Guiding Questions for Act I:
How do Brick and Margaret refer to Mae’s children? What does it tell you about their potential to be parents?
It is clear that everyone (or most everyone) knows that Big Daddy is dying of cancer. Why don’t they tell him his diagnosis? How do Brick and Margaret (and Gooper and Mae) respond to his diagnosis?
What kinds of things does Margaret boast about herself? How does she see herself?
Margaret says, “Living with someone you love can be lonelier–than living entirely alone!–if the one that y’ love doesn’t love you…” (Williams 13:43-13:48). Why is Margaret so lonely? What is Brick and Margaret’s marriage like?
Note the punctuation and the interaction between Brick and Margaret when she brings up Skipper. Why doesn’t he let her finish her sentences when she is discussing this topic?
The main symbol of the play is found in its title and throughout the dialogue: the cat on the hot tin roof. Picture this cat on a hot tin roof. Imagine the pain of that heat on its paws. And, yet, it doesn’t jump off the roof because the danger of what is below is potentially worse. How is Margaret like a cat on a hot tin roof? What other characters also fit this description?
Some symbols are psychoanalytic in nature: the knife Margaret references and the crutch Brick uses are both phallic symbols, and the alcohol that is Brick’s other “crutch” shows he is stuck in the oral stage of child development. Further, what does Brick’s injury suggest might actually be “broken” in him? Follow these symbols closely in the text and focus on what they reveal about the characters.
Finally, what do each of these characters desire? What desires do they repress? How do these desires surface in their language and actions?
Guiding Questions for Act II:
How does Big Daddy and Big Mama’s relationship mirror Brick and Margaret’s relationship? How does it differ?
The dialogue and stage directions reveal the institutionalized racism and sexism of this era, of which Big Daddy most explicitly verbalizes. How is this racism and sexism presented here? Is it “just the way it was” or should it influence how audiences view Big Daddy?
Pay close attention to the characters’ names. What do their names suggest about their characters? Now that you know quite a bit about them, do they match their names? How so?
Most plays have some stage direction. However, very few playwrights use as much stage direction as Williams. Read the extended “stage direction” on pages 60-61 carefully. Why will some questions not be answered in the play?
Finally, again, what do each of these characters desire? What desires do they repress? How do these desires surface in their language and actions?
Guiding Questions for Act III:
Historically, literature has featured protagonists and antagonists, heroes and villains. Do any of these characters fit these labels? Why or why not?
Near the end of the play, Margaret says, “And so tonight, we’re going to make the lie true, and when that’s done, I’ll bring the liquor back here and we’ll get drunk together” (Williams 2:27:51-2:28:00). What is she proposing? What do you imagine their marriage will be like going forward?
Finally, again, what do each of these characters desire? What most motivates them to do what they do? What desires do they repress? How do these desires surface in their language and actions?
