INTERVIEW: Long-delayed ‘Cat on a Hot Tin Roof’ finally makes it to NYC
Photo: Cat on a Hot Tin Roof stars Sonoya Mizuno and Matt de Rogatis. Photo courtesy of Miles Skalli / Provided by Ruth Stage press site with permission.
Matt de Rogatis has been waiting a long time to play the pivotal character of Brick in the off-Broadway revival of Tennessee Williams’ Cat on a Hot Tin Roof. The COVID-19 pandemic delayed the production more than once, the most recent delay coming around the holidays when the Omicron variant was disrupting the New York City theater community. Now — finally — de Rogatis and the company are able to bring this classic drama to life at the Theater at St. Clement’s, with performances running through Aug. 14.
De Rogatis’ previous credits include The Collector at 59E59, War of the Roses and The Glass Menagerie, another Williams’ play, according to his official biography. He is joined on stage by Sonoya Mizuno as Maggie, Christian Jules Le Blanc as Big Daddy, Alison Fraser as Big Mama, Spencer Scott as Gooper, Tiffan Borelli as Mae, Jim Kempner as Doc Baugh, Milton Elliott as the Rev. Tooker and Carly Gold as the No Neck Monsters. They are under the command of director Joe Rosario, and the production comes to New York City courtesy of Ruth Stage.
De Rogatis not only acts as Brick in the show, but he was also instrumental in securing the rights for Cat on a Hot Tin Roof from the Williams’ estate. To learn more about that process, Hollywood Soapbox exchanged emails with the actor. Questions and answers have been slightly edited for style.
When did your journey begin with this production? How did you help secure the rights from the Williams’ estate?
The journey with this production actually began several years ago. By the grace of God the Tennessee Williams estate granted us the rights to perform The Glass Menagerie, off-Broadway, downtown in 2019. We had success with it, and then I thought, hmmm, maybe they will give me the rights to Cat on a Hot Tin Roof? So I asked, and they gave it to us literally within days. And I couldn’t believe it. I regard Tennessee Williams and Shakespeare as the two greatest playwrights ever, and to be given, not one, but two of Tennessee’s masterpieces by the Williams estate is one the greatest gifts of my professional life. I feel tremendous gratitude towards them for allowing our group to take on these pieces and to be the first to produce Cat off-Broadway.
How do you approach the character of Brick?
I have a background in psychology, and so I like to approach all of the characters I play with that as a starting point. Great characters are seldom “normal” and are usually conflicted. There is a lot of conflict going on with Brick. Everyone kind of just assumes that a big part of the reason that he drinks is because he is gay. I have my own feelings about that and my own feelings as to whether I believe he actually is or not, but taking that out of the equation, Brick comes from a highly dysfunctional family. His behavior is erratic at times and could even be labeled as someone who is suffering from some form of a schizoid disorder. His parents are both highly toxic and narcissistic people, and being raised in a family like that is going to cause a lot of disturbance. Throw in the whispers of his sexuality, the suicidal death of his best friend, alcoholism, a cheating wife, and you have all the makings of a tortured man on the verge of total collapse. These are all the shades I’m throwing into the character, and again, it all starts with a sort of psychoanalysis of him and the people around him.
Do previous interpretations of the role factor into your performance?
I have never seen anyone else ever play the role before. I may watch the movie after it’s over, but I’m never really interested in how another actor portrays a role I’ve played or am playing. I get asked this question a lot. When I played Stanley in Streetcar, Hamlet, Richard III, etc. I think if there’s a role I know that I want to play someday I try and steer clear of other interpretations — at least until I’m done with it.
What’s it like to speak Williams’ language? Easy? Difficult?
I personally don’t find the language difficult at all. There is a rhythm to it and a flow in some ways like Shakespeare. But it is English, and that is my native language. The words are brilliant of course, and I don’t want to say it’s either easy or difficult. It’s just great writing, and to be able to do it is a privilege. I guess that would be my roundabout answer. It’s a privilege to be able to get on the stage and speak his words in this iconic play.
What do you think the play says about 2022?
I think we have a bit of a daring take on the play. We have updated it to modern times and have set it in 2022 as opposed to the standard 1950s backdrop. I honestly believe it is every bit as relevant today as it was when it was first written. Tennessee Williams is timeless, and what he created in this show is a very dysfunctional family. That is one thing we have chosen to highlight — that dysfunction is timeless. Families have been dysfunctional since the beginning of time and will continue to be until the end of time. When you throw in death, a will and a lot of money, things get even more crazy. I think most families can relate to that. I know that I can.
With the pandemic-caused delay, did you ever think your hard work would never see an audience?
When something gets postponed five times, yes, you do start to think that it will never happen. Right on up until the curtain of the first show this past Friday I wasn’t quite sure even still that it would happen. I was waiting for a flood or an asteroid to hit the theater. You can’t help but start to think that, but thankfully it did happen. And all the hard work, not just by me, but by everyone, especially our director Joe Rosario, has paid off. I think audiences are in for an exciting new take on this classic.
What did you do during the pandemic when you were away from a live audience?
I went down to Florida and laid on a beach and worked on the play over Zoom with some fellow cast members, co-producers and the director. I haven’t thought about much other than Cat on a Hot Tin Roof, to be honest, in these past, nearly three years now. No matter where I go, mendacity fills the air! For those that don’t get that reference, come to the show and find out what I mean. We are running through Aug. 14 at St. Clement’s on 46th Street, and tickets can be purchased at ruthstage.org/cat.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Cat on a Hot Tin Roof, featuring Matt de Rogatis, plays through Aug. 14 at the Theater at St. Clement’s in New York City. Click here for more information and tickets.
