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Cat on a Hot Tin Roof, by Tennessee Williams
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The definitive text of this American classic―reissued with an introduction by Edward Albee (Who's Afraid of Virginia Woolf? and A Delicate Balance) and Williams' essay "Person-to-Person."
Cat on a Hot Tin Roof first heated up Broadway in 1955 with its gothic American story of brothers vying for their dying father's inheritance amid a whirlwind of sexuality, untethered in the person of Maggie the Cat. The play also daringly showcased the burden of sexuality repressed in the agony of her husband, Brick Pollitt. In spite of the public controversy Cat stirred up, it was awarded the Pulitzer Prize and the Drama Critics Circle Award for that year. Williams, as he so often did with his plays, rewrote Cat on a Hot Tin Roof for many years―the present version was originally produced at the American Shakespeare Festival in 1974 with all the changes that made Williams finally declare the text to be definitive, and was most recently produced on Broadway in the 2003-04 season. This definitive edition also includes Williams' essay "Person-to-Person," Williams' notes on the various endings, and a short chronology of the author's life. One of America's greatest living playwrights, as well as a friend and colleague of Williams, Edward Albee has written a concise introduction to the play from a playwright's perspective, examining the candor, sensuality, power, and impact of Cat on a Hot Tin Roof then and now.- Sales Rank: #84739 in Books
- Brand: Williams, Tennessee
- Published on: 2004-09-17
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .60" w x 5.30" l, .43 pounds
- Binding: Paperback
- 208 pages
- New Directions Publishing Corporation
Review
“Tennessee Williams never wrote a more explosive play than Cat on a Hot Tin Roof.” (Howard Kissel - The Daily News)
“The introductions, by playwrights as illustrious as Williams himself, are the gem of these new editions.” (Ken Furtado - Echo Magazine)
About the Author
Tennessee Williams (1911-1983) is the acclaimed author of many books of letters, short stories, poems, essays, and a large collection of plays, including The Glass Menagerie, A Streetcar Named Desire, Camino Real, Cat on a Hot Tin Roof, Orpheus Descending, The Night of the Iguana, and The Rose Tattoo.
Most helpful customer reviews
2 of 2 people found the following review helpful.
The family that is without conflict…
By John P. Jones III
…may throw the first stone, to paraphrase a Biblical injunction. I still remember the “racy” movie posters, featuring Elizabeth Taylor, when this play was first issued as a movie in the 1950’s. I neither saw the movie, nor watched a production of the play. Thanks to a recent reading of The Glass Menagerie (New Directions Books) I decided that I needed to read more of this quintessential American (and Southern) playwright. “Cat…” was first produced in 1955, and would win the Pulitzer Prize.
The play is set in the largest mansion in the very heart of the rich farmland of the Mississippi delta, near Clarksville. There are three acts, but the time period is continuous. ‘Big Daddy’ is now 65, and owner of the plantation. He is still “rough-hewed,” having once been the overseer of the plantation that was owned by two “sisters” (gays), Jack Straw and Peter Ochello. Homosexuality, a “racy” topic in the 1950’s, is a theme throughout the play. ‘Big Daddy’s’ wife is, sure enough, ‘Big Mama.’ They have two sons, Brick and Gooper, who are each married, respectively, to Maggie and Mae. Each of the women have societal pretenses, one raised in Memphis, and the other Nashville. Gooper is the oldest, and with Mae has five “no-neck” children, with a sixth on the way. Brick and Mae are childless. He is also a serious alcoholic, morose over his lost college athletic “glory days,” and his relationship with his buddy, Skipper, now dead. The reason for Brick and Maggie’s childlessness – that he will not sleep with her – and his probable homosexual relationship with Skipper is developed as the play progresses. ‘Big Mama’ frankly criticizes Maggie for failing to perform her “bed duties,” and keep her son happy. They all live in the mansion house, and are jockeying for the inheritance. It is a “heady” mix.
Mendacity, greed, sexual longing are all themes woven throughout the play. About half this Kindle edition contains various essays of commentary, the most meaningful one from Tennessee Williams himself. The influence and relationship of Williams with the director Elia Kazan is described. I even learned that this play was the favorite of Fidel Castro, who greeted Williams on their first meeting with the exclamation: “Oh, that Cat!” The play’s evolution and various versions are discussed (perhaps more than most people need to know), and an entirely different third act is also included.
Reading, or watching a performance of Williams’ plays is an important part of the “curriculum” of any student of American drama – whatever the age of that student. 5-stars for “The Cat.”
14 of 14 people found the following review helpful.
The pinnacle of American Drama
By B. Wilfong
This is a superbly written play about that most basic of human issues, the desire to communicate honestly and openly with someone that you care about. At its core, Tennessee Williams' masterpiece is really about nothing more than that. Everyone wants and needs someone to listen to, and accept, you.
All of Williams' plays are about lonely people when you come right down to it. However, "Cat on a Hot Tin Roof" is unique in that these lonely characters are part of a large family, and at times are literally tripping over each other. What makes us lonely is our inability to communicate with those that we love. It is in that essential human drive that Williams creates the tragedy of this piece. A father knows his son is a closeted gay man; he loves him, but can't get the son to believe or accept that. A wife knows the truth about her husband, but can't make herself believe it. (Actually that last one applies to two wives in the play, for different reasons.) A man faces death, in essence alone, because he can't admit how terrified he is. And the list goes on. These are the stories of the Pollitt family of the Mississippi Delta. Those particulars are different for all of us, but the essential worries and fears of the members of this family are universal, and have been at the heart of a powerful drama for over 50 years.
The witting of this play is luminous and gorgeous. In fact, at times it reads like poetry. However, the power in this piece is also due in large part to the structure of this three act play. The first act is almost a solo from the character of Maggie. The second act is a painful and terrifying duet from the characters of Brick and Big Daddy, and the final act is the ensemble number that builds, and then ends on a slow drawn out note.
If you see "Cat on a Hot Tin Roof" in performance it is a long play, and at times painful. You will not feel the same intensity unless you let yourself sit down and devour it in one gulp. Read the play in a day, and you will come closer to approximating seeing it in performance than you otherwise would. In the best of possible worlds, you will read it, and then a month or so later see it in a well done performance.
This play is the pinnacle of American Drama. You should know it. Make that the case if it is not so!
0 of 0 people found the following review helpful.
Hidden Desires and Dark Truths Unfold on Stage
By Margaret Carmel
This was the first Tennessee Williams play that I've ever read, so I was really interested to check it out.
And wow. This work shocked me so much more than I was expecting. Released in the 1950s, this play never leaves the confines of the Maggie and Brick's bedroom but tackles issues of homosexuality, hypocrisy, marriage, escapism, love, lies, and the confines of manliness.
Over the course of the novel the characters are constantly battling with truths that lurk just beneath the surface. Brick's love for his friend Skipper, Big Daddy's illness, and Maggie's frustrations of being a married woman all work to create an image of 1950s southern America struggling to find it's footing in a shifting moral world. I loved how Big Mama believed that if Brick and Maggie just had a child, then these problems would melt away. This representation of the Southern ideals of traditional families and inheritances flying in the face of reality is just as telling today as it was 60 years ago.
Can't wait to read more Williams.
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