessee Williams’ Cat on a Hot Tin Roof as its 2008-2009 season opener. According to cast-member Ed Verdin, “We always choose deep, challenging, thought-provoking dramas that showcase acting talent.” And this they did. Ably and passionately directed by Allison Jones, the classic came to life in the hands of a talented and dedicated cast. The drama takes place in one day, and involves the terminal diagnosis of Big Daddy, and the reactions of his wife, sons, and in-laws to the situation. Underlying the story are the concepts of truth, love and lust of various kinds.
Act I belongs to Maggie, and in this case LaDaisha Bowles was more than up to the challenges of the role. Seductive, determined, yet hurting, her sensitive performance let us know exactly who is the cat on the hot tin roof and that she wants to get off. With a near-perfect accent, catlike movements, and full of sexual tension she firmly established the sexuality inherent in the story. Brick, played by Ed “Tiger” Verdin was indeed confounded by the cat he shared his life with. His “Brick,” the alcoholic older son of Big Daddy, was well done. Never over-reacting, never showing spunk, despite the pleading of his wife, the taunts of his brother and sister-in-law and the “mendacity of life,” he finds his consolation and hiding place in the bottle. And therein lays his problem. Through Verdin’s performance we see Brick’s weakness and frustration.
Act II, of course, belongs to Big Daddy on a talking jag, as Brick comments. Foul-mouthed and irascible, as the patriarch of the family Big Daddy provides the philosophical underpinning of the plot. “Ignorance of mortality is a comfort,” he notes, but “A man can’t buy back his life, once his life is finished.” Larry Deslatte’s Big Daddy was aristocratic, feisty, powerful, and confident. He confessed to playing the southern gentleman, but admitted to being anything but. In his performance on-stage he smokes a cigar and the aroma filling the auditorium only added to the characterization. With a face like Burl Ives, but a smaller frame, he nonetheless filled the stage. High point in the entire drama was the confrontation between Big Daddy and Brick ending Act II. The dramatic intensity was overwhelming as Brick finally reveals the problem in his relationship with youthful friend Skipper. Bravo to Verdin and Deslatte for an exhilarating moment at the theater!
Act III finally brings the entire family together in the resolution of the story and the conflicts that have been built up. Big Mama, played by Denise Hodge, finally has her chance to show her stuff, and despite her world collapsing around her she does so with real spunk. She roars, she cries, but she goes on. Ricky Pellerin as Gooper and Erin Segura as Mae are perfectly matched as the frivolous, greedy, catty “younger sibling family.” And their children are … obnoxious. The fertile family provides the little “comic relief” in the story, and is to be commended for supporting, but not overwhelming, the efforts of the four central characters. The rest of the cast, Tyra Yarber (Rev Tooker) and Christian Glorioso (Dr. Baugh) and a staff of five servants admirably did the job of bringing the time, place, and family life to the stage.
The set designed by Tyra Yarber and constructed under master builder Brett Casselman was a wonder. We could feel we were in a plantation, where the rich and successful confronted real life. A slightly raked bed made the bedroom scenes easy to see and follow.
Cat on a Hot Tin Roof plays only four performances, and regrettably half are already over. Only Monday, October 20 and Tuesday, October 21 are left. The show is long (over 3 hours plus 2 intermissions), but if you are interested in serious theater, is well worth the trip. A big “Bravo” to director, cast, and organization for such an ambitious undertaking.
--Don Voorhies
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