The well-to-do Southern family Pollitt gathers on their family estate on the Mississippi River Delta. The party is to celebrate the birthday of patriarch Big Daddy Pollitt, the Delta's biggest cotton-planter, and his return from the Ochsner Clinic with what he has been told is a clean bill of health. All family members (except Big Daddy and his wife Big Mama) are aware of Big Daddy's true diagnosis: He is dying of cancer. The older son Gooper and his wife Mae have six children and want to inherit the family estate. The younger son Brick, Big Daddy's favorite, has no such ambitions. He is going through a hard time after the death of his close friend Skipper and is drinking his sorrow away. The family suspects that Brick and his wife Maggie have no children because they have not slept with each other in a long time, although Maggie tries her best to seduce her husband again. Brick, a former American football player, is disgusted by everyone's greediness for inheritance and money. Maggie, who has escaped a childhood of poverty to marry into the wealthy Pollitts, wants to be included in the testament to secure her future. She is waiting for her chance, like a cat on a hot tin roof. As the evening progresses, the real faces of all family members start to show and the family cannot enjoy the happy moments because dishonesty and hypocrisy surface. The conflict culminates when Big Daddy finds out the truth about his illness and hidden motives and lies of all family members are revealed. Cat on a Hot Tin Roof is a classical text by the great American author Tennessee Williams that won him the Pulitzer Prize for Drama in 1955, when the play also had its world premiere in New York. By dissecting his characters in great detail, Williams paints a deeply emotional and devastating picture of a family that gets caught in its own web of lies and deceit. Everybody carries a portion of guilt here, but the honest quest for the truth that they all need to face finally redeems the characters.
Paolo Magelli was born in Prato, in the heart of Tuscany. He enrolled in the study of Theatre Direction and also took up Slavic Studies. Having been granted a scholarship he went to Romania where he directed two plays which were both invited to the famous Festival Théâtre des Nations. Paolo Magelli’s Croatian premiere took place in 1974 at the Dubrovnik Summer Festival with the staging of the Belgrade National Theatre production of Niccolò Machiavelli’s Mandragola – followed by many directing engagements in Serbia, Montenegro and Slovenia. Since 1985 he has been contributing greatly to Croatian theatrical landscape, directing Euripides’ Electra and Phoenician Women, Beaumarchais/von Horváth’s Crazy Day, Turgenev’s A Month in the Country, The Zagreb Pentagram and The Woman based on Kosor’s plays. Magelli won numerous Croatian and international awards, and he has staged plays in Germany, Italy, Mexico, Venezuela, Switzerland, Colombia, Belgium, Macedonia and Israel.
Zrinka Cvitešić i Filip Vidović odlični su u glavnim ulogama, točni i dojmljivi u svakoj emociji.— Večernji list
Prava vrijednost ovog uprizorenja nije u užem smislu aktivistička. Ona nastaje iz pažljivog ulaska svih glumaca u dubinu svoji likova: u spuštanju po skliskim stijenama netrpeljivosti likova i izdržavanju analitičkog pogleda uperenog u njihove bezbrojne okrutnosti— Novi list
Naime, Magelli nije ponudio cenzuriranu obiteljsku melodramu sa sretnim krajem, (...), nego nemilosrdnu kritiku obiteljskih i društvenih vrijednosti. (...) Bravo za Magellija i ansambl HNK!— Tportal