As the house goes dark, the strains of Cry Me a River ring out and the lights focus on Zahra Newman standing at the front of the stage, singing sensuously in a glittery black cocktail dress. It’s an arresting start to Tennessee Williams’ masterly 1955 play, and a fascinating prelude to Newman’s dazzling performance as Williams’ frustrated yet tenacious “cat on a hot tin roof” Maggie.

Zahra Newman and Harry Greenwood. Photograph © Daniel Boud

Hugo Weaving also gives a towering portrayal of Big Daddy, but the production itself slips between various styles that don’t quite gel, with distracting elements undercutting the emotional impact, despite many wonderful moments.

Sydney Theatre Company Artistic Director Kip Williams, who helms the production, explains in the theatre program that he was drawn to Cat on a Hot Tin Roof because of the way it explores ideas around truth, mendacity and deception. At a time when “alternative facts”, “fake news” and overt, shameless lying by politicians, among others, proliferate, the play’s themes – which also include greed and sexual repression – do indeed feel particularly relevant.

Cat on a Hot Tin Roof premiered on Broadway in 1955, winning the...