Cat on a Hot Tin Roof – Royal Exchange, Manchester

Writer: Tennessee Williams

Director: Roy Alexander Weise

They say the classics are classic for a reason. This truism used to describe plays like Tennessee Williams’ masterpiece Cat on a Hot Tin Roof is, of course, totally misleading. It suggests the genius of these works is purely in the writing or that they are fool proof. In reality, they require brilliant direction and extraordinary performances to match the writing in order to truly make them classic. This Royal Exchange production is a classic.

In the mansion at the heart of Big Daddy’s massive southern cotton plantation, a 65th birthday party for the patriarch is underway. It is a double celebration of life after a health scare appears to have been dodged. However, secrets and unspoken feelings will soon put pay to the jollity.

Manchester’s famous round stage is the perfect place to highlight the mistrust and lies at the heart of this dysfunctional family drama. Barely concealed looks of disgust, jealousy, and anger flash perfectly between the actors. Milla Clarke’s brilliantly minimalist design puts a luxurious bed at the heart of the set. Luxurious but never fully made or neat, despite plenty of attempts. The symbolism does not go unnoticed. A near-constantly rotating mobile spins overhead. Part chandelier, part fan its movement cleverly changes the focus of light nearly as often as the power dynamics switch.

Overall, the lighting from Lizzie Powell is atmospherically sublime. An outside firework display is beautifully realised and a reminder of the world still turning outside of the bedroom. A low cream wall almost entirely surrounds the playing area creating both a stifling and suffocating atmosphere but also the perfect conditions for us and the cast to listen at invisible doors and windows.

At the heart of the play and this production, however, is a family in turmoil. Aside from a handful of props and a couple of metal chain curtains the space is left entirely for the characters. The first act belongs to Ntombizodwa Ndlovu’s Maggie. It is a tour-de-force performance as the ‘cat’ delivers pages and pages of dialogue while jumping between despair and determination on her hot tin roof. Distracted husband Brick (Bayo Gbadamosi) broodily gives little in response. The best acting always involves reacting. Pleasingly, his sex and sexuality are both clear and ambiguous. As the Succession-style power moves play out, attention switches to Brick and the relationship with his father.

Patrick Robinson’s performance as Big Daddy is truly extraordinary. Pacing across the stage with vape smoke trailing, dragon-like, in his wake. Robinson gives so much more than threat though. He imbues Williams’ script with depth and nuance as mortality is contemplated. Robinson is equally matched by the legendary Jacqui Dubois as Big Mama. Devoted, humiliated, and dignified in equal measure.

The leads are aided by a fantastic set of supporting actors who are never afterthoughts but are crucial to the plot and emotional development. Their pivotal role is partly choral, and partly physical. In fact, movement director Darren Pritchard has clearly worked incredibly hard with the entire team. Two cast members transform believably into the ‘no-neck monster’ children who torture Maggie. There are regular reminders that so much can be conveyed with nothing but contortions of the body.

Alexandra Faye Braithwaite’s composition and sound design make effective use of modern music and haunting vocals. Rihanna’s Bitch Better Have My Money is made for this story. There is a lot going on in the original text and across this production. Both in terms of themes and theatrical devices. Nothing is left to chance and director Roy Alexander Weise has perfectly corralled it all onto the stage. Certain elements, including the period, have been subtly updated but in a way that feels totally natural and doesn’t get in the way of the storytelling.

The best theatre is so immersive and believable that the audience forgets where they are and is lost in the world. Mission accomplished here. The writing is as perfect as one would expect but it is the direction and performances that really make this a classic.

Don’t be scared by the running time, it is well-spent and barely felt.

Runs until 29 April 2023.