Cats

Music by Andrew Lloyd Webber. From TS Elliot’s “Old Possum’s Book of Practical Cats”. Additional lyrics Trevor Nunn and Robert Stilgoe. Lunchbox Theatrical Productions, David Atkins Enterprises and BASE Entertainment Asia in association with The Really Useful Group. Associate Director/ Choreographer Joanne Robinson. Regent Theatre, Melbourne until the end of January, 2016, and touring.

Cats as a show does not need anyone’s approval. It has already had life around the world for 34 years. It has the seal of approval from over a million theatre-goers. So when I hear a reviewer carrying on in a foyer about what a dreadful load of old rubbish it is, without redeeming features, and how much he hated it (yet he took the tickets), I am forced to re-iterate that a critic’s job is to review the PRODUCTION, not the source. As a production, this new version is a success and highly entertaining.

Yes, the show is showing its age…34 is old for even Old Deuteronomy, but this production is based on the NEW West End production of last year and the composer himself has freshened up some of the music and ideas, the set has been updated (though I prefer the realism of the original junkyard), the band has been reduced to a much smaller 11 and is electric keyboard driven, giving a fresher and more modern feel to the music, and the whole thing feels surprisingly new and full of energy, despite still being rooted in a decade or so ago.

Over and above that, the wealth of talent, AUSTRALIAN talent, on the stage, is nothing short of inspirational. The cast balances the tightrope between great and super sensational…and, like all cats, always manages to land on its feet.

Matt McFarlane is just marvellous as Munkustrap. Full of charisma, he commands the stage at every entrance, bringing great dignity to the tabby cat and singing quite magnificently. Ross Hannaford is endearing and energetic as Skimbleshanks. He is always a performer your eyes go to in every show, but he has never been better, dancing and singing with audience winning appeal.

Josh Piterman shows once again why he is one of our finest young leading men. He breaks our hearts as Gus The Theatre Cat, makes us laugh as Bustopher Jones, and completely owns his role as the Pirate. His quick on-stage change from the aged palsied Gus to the dashing Growltiger in full tenor voice is memorable and he is complemented by the lovely voice of Samantha Morley, who is just perfect as Jellylorum.

Daniel Assetta nails the updated Rum Tum Tugger, in his low crotched pants and a terrific Rap, while the ensemble sings his original song as a backing…it’s a highly enjoyable and infectious number; and we were dancing in our seats. This is a dance show, but the highlight is surely Christopher Favallaro’s wonderful ballet solo as Mister Mistoffelees. Though slight of frame, Favallaro’s technique can’t be faulted. He was stunning; but almost as show stopping was Holly Meegan’s (JennyAnydots – the old Gumbycat) terrific tap routine with the Beetles – a brilliant tribute to old shows like 42^nd Street (did I imagine I hear an homage hook from the band?).

Sarah Kate Landy (Bombalurina) and Amy Berrisford (Demeter) make an absolute meal….fresh salmon topped with Caviar…of “MaCavity”. Both are supremely talented, and it doesn’t get much sexier than this.

And then there’s Grizabella…the Glamour Cat. Old, broken, discarded and on the streets, possibly diseased and shunned by the other cats, she lives wrapped only in her memories until given the chance to be reborn. It’s a role full of pathos and heartbreak, or it should be. I remember Debbie Byrne had me sobbing throughout “Memory”.

Let me say that Delta Goodrem is a STAR of the pop world and I am a fan of her recordings. She’s stunningly beautiful, has a great voice and certainly puts bums on seats. But she lacks the age and skills to play Grizabella, it’s that simple. Her shortcomings are even more obvious when surrounded by a triple threat ensemble that raises the bar at every entrance. It isn’t her fault that the rest of the cast is better, and she sings “Memory” well, but it’s a song, not the gut-wrenching story of a life gone by. Nor is it her fault that she was offered her the role – though her manager should have known better, but she only just gets away with the performance, and it is her fault she accepted it.

That aside, forget about comparisons with overseas productions, this home grown cast provides spectacular entertainment and makes you proud to be Australian, even if you’re NOT an ALW fan.

Coral Drouyn