IT IS amazing that despite the Hong Kong Rep's 130 productions, not one has been a Tennessee Williams play. Cat on a Hot Tin Roof, Williams' Pulitzer-winning play, has now brought that lamentable situation to an end. The play revolves around a family's greed and hypocrisy, each family member hoping for a cut of the fortune Big Daddy will leave behind him when he dies of cancer. All, that is, except the youngest son, Brick. Yip Chun's Big Daddy was almost convincing, but lacked the verbal range to convey the breadth of this complex character. The most difficult role in the play is that of the alcoholic Brick, and Ko Hon-man's performance was not charismatic enough, failing to achieve Brick's self-destructive charm. With little dialogue the part demands stage presence and physical acting which Ko was not quite up to. The cornerstones of Williams' plays are often the women. These women are larger than life, boiling with intensity and suppressed desire, roles that demand great inner feeling from the actors who take them on. The two main female roles in the play managed to create the necessary tension and passion that their parts required. Lo Koon-lan gave a riveting performance as Maggie, sensual, feminine and determined. He Yingqiong as Big Mama was loud, simple and sympathetic, attaining tragic stature when she attempted to take on Big Daddy's role, talking and swearing like him. The set and lighting design helped greatly to attain a mood of despairing tenderness so crucial to a Williams play. The shadow created by the ceiling fan was hypnotic and menacing. A forest backdrop extended out of the wings of the stage to encircle the audience, creating the effect of the darkness of nature encircling, overwhelming and trapping the actors in a jungle where only the fittest survive. It's been a long wait for a Williams play, but overall this high-calibre production from Daniel Yang made it worthwhile. Cat on a Hot Tin Roof, Hong Kong Repertory Theatre, City Hall Theatre. March 4-7, 9-14 and 16-19