Hot Tin

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Cat on a Hot Tin Roof Broadway is a Saga of Emotions

Cat On A Hot Tin Roof Broadway is the newest product of Tennessee Williams. This time he has dug into his own life to bring out issues of illness, rivalry, and homosexuality prevalent in the southern society that’s on the verge of decay.

Beautifully directed by Debbie Allen, who has debuted as a director on Broadway through this show, this play shows the loveless marriage of Brick Pollitt and Maggie “The Cat”; the birthday of Big Daddy and his diagnosis of cancer; and the competition between each family member to get a bigger share of the family wealth.

What amuses the audience in the show Cat On A Hot Tin Roof Broadway is that everybody in the family lies to each other. Big Daddy lies to Big Mamma. The doctor and the whole family lie to Big Daddy about his cancer. Brick lies to Maggie and so on.

Tennessee Williams has once again been successful in touching the hearts of a large number of people through his larger than life depiction of truth. He is the same writer who has rendered super hits on Broadway such as “Hairspray”, “The Producers”, “Young Frankenstein”, and “Annie.” He is among the 7 playwrights of the world who have received more than one Pulitzer Prize award for their works.

Indeed, it’s an honor to watch a show by such a renowned creative artist! There’s no doubt that Cat On A Hot Tin Roof Broadway has stirred the box office since the day it opened on March 6, 2008 at the Broadhurst Theatre of Broadway.

Whether it’s the character of the “desperate housewife” Maggie, or her indifferent husband Brick Pollitt, or the tycoon Big Daddy, each one has the power to spellbind the audience. And this is not the case with just the new version of the show. The debut version of Cat On A Hot Tin Roof Broadway in 1955 created the same effect on the audience. Such was the impact of the show that three years after that, a movie version under the same name was produced in 1958 by MGM.

It wasn’t an easy task for Williams to express the emotions of each character in words, especially the character of Brick who goes into depression after the death of his friend, Skipper.

Cat On A Hot Tin Roof Broadway is a play of emotions, both negative and positive. It not only entertains, but also awakens the audience to the harsh realities of Southern society.

So, if you wanna enlighten yourself with the issues that are not commonly spoken about and, at the same time, get amused, watch Cat On A Hot Tin Roof Broadway. Dial a number or log on online. You’ll get tickets through the resources deployed by ticketing services. They even deliver tickets to homes. Where can you get another chance to watch an expressive family drama? Grab the chance now!

About the Author

Al is the webmaster of the Cat On A Hot Tin Roof Broadway site, a New York City entertainment website with reviews and news on every event, as well as Cat On A Hot Tin Roof Broadway tickets information.

What is the best way to make a fake cast for use in a production of 'Cat on a Hot Tin Roof?'?

We are doing a production of 'Cat on a Hot Tin Roof' and need a cast for Brick's leg. Anyone have any suggestions as to the best way to create this cast?

First choice: Buy one.
Second choice: Borrow one.
Third choice: Get a medi-tech to help you because they have the materials, tools and expertise to NOT endanger your victim--er, actor--making this thing.

If you're still reading, I guess none of those work for you. So . . . .

I wasn't on costumes or props for Cat, so I don't remember if there were any time constraints involved. Easy way is to build the cast with a 'hinge' on one side and cut all the way down and completely across under the foot on the other. You make the hinge by leaving the plaster thin in a line down one side and breaking it without damaging the fabric. Start with a couple of rods 1/4 - 3/8" diameter and long enough to extend beyond the cast at the top and out the bottom. place one against the leg where you want the hinge and proceed with building the cast over it. Before things set up, push the the second rod from the outside, against the first to make a thin place in the cast running from top to bottom. Work the rod back and forth to moosh most of the goop out of the fabric. You're making a fault that will be easier to fracture just the way you want it to when the time comes. Oh, you better work fast and you might want gloves. Try adding fiberglass seam tape (for sheetrock) for strength as it's going to need it to last the whole run. You'll cover the hinge with adhesive tape after you break it to keep the loose stuff from falling out and leaving a trail across the stage. (You can make the whole thing from fiberglass, but it won't sound right if it's whacked or bumped. This is a period thing. Modern costuming would call for a walking cast boot, ya? http://www.calibex.com/foot-walking-cast/zzcalibex2zB1z0--search-html?nxtg=51a00a240522-A95263F48305B6A4) Oh, protect the cadaver your working on. You don't have a cadaver? Damn.

OK, so you have a clamshell that fits the actor's foot and lower leg. (If your director wants a full leg cast, talk 'em into simulating it so the actor's knee isn't really held stiff. It's a hazard no one needs to deal with. Hey, he's an actor, right. He doesn't really have a broken leg, he's just pretending. So he can pretend he can't bend it, ya?) You put it on over a sock (cut out the toe if the piggies want to see the bright lights) and wrap it with wide adhesive tape. Cut through the tape (carefully) to remove. You'll use a lot of tape during the run.

Some details: The inside needs to be thickly padded and any exposed fiberglass trimmed and covered so as to not scratch the actor. Design the padding so it can be changed if the run is long or you want to save the cast for future productions. The thick padding also alows for a wider range of fit from one actor to another.

If it's going to be walked on (as opposed to being held up off the stage) build in a foot bed and bumper to protect it. (here's another idea that is not period but may help conceptually: http://www.castwalker.com/castwalker.html) Also, you'll have to leave more of the foot part of the cast intact to mount the foot bed and stand up under the abuse of being walked on. Stop cutting through just below the ankle and make an additional cut horizontally just above the heel around to the hinge so the whole back of the leg area can be opened like a door. The trick is to have it big enough to slip the foot in, so go low enough.

Don't forget to have some way to take down the new tape every show if that is an issue (depends on concept--realism vs idealism). Something you can spray on would be quick. Peel off the extra tape if it builds up too much during a run. Keep materials handy for between show repairs and touch ups. Having a back-up is a nice luxury--even if it's a prototype. In a pinch, cotton batting, gauze and yards of adhesive tape will get you by for looks only.

Heating up that old tin roof
Two things should be said about the revival of "Cat on a Hot Tin Roof" that opened Saturday afternoon in the Oregon Shakespeare Festival's Angus Bowmer Theatre.

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