Cat on a Hot Tin Roof

Cat on a Hot Tin Roof, one of Tennessee Williams’s more famous works and his personal favorite, won the Pulitzer Prize for Drama in 1955. We are pleased to open our 2024-2025 season, Generations, with this powerful piece.


Auditions & Rehearsals

  • August 12 & 13, registration at 6:30PM, auditions at 7PM
  • August 14-15, read through & dialect workshops (TBD), headshots, costume measurements, forms

Performance Dates

  • October 4, 5, 11, & 12 @ 7:30 PM
  • October 12 @ 1:30 PM

Production Staff

  • Director: Aaron Ponce
  • Assistant Director: Riley Van Ess
  • Producer: Amber Ponce

About Cat on a Hot Tin Roof

In a plantation house, the Pollitt family celebrates the sixty-fifth birthday of Big Daddy. The mood is somber, despite the festivities, because a number of evils poison the gaiety: greed, sins of the past and desperate hopes for the future spar with one another as the knowledge that Big Daddy is dying slowly makes the rounds.

Maggie, Big Daddy’s daughter-in-law, wants to give him the news that she’s finally become pregnant by Big Daddy’s favorite son, Brick, but Brick won’t cooperate in Maggie’s plans and prefers to stay in a mild alcoholic haze the entire length of his visit. Maggie has her own interests at heart in wanting to become pregnant, of course, but she also wants to make amends to Brick for an error in judgment that nearly cost her her marriage. Swarming around Maggie and Brick are their intrusive, conniving relatives, all eager to see Maggie put in her place and Brick tumbled from his position of most-beloved son.

Contains strong language and mature themes.

CAT ON A HOT TIN ROOF is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists
Play Service collection. (www.dramatists.com)

Open Auditions on August 12 & 13

Auditions will open with selected monologues, followed by sides. Accents are required to be used, they do not have to be perfected for auditions, but they must be attempted to be considered. Most characters are from Mississippi, with the exception of Maggie and Mae, who are from Tennessee.

Director Note: The roles of Big Daddy and Big Mama have been cast ahead of time due to the demanding nature of the script.

Casting is open to all gender identities. The characters will present as they are written.

  • Maggie (late 20’s)- The “cat” in the play. Maggie’s loneliness and Brick’s refusal to make her his desire, has made her hard, nervous, and irritable. She is desperate in her sense of loneliness, who is made all the more beautiful in her envy, longing, and dispossession. Female presenting. Open to performers 18 to 35.
  • Brick (late 20’s to mid 30’s)- The favorite son and mourned lover. Brick is an obviously broken man attempting to hold onto his archetypal masculinity while harboring repressed homosexual desire for his dead friend Skipper. Male presenting. Open to performers 18 to 35.
  • Mae (Mid 30’s to Mid 40’s)- An agitated “monster of fertility” who schemes with her husband Gooper to secure Big Daddy’s estate. Mae attempts to orchestrate a picturesque familial picture with her children and husband. Female presenting. Open to performers 30 to 45.
  • Gooper (Mid 30’s to Mid 40’s)- A successful corporate lawyer. Gooper is Daddy’s elder and less-favored son. He deeply resents his parents’ love for Brick, and plots to secure control of the estate. Male presenting. Open to performers 30 to 45.
  • Reverend Tooker – A tactless, opportunistic, and hypocritical guest at Big Daddy’s birthday party. Male presenting. Open to performers 18 to 40.
  • Doctor Baugh – The sober Baugh is Daddy’s physician. He delivers Daddy’s diagnosis to Big Mama. Male Presenting. Open to performers 30 to 99.

Critical Acclaim

Brooks Atkinson’s review in the The New York Times called it “a stunning drama…It is the quintessence of life. It is the basic truth.” Atkinson went on to write, “In a plantation house, the members of the family are celebrating the sixty-fifth birthday of the Big Daddy, as they sentimentally dub him. The tone is gay. But the mood is somber. For a number of old evils poison the gaiety—sins of the past, greedy hopes for the future, a desperate eagerness not to believe in the truths that surround them…Cat on a Hot Tin Roof is a delicately wrought exercise in human communication. His characters try to escape from the loneliness of their private lives into some form of understanding. The truth invariably terrifies them. That is one thing they cannot face or speak…As the expression of a brooding point of view about life, Cat on a Hot Tin Roof is limpid and effortless. As theatre, it is superb.”