uld reach fewer people. This sense of failure that Williams seems to possess echoes Brick's in the original ending and is therefore quite fitting that the reversal of Brick's failure in the Broadway version of Cat should consequently mark a success on Broadway. In the original version, we have the tragic failure of Brick for he cannot excise the memory of his best friend's death and the feeling that he cannot, and will not, betray this memory by sleeping with his wife, Maggie. In the Broadway version, however, we are led to believe that he will sleep with his wife after the curtains have gone down, thus finally erasing the memory of Skipper. Brick also joins the world in which he cannot stand to live in and consequently is released from his 'moral paralysis'.
             I would argue that this is the most important of Kazan's suggestions and the one that is open to the most debate when evaluating the play as a whole. Albert J. Devlin argued that Kazan attacked 'the privacy of Brick Pollitt' as it was 'hostile to his own flamboyant expressiveness'. Indeed, the Broadway version is certainly a more popular ending, in that it can be considered a much happier one than Williams' original. But one has to question whether or not Brick's release from the imprisoning memory of his best friend's death is likely from his conversation with Big Daddy in Act Three. Williams thought that however a revelatory a conversation, one could not be released
             ...