Cat On a Hot Tin Roof: Tennessee Williams' Masterpiece from Actors Theatre of San Francisco
Actors Theatre of San Francisco (855 Bush St. San Francisco, CA 94108)
- Full Price:
- $19.00 - $38.00
- Our Price:
- FREE - $19.00*
* Additional fees apply.
All offers for Cat On a Hot Tin Roof have expired.
The last date listed for Cat On a Hot Tin Roof was Saturday October 30, 2010 / 8:00pm.
Currently at Actors Theatre of San Francisco:
Glengarry Glen Ross: Pulitzer Prize-Winning Dark Comedy by David Mamet at ATSF
- Full Price:
- $38.00
- Our Price:
- $19.00
A group of cutthroat real estate salesman will go to any lengths to unload parcels of Florida land on unsuspecting buyers in this satire of the American Dream. The top salesman wins a new Cadillac and the loser cleans out his desk. Written by David Mamet (American Buffalo, TV's The Unit), Glengarry Glen Ross won the 1984 Pulitzer Prize for drama, was nominated for the Tony Award for best play and was adapted into a film featuring Al Pacino and Jack Lemmon. Learn More
Goldstar Member Tips
-
Goldstar Member on Other
Small theater, and all the seats are good.
-
Goldstar Member on What to Wear
Comfortable
-
luscher on What to Wear
Casual
Goldstar Member Reviews
Jerry D.
T. Williams played by actors who know their character well enough for you to think your there with them. One of the better of the close to a hundred plays I've seen in SF on Goldstar. Well worth seeing even if you know the story.Written on Aug 20 2010
- 2
- 0
- 2
Greg
A riveting southern gothic play that must be seen in the intimate venue offered by the Actors Theatre. Produced on a shoestring budget without any attempt at creative staging, it's the power of the words that buoy this production to great heights. It's definitely a classic for good reason!Written on Sep 19 2010
The acting talent is admittedly uneven, but everyone gives it their all, with Christian Phillips' gravitas laden Big Daddy a stand-out.
The two leads can best be described as adequate. Ms. Welch's skill is readily apparent, and she successfully imbues her difficult character with intelligence, depth and a palpable ambivalence. Unfortunately, she fails to deliver the requisite sultry, simmering sexuality of Maggie the Cat. And although baritone-voiced Mr. Russell appears well cast for the role, he fails to find his bearings and portrays the laconic Brick as nigh inscrutable.
But, notwithstanding its evident shortcomings, the overall experience is compelling, poignant and highly satisfying . I strongly recommend it for anyone who appreciates great theatre!
- 1
- 2
- 0
Harry P.
Brilliant performances straight across the board: with special nods to the actors playing Maggie and Bid Daddy..........simply mesmerizing. I've read the complaints about the play's length; I was so enthralled that the time flew by and I would have happily sat for more. Do not miss this example of live theater at its best!!!Written on Aug 31 2010
- 0
- 0
- 0
Kenyon
Very strong cast, with possible exception of Maggie - who was still quite good. Amazing staging - very realistic physicality.Written on Aug 23 2010
- 0
- 0
- 0
More Information About Cat On a Hot Tin Roof
Website
http://www.actorstheatresf.org/now_playing
Description
One of the most acclaimed productions of the 20th century, Cat on A Hot Tin Roof tells the drama of seething passions that beset a wealthy Southern family whose lives are stripped of pretense in a shattering moment of revelation. Winner of the 1955 Pulitzer Prize, the piece was an instant phenomenon during its original Broadway run and has been called “The masterpiece that changed American Theatre forever”. A film adaptation in 1958, starring Elizabeth Taylor and Paul Newman, was nominated for 6 Academy Awards.
Cat on a Hot Tin Roof is the story of a Southern family in crisis, focusing on the turbulent relationship of a husband and wife, Brick and Maggie Pollitt, and their interaction with Brick's family over the course of one evening gathering at the family estate in Mississippi, ostensibly to celebrate the birthday of patriarch and tycoon "Big Daddy" Pollitt.
Maggie has escaped a childhood of desperate poverty to marry into the wealthy Pollitt family. The favored child, Brick, has neglected Maggie and ignores his brother's attempts to gain control of the family fortune. Brick's indifference and his near-continuous drinking dates back to the recent suicide of his friend Skipper. Big Daddy is unaware that he has cancer and will never live to see another birthday; his doctors and his family have conspired to keep this information from him and his wife. His relatives are in attendance and attempt to present themselves in the best possible light, hoping to receive the definitive share of Big Daddy's enormous wealth.
Mendacity is a primary theme in the play. Moreover, Cat on A Hot Tin Roof revolves around the lies in the aging and decaying Southern society. With the exception of Brick, the family lies to Big Daddy and Big Mama, as does the doctor. Big Daddy lies to his wife. The play alludes to the presence of homosexuality in Southern society and examines the complicated rules of social conduct in this culture. Tennessee Williams himself was unclear about the nature of Brick's feelings for his friend Skipper while developing different versions of the play.
ATSF’s production is directed by founding member, and award-winning director, Keith Phillips. Set design by Biz Duncan, Light Design by Rachel Klyce with technical direction provided by James Baldock. The cast features company members Christian Phillips as Big Daddy, Jennifer Welch as Margaret, Nicholas Russell as Brick, Todd O’Connor as Gooper, Carole Robinson as Mae and John Krause as Doc Baugh.
About the Ticket Supplier: Actors Theatre of San Francisco
Founded in August of 1989 by a group of professional actors and directors who shared a common desire to produce ensemble theatre works, the founding members of the Actors Theatre of San Francisco committed themselves to creating a permanent repertory company whose work would reflect their ideals of ensemble theatre: a theatre where all the participants share the same artistic vision, have a unified approach to the rehearsal process and a desire to create revelatory theatre that surpasses their desire for individual gain. The founding members gave themselves no restriction as to style, content or period. Instead, they committed themselves to producing theatre that is designed to enlighten and illuminate the human condition.