CATS

Just when I thought I’d seen every conceivable interpretation of Cats the musical, along comes this sensational new amateur production. This second collaboration between Holiday Actors and the Warrnambool Theatre Company (since the sold-out season of Les Misérables in 2019) proves to be another audience favourite. Cats has brought together a cast of 47, an orchestra of 18 and a crew of 50 playing to capacity audiences yet again. Directors Geoff and Anne De Manser have created a show that encapsulates the fanciful nature of Cats purrfectly. There's plenty of surprises that leave you spellbound.

Even before showtime, I was in awe of the set design (by Lyle Russell & Geoff De Manser), which replicates the now defunct Warrnambool Woollen Mills, with which many locals in the audience would be familiar. The set includes giant spools, balls of knitting yarn, blankets and other items found at the mill including the exterior of the foreman’s office. The intriguing opening reveals a Security Guard (played by Ross McCorkell) quietly inspecting the mill with his lamp, making sure that nothing is untoward. During his silent meanderings I smiled to hear a little audience member chime 'I think the man is looking for the pussy cats'. After the guard exits the building, the cats start coming out of the woodwork to begin their night of festivities at the Jellicle Ball.  As the overture begins, the audience, many unaware of what lies ahead, are in for the ultimate collection of cat performances to rival any funny cat videos on Youtube.  

Performing the music in Cats 'is a difficult matter. It isn't just one of your holiday games!' The 18-piece band under the capable baton of Dean Mulholland is to be praised for their unflagging performance of Andrew Lloyd Webber's thrilling score. Webber's eclecticism is very strong here, with musical genres ranging from classical to pop, music hall, jazz, rock and electro-acoustic music as well as hymn-like songs. The lyrics are based on ‘Old Possum's Book of Practical Cats’, the 1939 collection of whimsical poems by T. S. Eliot about feline psychology and sociology. Vocal Director Elana Agnew has done an incredible job, coaching such a large cast in so many different vocal styles. The cast, ranging from preteens to mature adults, articulated the difficult lyrics with clarity for the most part. Not an easy thing to do, especially during fast dance sequences. Numerous dance styles - ballet, contemporary, jazz, tap along with acrobatics - have been superbly choreographed by Nicky McKenzie. Obviously this is challenging for the dancers, considering the relatively small stage space surrounding the set.

Act One highlights: Matt McNamara, in his musical debut, was captivating as Munkustrap, the master of ceremonies. Amy Hughes as Jennyanydots, and the ensemble, whipped up an energetic 1920's song and tap-dance showstopper. Taine De Manser (Rum Tum Tugger) was a crowd favourite as the flirtatious rock star-esque cat, originally intended as an homage to Rolling Stones frontman Mick Jagger. Edward Ezzy (Bustopher Jones) was the epitome of a cheerful Edwardian gentleman of leisure, complete with monocle and white spats. Zoe Borthwick and partner in crime Tazmyn Reuel, with possibly the most difficult vocal in the show, wowed the crowd with their signature tune ‘Mungojerrie and Rumpleteaser’. The casting of Old Deuteronomy is a unique one indeed. Warren Easley portrays Deuteronomy as a human-like, bearded wise man. Easley's command of the stage and his unique singing voice held the audience captive. Maja Pearson's vulnerable portrayal of Grizabella was magnetic. The audience was hanging off every word of the show's most famous song ‘Memory’.   

Act Two highlights: Ali McLaren (Jellylorum) and Hugh Bleming's (Asparagus) heart-warming rendition of ‘Gus The Theatre Cat’ was one of the most touching songs in the show. McLaren's vocals are ethereal and her stage presence enchanting. I was delighted to see ‘Growltiger's Last Stand’ included in Act 2. Occasionally omitted to reduce running time, this mini opera set onboard a pirate ship was a highlight of the evening. Paul Venzo (Growltiger) and Jane Duffy (Griddlebone) performed the Italian love duet ‘In Una Tepida Notte’ to rapturous applause. Elliot Cooper received one of the biggest ovations of the night for his portrayal of Skimbleshanks, the tabby cat who works on the mail trains, in his waistcoat complete with pocket watch chain. Vanessa Parkinson (Demeter) and Kaitlyn Gust's (Bombalurina) sassy rendition of ‘Macavity: The Mystery Cat’ nearly brought down the house.  Last, but not least, Zoee Boyden's (Mistress Mistoffelees) dance routine was on par with any professional production I've seen.

I want to give a big shout out to the 'kittens'. These young ones were always in character and kept in step with the older cast even in the most difficult dance routines. The finale ‘The Ad-dressing of Cats’ with full chorus and orchestra was sublime to say the least. After the bows, the cats came back onstage to put everything back in place, so when the Security Guard returned, he wouldn't notice anything amiss. Then when the audience expected the house lights to come up, one lone cat rose from centre stage and sang a finale. Zoe Borthwick’s haunting vocals were the cream on the cat's whiskers. I'm unable to credit all the cast, orchestra and creative team here, but they deserve high praise for this top-notch production.

Directors Geoff and Anne De Manser have really thought outside the box for this production to make it feel fresh and current.  Despite Covid, three postponements and many of the rehearsals online, Holiday Actors and the Warrnambool Theatre Company have presented another high class show worthy of many standing ovations.   

Theatre in West Victoria is back!  "Look!  A new day has begun!'

Jonathan Cox

Photographers: Greta Punch & Angela Kenna