'CAT ON A HOT TIN ROOF' TNT takes on challenging material

Despite a few missteps, the production captures the flavor of Williams' work.
NILES -- The deep South; a hot summer night; and a storm is brewing in typical Tennessee Williams style. This is the setting for the Williams classic "Cat On a Hot Tin Roof" which opened this past Friday night at the Trumbull New Theatre. Leave the kids at home -- this adult fare.
"Maggie, the Cat," the role made famous by Elizabeth Taylor in the motion picture of the same name, is certainly on the prowl in this southern family drama.
As with most Williams heroines, Maggie is beset with a myriad of problems, not the least of which is herself. She has married into a rich southern family only to be spurned by almost every member thereof.
Taking on the challenging role of Margaret is Candace DiLullo. She plunges right in, in Act I as the audience gets a real dose of her sharp tongue and seductive maneuvering. As she throws calculated barbs at husband, Brick, the audience quickly realizes that she is not the favorite member of this family. The reasons are numerous but are highlighted by family sentiments that she has driven husband, Brick, to drinking and by the fact that the marriage has not produced any children.
DiLullo has a formidable job to do in this piece. Most of her lines in this act are, in fact, rambling speeches rather than quick one or two sentence retorts. Therein lies the problem in this role. DiLullo has got to make long speeches captivating and interesting.
She does the best she can do with what seems to be limited direction in this area. Many lines seemed to be just recitations of written material. The character seemed to be there but the delivery of it seemed somewhat hampered. She fares far better in the last act as she seems much more comfortable with the role and more relaxed in delivery.
Another challenge
Geno Blair has an equally difficult role in the person of Brick. Compared to Maggie, Brick doesn't say much in Act I but has a tougher job in that his reactions to her tirades have to be immediate and unmistakable. He gets his chance to shine more in Act II as he faces off against Big Daddy.
Blair underplays the character very effectively, which helps to show that there is alot simmering under the surface of this sports announcer turned alcoholic. He builds the character well to an explosive point in Act II when both he and Big Daddy raise the already emotional pitch dramatically.
Unfortunately, much of what is traded back and forth in this scene is overshadowed by a very annoying fireworks effect that went on endlessly and weakened the focus on the actors, where it should have been.
The real power of this production, however, lies in Deborah Nuhfer and Jim Penn, who play Big Mama and Big Daddy, respectively. Being the matriarch and patriarch of the family, the power of these two actors is evident each time they make an entrance onstage.
The natural ease with which ease plays their character gives electricity to each scene in which they appear. Big Daddy's control of the family is certainly evident in his Act II scene with Brick as well as Big Mamma's denial of the ever present family "mendacity" in Act III. Both Nuhfer and Penn keep this production moving.
Other cast members Terri Gilbert (Mae), Jeff Smith (Gooper), Tom Schaffer (Rev. Tooker), and Bob Rodway (Dr. Baugh) provide interesting characterizations and compliment the leads well. There are a few lighter moments helped along by Mae's children who are in and out at various times. Jim LaPolla directed this taut and complicated piece with a good feel for the Williams South.