Celebrating forty years since its first staging in Australia, Cats the musical is currently playing at Hamer Hall, Arts Centre Melbourne until January 31 before moving to Brisbane in February.
First staged in 1981, Cats is one of the most successful pieces of musical theatre ever conceived. It ran for 21 years in London’s West End and 18 on Broadway in New York. It has won numerous awards including ‘Best Musical’ at both the Laurence Olivier and Tony Awards. As of 2024, it remains the fifth-longest-running Broadway show and the eighth-longest-running West End show.
Originally intended to be a concert piece, the musical is based on a series of poems from TS Eliot’s Old Possum’s Book of Practical Cats (1939) as well as unpublished works gifted to Andrew Lloyd Webber by Eliot’s widow, Valerie. The story follows a tribe of Jellical Cats on the night of the Jellical Ball where one will be selected to go to the Heaviside Layer to be reborn into a new life.
Its loose plot, however, is merely a framework for its iconic music and incredible choreography.
Director Trevor Nunn has taken some creative liberties to utilise its higher profile performers. Todd McKenny steals the show as both Bustopher Jones and frail Asparagus (Gus). While the latter has never been a favourite of mine, McKenny breaths new life into Gus like I’ve never seen. He’s given less to do with Bustopher Jones but his comical performance was the highlight of Act I.
Sometimes performed in Act I by my personal favourite Munkustrap (Jarrod Draper), The Awefull Battle of the Pekes and the Pollicles here follows Gus The Theatre Cat, gifting McKenny an additional song where he’s joined by the always brilliant Mark Vincent. Vincent’s voice is rich and commanding, and he’s perfectly cast as the benevolent and wise leader Old Deuteronomy.
Although a highlight in this highly polished production, elevating the roles of McKenny and Vincent does somewhat take away what ultimately makes Grizabella (Gariyel Thomas) special.
As well as Thomas’ emotionally raw performance of Memory; another standout is the energetic Skimbleshanks The Railway Cat, which makes the most of Alan Walker’s masterfully cluttered junkyard set and prop design (especially with the disappointing loss of the spectacular staging that usually comes with the Growltiger’s Last Stand). Littered with suitcases, old rags, tires, newspapers, the boot of a car (with a number plate that reads NAP13R, a nice nod to costume/make-up designer John Napier) and more, it’s a visual feast that utilises every inch of Hamer Hall’s vast size.
With the neighbouring State Theatre still under renovation, Cats is the first major full-scale musical production at Hamer Hall and it sounds terrific. The show soars under Paul White’s musical direction alongside the seven-piece live orchestra.
Howard Eaton’s use of stringed lights lining the walls is ethereal during The Jellical Ball and Magical Mister Mistoffelees (played by Tim Haskayne). Additionally, his lighting turns appropriately dark and menacing during the Macavity (Edward Smith) scenes.
As a dance musical, Cats is one of the best. The performers fluidity, physicality and athleticism is executed with precision. The iconic partner cartwheels and nimble acrobatics by Mungojerrie and Rumpleteazer (Jake O’Brien and Savannah Lind) and jumps and flips by Mister Mistoffelees (Tim Haskayne) always wow a crowd, no matter how many times you’ve seen it.
Although, apart from Vincent licking his paws and cleaning his ears in Act I as well as a few others I caught during Act II, the cats rarely break out to do cat-like things. Part of Cats charm is the cats lounging around on stage just being cats. It’s what makes the stage come alive, and I missed that. It sounds like an oxymoron to say its almost over-choreographed but we need those still moments too.
Another miss is the Rum Tum Tugger (Des Flanagan) joining in in the finale group number. It feels out of his rebellious and flamboyant character to dance the same as the others do. But, regardless, Flanagan nails Tugger as a sexual and boisterous rock star.
Note, I did feel like Flanagan was playing the character rather than embodying him, but he had won me over by Act II.
Out of all the musicals I saw as a young girl, I remember Cats most vividly. I owned the book, I watched the DVD every morning before school (skipping through my favourite numbers), and I saw the musical in Japanese in Japan as an adult (I couldn’t understand the words but knowing the musical so well, it mattered not). So to say the musical means a lot to me is an understatement.
Looking down from the Dress Circle, there was a young girl in the Stalls who the cats interacted with (even giving her a gentle headbutt, as cats are prone to do) and it brought back many happy and nostalgic memories. I wonder if she felt that same magic that musical theatre and Cats specifically gave me.
As a musical that at its core is about celebrating who you are and what makes you unique/special, this production of Cats didn’t just live up to my expectations, it exceeded them. It isn’t perfect but that didn’t stop me from buying a ticket to another showing almost immediately.
4.5/5 STARS
More information and tickets via catsthemusical.com.au
TINSEL and TAP SHOES 