Tennessee William’s traditional Cat on a Hot Tin Roof lately slinked onto the EPAC stage and had audiences purring with appreciation. Gabrielle Hondorp is electrical as Maggie. She is at all times scheming, at all times pleading, attempting to determine her subsequent transfer like a chess grasp. She shares the stage with Zach Haines who performs her husband, the aptly named Brick. Just like a brick, his portrayal is stable, and heavy and unmoving. Their sturdy and exposition-heavy first act scenes jogs my memory of that traditional physics query, “what happens when an unstoppable force meets an unmovable object?”.
Edward R. Fernandez is highly effective as the long-lasting “Big Daddy”. He performs the character with a little bit of a imply streak. This isn’t any genteel southern gentleman. Fernandez’s Big Daddy is gruff and crass, but very genuine. He owns the second act. He is matched by the gifted Eliazabth Pattey aka Big Mama. Big Mama might not be the sharpest knife within the drawer, however she loves her husband. In truth, I discover it outstanding that each one the feminine characters are portrayed with blind devotion in the direction of their husbands. IIt’s arduous to say if they’re motivated by love or a bit of Big Daddy’s ten million greenback inheritance.
Andrew Terranova and Tatiana Dalton have nice chemistry because the fantastically fertile Gooper and Mae Pollitt. While others might even see these characters as a pair of opportunistic schemers, I like them each. I sympathize with Gooper because the prodigal son, and see them as probably the most trustworthy characters within the present. Terranova and Dalton make their characters fairly multidimensional.
Director Sean Young does an efficient job with staging. In my opinion, pacing is inherently a problem with any manufacturing of this present. Both acts one and two have prolonged, largely one-sided dialogues with minimal motion. While there are moments in these first two acts that would use a bit extra momentum, it’s value it for the dramatic act three payoff.
Scene design by Victor Capecce is implausible. The planation room with its wicker chairs and ceiling fan paints a really detailed image of the environment. Speaking of painted footage, the big ominous portrait of Big Daddy on the wall is a continuing reminder of his presence. (I hope Ed will get to maintain it on the shut of the present!)
Cat on a Hot Tin Roof is a traditional American drama. The Ephrata Performing Arts Center is aware of nice theater. Putting the 2 collectively is a recipe for a really memorable evening.
