As with most performers born in the 80s with an interest in musical theatre, Cats was a major contributor to the soundtrack of my childhood. Seeing it for the first time, however, I was suddenly aware of how bat-shit insane the show is. The title is the subject matter, which is in turn the cast, which in turn sing about themselves. Cats is the kind of show Kanye West would write if Kanye West wrote a musical about Kanye West. 

Cats‘ problem is that it has almost no story, instead relying entirely on the least important component to theatre – spectacle, and while there is no confusion as to understanding how this show would have been a hit in the 80s (and even a subsequent decade), it is simply not enough to hold an audience today. As Gus the Theatre Cat himself says, “Theatre is not what it was.” [More]

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It’s been a long time since I first saw Cats, in Sydney. On that occasion a member of the cast told me they were all aware that everyone coming to see the musical would see their own pet in one of the characters. He was right – I’d spent the evening particularly watching Victoria, whose real feline equivalent, Puff, was waiting for me at home. 

Between now and then many moggies have been a part of my life. As the overture begins I wonder how many of them will be familiar. I identify quite a few, many of whom have now followed Grizabella to the Heaviside Layer. My present lapcat is easy to spot – a bit Rum Tum Tuggerish in his youth, now he’s more Bustopher Jones and heading towards a Gumbie cat.

A long line of talented designers, choreographers and directors have worked to put this show together and it’s great to find that a live orchestra provides the music. Being based on TS Eliot’s well-known and loved Old Possum’s Book of Practical Cats, the show is a little short on plot, but long on tails and sheer cat appeal. All together it’s an extravaganza of great music, amazing dance, a wonderful set of a rubbish-tip under the light of a Jellicle moon, and terrific effects that support and enhance the songs.

There’s no doubt the audience has come looking forward to hearing and seeing their favourite poems-turned-musical-numbers, and the biggest rounds of applause come after these. ‘McCavity’ (James Cooper), he of hidden-paw repute, is always a delight; ‘Gus the Theatre Cat’ (Josh Piterman) provides a poignant tale; and for ‘Skimbleshanks the Railway Cat’ (Ross Hannaford) the chorus produces a great effect by converting items of trash from the rubbish-dump set into a very effective train.

‘The Magical Mr Mistoffeles’ number, made even more dramatic by the acrobatic dance of Christopher Favaloro, is a highlight, though I really did want to see those seven kittens come out of a hat. 

Mungojerrie (Brent Osborne) and Rumpleteazer’s (Dominique Hamilton) number is spectacular, the conclusion to their dance bringing great applause. Matt McFarlane as Munkustrap, the show’s narrator, always looks the part and his voice is powerful and clear. Old Deuteronomy (Jason Wasley) is also vocally very strong.

The star, though, is undoubtedly Sophia Ragavelas as Grizabella. Her reprise of ‘Memory’ is a vocal triumph. But the whole clowder/ cluster/ colony/ clan or whatever you call this cast of Cats can’t be faulted. There’s not a paw put wrong throughout by these jellicle (dear little) cats.

The London production of Cats, deservedly, had a 21-year run and this touring production is a revival of the West End show. The mainly Australian cast has a huge amount of talent and experience in theatre, opera, and dance between them. 

Okay, to me it’s not 100 per cent purrfect, as the publicity suggests, but it comes within a whisker of it. The early musical number ‘The Naming of the Cats’, delivered by the cat chorus, is tonally effective but the clarity of the lyrics suffer – it would be better delivered by single voices in turn.

I, and others heard commenting, would really welcome seeing further feline features – ears, whiskers and more distinctive faces – on the cats. As it turns out, members of the audience dressing in the spirit of the occasion sport more of these than are seen on stage. After the orchestra’s sterling performance, dare I suggest the sound could be notched back a few decibels in a couple of places.

But be assured, these are minor quibbles when put alongside all that is great about this production. Cat lover or not, it’s a chance to come to world-class musical theatre that’s a jellicle ball. There’s a handful of kitty kibble for you if you can come out without the tune of ‘Memory’ on your lips.

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