Performance Run - Thurs 9 Jul - Sat 5 Sep 2015

Performance Reviewed - Tues 21 Jul 2015

It’s difficult to imagine Cats ever being resigned to ‘memory’ given it’s recent slew of high profile revivals and re-imaginings. One of Andrew Lloyd-Webber’s earliest and most beloved pieces, the musical journey through the word of ‘Jellicle’ felines, based on T.S. Eliot’s Old Possum’s Book of Practical Cats, has had two major National (and indeed, International) tours in as many years, a recent much-celebrated West End run with Nicole Scherzinger on Olivier-nominated form headlining as Grizabella, and has now secured itself a summer tenure in Blackpool, with TV and recording veteran Jane McDonald donning the whiskers and paws for the first time in her musical theatre debut (outside of last year’s Birmingham pantomime). And whilst it may be more than a cat’s whisker away from the West End, and initially ushered in some premature uncertainty in its choice of replacement leading lady, Cats continues to affirm why it remains as popular and prevalent as ever; with a thoroughly impressive production in scope and scale (unsurprisingly, this being the London production merely shunted ‘Up North’), Lloyd-Webber’s timeless score and a company bursting with talent and impressive performances, not least of all McDonald’s pitch-perfect, disarmingly powerful starring turn.

For those unfamiliar, Cats follows the story of a tribe of nimble, toe-tapping yet dump-dwelling ‘Jellicle’ cats who come together for an annual celebration ball where one of them will be chosen by their venerable leader, Old Deuteronomy (Adam Linstead) for the prestigious honour of ascending to the ‘heavyside layer’ up above where they can be reborn into a new, better life. That is essentially the full gamut as far as the narrative goes, bar a few minor deviations and side-steps (kidnap!…. Cat-nap?), with the show mostly consisting of a series of vignettes showcasing its eclectic mix of characters each with their own particular niche, backstory or angle to be presented in song and dance.

It’s a relatively unique structure and approach, picking and choosing from the source material as it does, and even to this day remains completely distinctive and decidedly high-concept. For those who are not already familiar with the production, then it’s kaleidoscopic, bricolage approach as opposed to a more traditional narrative structure may alienate some expecting a more conventional musical theatre experience. The upside, however, is that this ensemble, almost Vaudeville approach keeps things fresh and brilliantly paced, with a soundtrack and slew of content equally as diverse and imaginative as anything Lloyd Webber has produced. From the jazz and blues stylings of ‘Macavity’, the 1920’s swing vibe of ‘The Old Gumbie Cat’, the newly updated rap stylings of ‘The Rum Tum Tugger’ through to iconic standard ‘Memory’, this remains one of the composer’s most enduring, varied and charismatic bodies of music.

The newly re-shuffled cast, featuring a continuation of some of it’s London company, are exceptional - in fact, the degree to which each of the cast disappear into the idiosyncrasies and mannerisms of their feline counterparts is the most impressive I have seen in a production of the show. With such a strong onus on physicality and movement, coupled with the show’s almost operatic approach occasionally married with mime, the technical skill of its ensemble is pivotal, and it is where this cast absolutely shine. Aided by remarkably characterful, almost balletic choreography and donning the trademark costumes and make-up of the show (which remain as distinctive and effective as ever), this is a troupe at industry-leading standards of brilliance, and ensures Cats remains a brilliantly kinetic and exciting visual treat.

Amongst the cast, Matt Krzan commands attention throughout as narrator-of-sorts Munkustrap, bringing nobility, majesty and rich vocals to the role.  Adam Linstead is in fine voice and gentle presence as Old Deuteronomy, whilst Evan James is supremely charismatic and engaging as Skimbleshanks the railway cat. Paul F Monaghan, a veteran of the production, continues to impress with his versatility in multiple roles, from the bumbling, somewhat self-important Bustopher Jones, the rambunctious, booming Growltiger through to his tender, beautiful observation of Asparagus ‘Gus’ the theatre cat. Rum Tum Tugger, meanwhile, has been given a notable redesign both visually and audibly as mentioned, being re-filtered through what appears to be the lens of early 1990’s rap rather than the contemporary feel perhaps aimed for. Thankfully though, despite the potentially divisive re-direction for the character, Jack Butterworth is utterly delicious in the role, completely disappearing into the cocksure swagger and effortless sex appeal and charm of this Rum Tum Mk II.

All eyes and expectations, however, are undoubtedly on McDonald as the iconic Grizabella. As mentioned, some were left unconvinced or even bemused by the announcement that the singer and TV presenter would don the iconic role, and yet whilst the nature of the part gives her little to do in the first Act other than bumble about forlornly, by the time she reaches the searing, heart-rending tour-de-force of ‘Memory’ towards the end of Act II, which McDonald absolutely tears through the auditorium, all doubters have been duly, and powerfully, silenced. There’s also something incredibly fitting and poignant in having a slightly older (due emphasis on slightly!) veteran of the showbiz world bring those years and experience to the character. Whilst McDonald in real life remains as energised, upbeat and vibrant as ever, there is pathos and resonance as you watch her Grizabella recall former days of glory, tentatively revisit dance steps and movements of an earlier life and generally lament days gone by in a way that is mostly lost on some of the younger, more ingenue types that have previously taken on the role.

Incredibly faithful and a brilliant celebration of the strengths and uniqueness of the original show, this latest production of Cats will surely delight existing fans whilst converting newcomers in the process. Given it’s almost vaudeville/revue structure and distinctive look and feel, it is perhaps more of an acquired taste than even some of Lloyd Webber’s other output, and yet at the same time seems somehow perfectly at home in Blackpool. Cats remains mostly terrific fun throughout, with catchy, memorable showtunes and terrific audio-visual design, including the fantastic, expansive set and staging design lifted straight from London.  Add into the mix a simply stellar company whose performances both physical and vocal are amongst the most impressive and entertaining you will likely find on stage outside of London, and Cats is an easy recommendation and the purr-fect reason to be Blackpool-bound this summer. 

And if Cats do indeed have nine lives, then this particularly is one that certainly hasn’t been wasted...

 

RATING - ★★★★

 

CATS is running at the Opera House Theatre, Winter Gardens Blackpool from Thursday 9 July to Saturday 5 September 2015.

CLICK HERE for more information on the show and to book your own tickets!

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Press tickets for this performance of 'Cats' were provided courtesy of Rhodes Media. The author gratefully acknowledges their generous invitation.