• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Compare the Two Act Three's in Tennessee Williams' Cat On a Hot Tin Roof.

Extracts from this document...


Compare the Two Act Three's in Tennessee Williams' Cat On a Hot Tin Roof After writing the entire play of Cat on a Hot Tin Roof and conferring with the famous producer, Elia Kazan, putting the show on, Tennessee Williams was asked to write a new Act Three, which he then named "The Broadway Version", as it was to be performed on Broadway, The three main differences we see are the presence of Big Daddy, that the impact of the previous act has an effect ob Brick's character in Act Three and that Margaret is a more sympathetic character. Act Three (Broadway Version), begins as Big Daddy "is seen leaving at the end on Act Two" we learn from the stage directions, implying that he is onstage, unlike his position in the original Act Three. Big Daddy "[shouts, as he goes out...]: ALL-LYIN'-DYIN'-LIARS! LIARS! LIARS!" The fact that Big Daddy is present gives us a connection between Act Two and Act Three. In the original Act Three, Big Daddy is absent and this has implications, in that, Big Daddy's character is not developed as it is in the Broadway Version. ...read more.


The Broadway Version really develops Big Daddy's character. When he is present onstage he is so powerful he almost mocks everyone else. We see how everyone reacts to him, especially from the stage directions, "[Mae and Gooper hurry along the upper gallery and stand behind Big Daddy in the hall door.]" Gooper refers to his father as "Sir" and both he and Mae try to cover up what they had just been saying about Big Daddy dying. Mae says, "[it's] nothin', Big Daddy..." Although one of the major differences between Original and the Broadway version is the presence of Big Daddy, in the Broadway version, the actual differences in the other characters' are shown, for the most part, before Big Daddy enters with, "Looks like the wind was takin' liberties with this place." When Big Daddy is not onstage, his presence is constantly there. When absent, the conversation is about him and his "cancer". Gooper first tries to justify himself about his relationship with Big Daddy, "I've always loved Big Daddy" but then, only moments later, he admits that he " don't give a g*****n if Big Daddy likes [him] or don't". ...read more.


In the Broadway Version, although the situation is still left unresolved and we don't know whether Brick will let Margaret "take hold" of him, the curtain falls after Margaret "[touches his check gently]" this is a sign of affection and Brick does not refuse it. Altogether the Original Act is less eventful, less dramatic. It does not need the violent storm that takes place in the Broadway Version, to create tension. The writing is strong enough not to need the obvious theatricality of a storm. On the whole, it is more powerful and more credible. Big Daddy's presence may help to develop the other's characters', yet it is, in itself, less powerful than the "[long drawn cry of agony and rage]" of the Original Act. In addition, Brick's despair is too deep to believe that the conversation could have had that effect. The Original Act is typical of Tennessee Williams and depicts the story the way in which he saw it, which was an unresolved ending. The audience should be able to leave the theatre and make up their minds for themselves what they think would have happened, and carry on thinking of it for a while. Amy Lewis ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our University Degree Tennessee Williams section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related University Degree Tennessee Williams essays

  1. How has Tragedy been depicted throughout The Glass Menagerie?

    Tom also fails the 'dream' as his main interest of writing and poetry, shown in scene three, do not reflect the interests of people thriving for success; Tom also has a very low social status, as his interests seem to have outcaste him from society.

  2. Historical, Social and Cultural context of Tennessee Williams on 'A Streetcar Named Desire'.

    He may have also used this to educate society more about homosexuality. If the audience felt like they had got to no Blanche's husband, and liked him, then they may have come to realise that society is equal.

  1. Form and Structure in Cat on a Hot Tin Roof

    Act one shows another familiar role in the play-lies. We've heard from Maggie that Big Daddy is dying from cancer-but then Big Mama walks in and yells that her husbands only got a spastic colon "Nothin' a-tall's wrong with him but some little functional thing called a spastic colon".

  2. Free essay

    Explore the significance of the title of Cat on a Hot Tin Roof

    However, the title Cat on a Hot Tin Roof also shows Maggie is very determined to stick by Brick and change his habits, especially drinking. Big Mama also feels this way about Big Daddy as he says to Brick in Act Two "I haven't been able to stand the sight, sound, smell of that woman for forty years now!"

  1. Brick says that 'Mendacity is a system we live in. Liquor is one way ...

    This demonstrates the difference in mendacity and one's ability to communicate. Neither can raise the issues without feeling awkward. Both characters are not attempting to use "mendacity" as a way out for personal gain in "the system" but are merely trying to articulate their ideas.

  2. The themes of illusion and Reality in CAT ON A HOT TIN ROOF

    Brick insultingly refers to homosexuals as "fairies," "dirty old men" and "queers," he insists that his relationship with Skipper was nothing more than "deep, deep friendship .

  1. Cat on a hot tin roof - dramatic significance - Act 2

    Big Daddy was very determined not to leave the talk they were having, "hanging." Whenever they talked, some how or the other it was disturbed. Either by Brick changing the subject or trying to reach for his crutch. The crutch was a prop and it acted as a way of disturbance between Big Daddy and Brick's conversation.

  2. Analysis of "No Ideas but in Things"

    Rather than envisioning voyeurism and exhibitionism as complimentary opposites, Lacan finds them to be fundamentally identical: "What the voyeur is looking for and finds is merely a shadow, a shadow behind a curtain. There he will fantasise any magic of presence, the most graceful of girls, for example, even if on the other side there is only a hairy athlete.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work