Cats

They say domestic cats have nine lives. I don’t know about that, but I’m fairly certain most people have already had at least one Cats life. Not me though. The current touring production is my very first experience of Cats, despite the various incarnations of this Andrew Lloyd Webber phenomenon over 35 years.

Whatever the level of critical success the musical has achieved in the past, this latest production of Cats is vibrant and exhilarating; it’s wonderful. It had a sellout season at the London Palladium and is now in the middle of its Australian tour.

The narrative is told through a series of tales (or is it tails?) derived from the poems in ‘Old Possum’s Book of Cats’ by T.S. Eliot. It’s a book read at bedtime to Andrew Lloyd Webber by his mother when the musical theatre genius was only six years old. Strange how a childhood memory can evolve into the germ of an idea.

Cats is the story of the Jellicle Cats, who gather on a particular night each year to reminisce, celebrate what they have achieved and choose the cat amongst them that will ascend to the Heaviside Layer and be reborn into the next of that feline’s many lives.

The setting is atmospheric, with a cloud-shrouded moon and stars shining above the intricately detailed junkyard in which the cats meet. Lighting is wonderful and extends into the auditorium on occasions, with alley lights roping around the Festival Theatre balconies.

The dancing is a standout; it is acrobatic, energetic and simply superb. While only one of the show’s songs, 'Memory', has been truly memorable over the years, the singing in this production is terrific.

For this production Andrew Lloyd Webber has reworked some sections, in conjunction with others in the Cats creative team. Cats purists will make their own judgement on the changes, which include a new look Rum Tum Tugger, who is no longer a Mick Jagger lookalike, but is instead a rapper, performed brilliantly by Daniel Assetta.

Delia Hannah has taken over the role of Grizabella from Delta Goodrem who played it, to mixed reviews, during the first part of the show’s current Australian season. Hannah brings a gravitas to the role, showing an empathy for the aged outcast, Grizabella, that has evolved from playing the character in three previous Australasian touring productions. Hannah’s voice is superb as she delivers the stirringly emotive song 'Memory'.

Another standout is Christopher Favaloro, as Mr Mistoffelees. His acrobatic dancing is breathtaking and brings rousing applause, as does this whole segment of the show, such is the energy on stage.

Jason Wasley is wonderful as Old Deuteronomy and Josh Piterman is a chameleon, instantly changing character and singing style with his Gus the Theatre Cat and Growltiger personas.

Many other performers could also be named as standing out among the cast, but in truth, every performer skillfully produces truly individual characterisation and this makes watching the whole ensemble an absolute delight.

In true Cats tradition, the felines interact with the audience, slinking into the auditorium to the delight of young and old.

For me, a couple of sections in the first half of the show are perhaps a tad long and this interrupts the purr of performance, but this is only a minor quibble.

As a Cats newbie I delighted in the colour, attention to detail and enhancement of character each costume and makeup choice achieved.

When describing chaotic and stubborn individuality, people often say, “It’s like herding cats”. In contradiction to the nature of the real creatures, the cool cats on stage at the Adelaide Festival Centre have come together. They’ve melded fine individual performance into a slick and highly entertaining ensemble work.

Directed by Trevor Nunn, with musical direction by Paul White and choreography by Gillian Lynne, this excellent production is the cat’s whiskers and will surely record a memorable and successful new chapter in the many lives of Cats.

Lesley Reed

Photographer: Hagen Hopkins