CATS

For those who have never seen Cats in one of its previous lives, the show is truly innovative and unique. For those of us who have seen and loved the show before, there may be an element of over-familiarisation and, yes, disappointment.

Health and safety issues have changed over the past 40 years, and that’s to the detriment of the production, though a benefit to the health of the performers. There is little in this production to excite us, like cats climbing the proscenium arch or walking along the edge of the upper circle on all fours, which lovers of the show remember from previous times. But these are restrictions that are beyond the control of the production. Then there is the story itself:-

For those who want a Boy meets Girl scenario, CATS is definitely NOT your show. The narrative is thin but there IS (contrary to some critics thinking) a storyline. All the cats gather on this one night so that one cat can be chosen to die and be reborn again. The concept is esoteric, but it’s a strong one. Do we deserve a second chance at life based on how we have lived this time round? Redemption and atonement are not your usual subjects for Musical Theatre, and not everyone relates to the themes of humanity.

That said, this cast provides plenty of magic in the performances, and there are moments of sheer bliss for all theatre lovers. Not since Debra Byrne broke our hearts when she wailed “touch me….” has there been a Grizabella with the profound vulnerability and poignancy of Gabriyel Thomas. She is simply superb. It isn’t just her understanding of the entire role and its lyrics, it’s the physicality she brings to every move. She is broken, dying, nothing left to give, and yet she commands the stage totally. I was not the only one wiping away tears. She brings new life to the music and lyrics of “Memory”, arguably the show’s most memorable song. It’s a magnificent performance.

Todd McKenney proves yet again that quality improves exponentially with age. He follows his superb performance as the Wizard in Wicked, with two delicious cameos. He’s enormous fun as the toffee-nosed Bustopher Jones, and deeply touching as Gus (Asparagus) The Theatre Cat. Old and palsied (though the tremors lapsed a couple of times) he epitomizes all the retired performers who still cling to that last dying ray of the limelight. McKenney need never yearn for the halcyon leading man days. He’s doing his best work here and now, and what performer could wish for more.

Mark Vincent’s voice has always been mellifluous, but age and life experience has given him a softness to temper the vocal power and a sweet pathos in the softer moments. He is deeply impressive as Old Deuteronomy.

Jarrod Draper is charismatic as Munkustrap, our virtual Master of Ceremonies. With a rich booming baritone voice, commanding stage presence and more than adequate dance skills, he is a true asset to the production.

Lucy Maunder brings warmth and charm to Jellylorum and, as always, the ensemble is terrific with special props to Jake O’Brien and Savannah Lind as Mungojerrie and Rumpleteaser.

But the star performance, above and beyond any other production I have seen, has to be Des Flanagan. He IS the character of Rum Tum Tugger. He struts, he props, he poses, he owns the stage. His vanity and arrogance as the tom cat are palpable, yet he manages to capture our hearts with charm and boyishness, and his energy is infectious - about 250 kilowatts more than anyone else on stage. He makes Rum Tum Tugger the bad boy that every woman has fallen in love with sometime. A delicious feline fantasy for all of us. Bravo. Simply irresistible.

For first timers and cat lovers, swaddle yourselves in the experience. You will not miss what you have never seen. For me, despite these being feral cats, it’s all rather over domesticated and very tame. Even Gillian Lynne’s acclaimed choreography seems quite dated now. Dance has moved on, but this CATS hasn’t. The set seems lacklustre, the make-up and costumes more basic and the Hamer Hall stage appears smaller and more restrictive than other Melbourne theatres that the show has played. Or perhaps my “Memory” is playing tricks.

That said, the shortcomings cannot erase the magic that has thrilled audiences worldwide since 1981. Those who have seen the show before, remember this is still a unique experience in theatre. CATS will always be an integral part of Music Theatre history, and undoubtedly we haven’t seen the last of it.

Coral Drouyn

Photographer: Daniel Boud