Given that the setting of CATS, Andrew Lloyd-Webber’s uber successful musical of the 1980s, is a moonlit junkyard, Drew McOnie’s new production – the first time it has been reborn in London since the original – has one major advantage, which is being performed under the moonlight: at least this was true of the second act; the first being in the dying daylight, but as the run continues into mid-September the night will draw in to further increase the magic.
For anyone marooned on a desert island for the past 45 years, the musical takes the stories from T. S. Elliot’s whimsical collection of cat poetry in Old Possum’s Book of Practical Cats as the basis for this extraordinary work of musical theatre. The Jellicle tribe of cats has gathered to celebrate their annual midnight ball, at the end of which Old Deuteronomy will select one cat to be reborn. And, as far as plot is concerned look no further because that is essentially it.
Each featured cat has his or her own song, comprising over twenty musical numbers in total. Those of the first act are generally rather forgettable – I doubt that anyone went home humming about Bustopher Jones, the cat about town, or even the Rum Tum Tugger. It all came ferally alive in the second act, and not just because of the moonlight, but because several top of the range numbers followed on consecutively, including Macavity, the Mystery Cat, through Magical Mister Mistoffelees to finish with the stand-out tune in Memory (a prelude of which, to be fair, also closed the first act). If ever a show was musically structured to end on a series of non-stop highs, then this is certainly it.
Apart from the open air that this show is special is also due to McOnie’s rousing choreography, especially in the big ensemble numbers, utilising every inch of the stage with over 20 dancers, and throwing in plenty of acrobatic flip-flops and full body somersaults. As Mistoffelees, Jet Yau’s street-based movement included b-boy headspins, freezes, windmills and other power moves.
The late Gillian Lynne’s choreography was a major part of the original production’s enduring success, including being – for a time – the longest running musical on Broadway, and McOnie has taken on and succeeded in the challenge of creating a very different but nonetheless fascinating movement palette for these cats.
Another big plus comes in the superb costumes and wigs, designed by Sami Fendall, to enhance the individuality and characterisation of each member of the Jellicle clan. Fendall also designed the simple but effective set in a large metal structure that managed to both evoke the junkyard setting and the image of a crescent moon. The lighting design by Jessica Hung Han Yun was a little lost in the daylight but came into its own when night fell, lighting up the trees around and above the stage to magical effect.
The side story of the press night was the indisposition of the performer cast to play the pivotal role of Grizabella (Rachael Wooding) and understudy Taziva-Faye Katsande was upgraded from her usual supporting role as Tantomile (replaced here by Taela Yeomans-Brown). It was a big ask and Katsande presents as a much younger Grizabella than would normally be expected but she absolutely sang her heart out in the show’s big number, gaining a deserved standing ovation for her achievement.
Gary Wilmot brought a strong stage charisma to his brief turn as Gus the Theatre Cat (and his character of Growltiger) and Melanie La Barrie was similarly impressive as Old Deuteronomy. I must also pay tribute to the slinky song-and-dance duet of Macavity: The Mystery Cat by Millie O’Connell and Katie Dunsden as Demeter and Bombalurina. As Macavity, Diante Lodge recovered from a spectacular fall (slippery floors being an occupational hazard in open air theatre) so quickly that I expect half the audience wouldn’t have registered it!
I saw the original in the West End, in 1981, and again subsequently at least twice more (for two daughters!) and I confess to not being a great fan….until now! McOnie has scattered his magic over a classic to conjure up something refreshing and new. It will be interesting to see how it holds up when the cats venture back indoors for the theatre tour: at least old Gus will be at home!
CATS is at the Regent’s Park Open Air Theatre until 19 September and thereafter on a nationwide tour through until June 2027
Review and article by Graham Watts – images by Mark Senior supplied by Regent’s Park Theatre
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