“Cats”, a musical derived from 14 poems written by TS Eliot, with a score by Sir Andrew Lloyd Webber and additional lyrics by Trevor Nunn is a beautifully produced theatrical experience. It is well directed, produced, and choreographed. All of this unites to transcend its meager beginnings as childrens literature to become a magnificent allegory with an uplifting theme.

 The production uses the premise of a group of cats, known as “Jellicle” cats, coming together for their annual Jellicle Ball. It is here that Old Deuteronomy (Ken Page) will choose the next cat to ascend to the Heaviside Layer, a feline version of Nirvana. All throughout, we are introduced to a plethora of characters, from the aristocratic Bustopher Jones (James Barron), to the mischievous thieves Mungojerrie (Drew Varley) and Rumpelteaser (Jo Gibb).

 Cameron Macintosh directed the musical in London in 1981, and all of the productions since, including Broadway and all touring versions, have been produced in his mold.

 This version is no exception, and only the lighting is changed. Instead of being the subtle, almost moon like luminescence that the original uses, this production make use of glamourous neon, halogen lamps, and special stage lights. Spotlight’s hidden in the backdrop provide lighting that creates a star lit feel.

 The set is exactly the same as any other set used for Cats, comprised of oversized pieces of trash. There are some cleverly utilized devices on the set. Among these include a car, which Jennyany Dots (Susie McKenna) appears from, and from the taillight of the same car Mistoffelees (Jacob Brent) takes his magical cloth. Others include oversized tires, ramps and old doors that the performers utilize for entrances and exits.

 The use of oversized props added to the charm. In the middle of the opening number, “Jellicle song for Jellicle Cat’s”, a large boot falls out of the sky into the middle of the stage, bringing the show to a temporary stop. In the Bustopher Jones number, the title character uses an over sized silver spoon as a scepter and a large, ragged top hat as a seat. The most grandiose use of props came in “Skimbleshanks; the Railway cat”, when the whole cast created a huge train out of umbrellas, bicycle wheels, a red tube and a flashlight.

 Two of the most effective devices used are costumes and makeup. The spandex outfits come across as seductive, and graceful. They are printed in exotic colours and prints for the most part, although some are monochromatic. Everyone wears knee and elbow pads, altered to resemble cat fur. A belt around the hips attaches the tail, and does not inhibit the dancers. The wigs wrap around the whole face to give the same angles that a cats face contains. Even the upper tips come to a point, creating the illusion of ears.

 Two numbers required extra costumes, “Jennyany Dots” and “Of The Terrible Battle Of The Pekes and The Pollicles”. In “Jennyany Dots”, the cats used garbage bags to reproduce beetle shells, which turns out to be very effective. In the same number they use doilies and other pieces of trash to create mouse masks. In “The Terrible Battle of the Pekes and the Pollicles”, they use shoeboxes, cardboard, old fabric, and human shoes amongst other items, to become dogs, which seem more loveable than intimidating.
The make up was a process that was hours long. Each performer had theirs done to accommodate the expression of their faces. When they looked solemn, the make up looked solemn with them, if they looked happy the make up took that expression on too.

 The strongest manifestation of their mood would have to be in their movement. Choreographer Gillian Lynne created elaborate dances that complemented the music perfectly. In “The Invitation to the Jellicle Ball”, Victoria (Phydillia Crowley Smith) exemplifies the soft gracefulness of cats in a solo performance. But when Mistoffelees leaps onto the stage, the mood and movement change entirely to an energetic duet. The only flaw is in the performance of “Memory”, when Elaine Paige, in a moment of dismay throws herself to the ground. When she resumes her singing, she is still lying on the floor, muffling the sound.

The casting was excellent, with one exception, John Partridge, who played the Rum Tum Tugger. The decidedly effeminate performer was attempting to play a womanizing, masculine tomcat, a role that he failed to succeed in. One of the successes include 90 year old Sir John Mills, who shines in a minor role as Gus; the Theatre Cat. He best encapsulates the lost, saddened, frail creature that the lyrics conjure. All performers portray a whole spectrum of emotions from sadness and sympathy to chipperness and amusement all throughout the play.

 As the entire play is derived from poetry, there is no dialogue what so ever. The only way they could effectively portray their characters is through movement, pantomime, tone of voice, and facial expression. This must put a strain on the performers, although it is never shown.

 Each performer utilizes these, although Elaine Paige, who reprises her role as Grizabella, employs all of these to their maximum potential. Another outstanding performer is Ken Page as Old Deuteronomy. He seems to command a respect that can be likened to the respect we give to the Dalai Lama or the Pope. These mentioned few are the cream of the crop, but on the whole the entire cast performs exceptionally.

Towards the end, when Old Deuteronomy seems almost ready to announce his decision, Grizabella makes an appearance. This time no one leaves as they had before, but they still turn their backs on her.
Nonetheless, she speaks. She breaks into the song “Memory”, about a time past, a time that was better but a time that was lost. In this performance she interprets the lyrics in a different way than she ever had before. In the past, she had belted the song out, creating a pompous finale for a sad creature. This time she sings the words in a melancholy voice, meek and still waiting for approval, instead of knowing it was coming. It reached deeper into the hearts of both the audience and the Jellicles than it ever had before.

Finally, Victoria reaches out and holds her hand and brings them to her own face, giving Grizabella the satisfaction, relief and happiness that she had almost lost. It was then that everyone knew that she was the one who deserved to be reborn in the Heaviside layer. Old Deuteronomy even escorted her right up to the stairwell that led to the cat heaven (a floating tire) and watched her leave them.

Overall this play was an enchanting work, that is deserving of any praise it receives.  It’s something that will appeal to anyone. Children will especially appreciate the amazing choreography and the neutral spirituality will appeal to all. Some will recognize the allegory of Socrates, who was a man who said things that no one wanted to hear, but needed to be said and was shunned from the community, eventually to be killed. Although Grizabella wasn’t killed, she did go to heaven. The simple theme of looking beyond what you can see on the surface to appreciate inner beauty will appeal to everyone. The play can rekindle that light of hope for a better future that everyone keeps within their heart.