NYTimes.com: A NEW Broadway production of “Cat on a Hot Tin Roof,” like the one scheduled to open on Jan. 17, will always ring with a certain importance in the theater world, but for me it brings on an additional spell of nostalgia. In 1974, at 10 years old, I landed a thrill of a summer job as one of the kids in “Cat” — those “no-neck monsters” as Tennessee Williams so memorably called them. My parents had responded to an ad for open auditions at the American Shakespeare Theater in Stratford, Conn. I was offered the role, the production turned out to be a hit, and we transferred to New York the following fall.
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I really identify with the author, because, though I came into theatre much later, I believe Tennessee Williams taught me how to act in many ways. The poetry of Williams is, in my opinion, unrivaled by almost all other playwrights, and it was that language that helped me realize that I wanted to become an actor. The language bleeds and sweats. It's humid and southern and honest. His characters behave like real people that I've met, and their pain is palpable, even when you're only reading it.
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