Written by Tennessee Williams
Directed by Cameron Watson
Daniel Bess, John DeMita, Dawn Didawick, Mitchell Edmonds, Julia Fletcher, Henry Greenspan, Harry Groener, Tim Halligan, Michael Kirby, Tamara Krinsky, Eliza LeMoine, Mike McShane, Rebecca Mozo, Linda Park, Ross Philips, Robert Pine, Vivienne Belle Sievers, Jocelyn Towne, Helen Rose Warshofsky, Patrick Wenk-Wolff
Scenic Design: Steven C. Kemp
Costume Design: Terri A. Lewis
Lighting Design: Jared A. Sayeg
Sound Design: Jeff Gardner
Stage Manager: Kristin Weber
First Performance March 16, 2017
Opening March 23, 2017
Final Performance May 7, extended through May 14, 2017
Submit a review for Cat on a Hot Tin Roof
Filled to the brim with painful secrets and desperate longings, Tennessee Williams’ masterwork is the story of a family breaking down. With iconic roles and beautiful poetry, Cat on a Hot Tin Roof is a sexy, smoldering descent into a world choking on mendacity.
“This Tennessee Williams masterwork, filled with iconic roles and beautiful poetry, is the perfect play to begin our residency in Glendale,” stated Antaeus co-artistic directors Bill Brochtrup, Rob Nagle and John Sloan. “Sexy, smoldering and full of mendacity, it’s a true American classic. Antaeus has wanted to take on Williams for a while now. It’s time!”
Set in the 1950s, this explosive, rich and timeless portrait of a dysfunctional Southern family explores many taboos of mid-century America, including sexuality and greed. Cotton tycoon Big Daddy is dying of cancer. When family members gather at their patriarch’s Mississippi Delta plantation to celebrate his 65th birthday, they hide the truth about his diagnosis from him and Big Mama in their scramble to secure their part of the estate. The ensuing stormy confrontations bring to light secrets, raw emotions and unexpected demons that threaten to rip the family apart forever.
In the Antaeus tradition known as “partner casting,” Harry Groener and Mike McShane share the role of Big Daddy, with Dawn Didawick and Julia Fletcher partnering as Big Mama. Daniel Bess and Ross Philips play younger son Brick, the former golden boy now on a downward spiral, and Rebecca Mozo and Linda Park are daughter-in-law Maggie “the Cat,” passionately fighting to hold onto the love of her alcoholic husband. Brick’s indifference and bitterness give older brother Gooper (Michael Kirby and Patrick Wenk-Wolff) and his wife, Mae (Tamara Krinsky and Jocelyn Towne), every opportunity to outbid Brick and Maggie in the on-going fight for the family fortune. Rounding out the cast are John DeMita and Mitchell Edmonds as Reverend Tooker; Tim Halligan and Robert Pine as Dr. Baugh; and, Henry Greenspan, Eliza LeMoine, Vivienne Belle Sievers and Helen Rose Warshofsky as Gooper and Mae’s young brood of “no-neck monsters.”
Margaret Gray – Los Angeles Times
In the Antaeus tradition of partner casting, the company has a different set of actors performing these roles on alternate nights, conceivably just as wonderful as the cast I saw or more so. Watson has a knack for allowing his actors to shine: Mitchell Edmonds, who plays the uncomfortable party guest Reverend Tooker, doesn’t get a lot to say, but when he breaks into an awkward pause in the family melodrama to check his watch and announce, “I think I’d better step away at this point,” he brings down the house.
Steven Stanley – Stage Scene LA
Cameron Watson directs two equally sensational ensembles in Antaeus Theatre Company’s pitch-perfect intimate revival of Tennessee Williams’ Cat On A Hot Tin Roof, not only one of the finest productions now playing around town but (sound the trumpets!) the very first to grace the brand-spanking-new Kiki & David Gindler Performing Arts Center in Beautiful Downtown Glendale.
Tracey Paleo – Gia On The Move
An explosive performance in three full acts, from lights up to lights down, there was not a thin moment on stage from any single actor of the Buttered Biscuits cast, Ross Philips, Rebecca Mozo, Harry Groener, Dawn Didawick, Jocelyn Towne, Patrick Wenk-Wolff, Mitchell Edmonds, Tim Halligan, Vivienne Belle Sievers, Helen Rose Warshofsky, who, with the inspired direction of Cameron Watson, took on Tennessee Williams’ Pulitzer Prize-winning masterpiece with a volcanic fierceness that was utterly raw. The result: a literal breathe-taking finale, that permeated the space with pregnant awe.