If you like your cast cat-like, your kicks high, and your fourth wall broken, you won’t want to miss CATS. Andrew Lloyd Webber’s beloved musical has been seen by 81 million people since it opened in 1981. Now, its 40th Anniversary Australian tour – starring Gabriyel Thomas, Todd McKenney, Mark Vincent and Lucy Maunder – is playing at Crown Theatre Perth.
With a score inspired by T.S. Eliot’s Old Possum’s Book of Practical Cats, CATS tells the story of the Jellicle cat tribe. On one night a year at the Jellicle Ball, their leader, Old Deuteronomy (Mark Vincent), announces which of them will go up to The Heaviside Layer to be reborn.
This is less of a plot and more of a premise; CATS doesn’t follow a traditional plot structure as much as it invites you into a moonlit alley and robs you of your boredom.
Through a series of connected vignettes, the story unfolds like a vivid dream held together by the strength of its fourth-wall-breaking ensemble. The entirety of the production takes place in an eclectic alleyway/junkyard set, with a prominent full moon overlooking discarded cars, white goods, hubcaps, number plates, rags, and tyres.
Attention is given to dimension – there are multiple levels for the cats to climb on (and in), whilst leaving plenty of room for dancing. And just because the set is stationary doesn’t mean it can’t transform.
CATS begins with its infamous overture, an evolving light display, and cats pouncing their way through the aisles to the stage. From the very first line, questions like: “Can you see in the dark?” are directed towards the audience, pulling them into the Jellicle world with expository rhyme, dramatic music and cat-like choreography.
The structure of CATS, is in seven steps:
1. Surreal and intriguing weirdness
2. Cats chanting in unison
3. Back-to-back songs about various characters
4. A kidnapping!
5. A rescue!
6. Ascension
7. Applause
The majority of the show occurs in Step 3 (back-to-back songs about various characters), which sounds like odd pacing, because it is. CATS really is like no other musical. It makes its own rules, which has probably contributed to its remarkable longevity.
The order in which the cats are introduced is interesting. For example, Rum Tum Tugger (Des Flanagan) is a contrary cat, whose thrusting flamboyance is beloved by all. His song precedes the appearance of Grizella the Glamour Cat (Gabriyel Thomas), who is hated by all, presumably because she is no longer glamorous.
The contrast between the other cats’ reactions to these two characters emphasises their differences, strengthening the impact of both songs. Neither Thomas nor Flanagan needs help in the song-strengthening department, to be clear. Both performers are electric, from their feline physicality to their vocal prowess.
Todd McKenney is brilliant as both Bustopher Jones and Asparagus the Theatre Cat. As the former, his distinguished rotundity elicits deference from the other cats. As Asparagus – accompanied by the talented Lucy Maunder as Jellylorum – McKenney’s countenance transforms by decades as he regales other cats with tales from his distant youth.
Unlike Grizabella, Asparagus is not hated for failing to remain the cat he once was. But like Grizabella, Asparagus lives in the past. Neither have let go of the life they no longer have, but neither do they embrace their current existence outside the lens of what once was.
Macavity the Mystery Cat’s dramatic appearance incorporates the illusion of teleportation, with threatening laughter and ominous lighting underlining his villainous nature. Accompanied by Demeter (Olivia Carniato) and Bombalurina (Mia Dabkowski-Chandler), this jazzy song shines under the light of its compositional quality and the ability of the cast.
Enter Tim Haskayne as the Magical Mr Mistoffelees – dramatic lighting, a massive shadow, and a costume of glittering stars set this clear crowd favourite apart from the rest.
The lighting design distinguishes him by soaking the stage in purples and greens, as opposed to the cool blues and warm orange-reds of other scenes. Misdirection, a red piece of cloth, and an everlasting series of spins are the multiple cherries on top of this choreographic treat.
Just before dawn, it’s time for that song. The entire emotional weight of CATS hangs on the execution of Memory, and Gabriyel Thomas does it justice. Her hauntingly powerful vocals bring emotional complexity to this iconic ballad about change, nostalgia, and new beginnings. It’s not a mystery how CATS made history. The entire production is worth seeing just for this song alone.
The most important takeaways from this musical are: how to address a cat (or, for the exemplary costume department, how to dress one) and to say a cat is not a dog.
Perhaps the message here is to define something by what it isn’t, instead of what it is, as in the case of Grizella the Glamour Cat? Or maybe there is no deeper message. Maybe CATS is all in the spirit of fun, which is reason enough in itself.
CATS might not be the deepest musical ever to grace the stage, but it delights audiences, is visually spectacular, and showcases the impressive talents of cast and crew alike. The music, choreography, lighting, costumes, and set design combine to create the kind of magic that explains why this musical has had a 40-year run (so far).
So how should one address these cats? With thunderous applause, of course!
CATS the Musical runs in Perth until 6 December at Crown Theatre, Great Eastern Highway, Burswood WA 6100.
It then tours to Melbourne and Brisbane.
Tickets: https://catsthemusical.com.au/tickets/perth/
Website: https://catsthemusical.com.au/
Socials: https://www.instagram.com/catsthemusicalau/
Photo credits: Daniel Boud
