Review by Annie Zeleznikow
Given its status as a cultural and musical juggernaut, I imagine I don’t need to explain the plot of CATS. Never mind that the plot is as simple as its title (it’s about Cats!) you don’t need to follow the plot closely to greatly enjoy the current production of CATS at Hamer Hall. Filled with magic and spectacle, Amy Berrisford (the resident director and choreographer) has brought a mystical and wonderous world filled with cats to life. This production begins with beautiful lighting ascending from stage up to the ceiling, foreshadowing the fate of one lucky cat. Throughout the show the lighting playfully adds to the whimsy of the cats, allow for some cats to sneak up on audience members, or appear out of nowhere. Howard Eaton (lighting designer) was able to entrench the audience in this delightful world through the dramatic and thoughtful lighting.
As cats slowly and lazily made their way to the stage for the show to begin, they enter a world set against an eclectic junk yard, complete with an oven and car trunk for easy cat shenanigans (designed by John Napier). Rubbish litters the front row of the audience, and the line between stage and seats are blurred. Each element of the design continues to pull audiences further into the world of CATS. The familiar electronic synth from the orchestra began to play (musical direction by Paul White), and immediately conjured tingles as I waited in the dark for some overzealous cats to paw at me from the aisle. This production, as expected, was filled with the classic and thrilling CATS audience engagement. Through elements of mystery and intrigue, a strong and immersive atmosphere encompassed the theatre.
The choreography began in earnest and I was in awe of the feline forms I saw before me, were these actual cats? The impressive technique of the performers, matched with excellent choreography, blurred the line between human and cat. The ensembles smooth movements were eye catching and engaging. The sharp choreography and the wall of vocal harmonies pulled the focus of the audience, and locked in their attention.
The audience is introduced, through some excellent pacing, to some of the specific cats we meet throughout the show. Up first was Gumbie Cat (Leigh Archer), whose jazzy song included significant and impressive tap dancing (choreographed by Bill Deamer). The ensemble transformed into giant tap dancing flies, the number rounded out with 1930’s style harmonies. Next Rum Tum Tugger (Des Flanagan) took centre stage, with great bravado and charisma. These introductions were fun to watch given that the actors looked like they were having a joyful time embodying beloved cats.
The parade of cat introductions continued, and Bustopher Jones (Todd McKenney) then introduced himself. This included some impressive prop work as McKenney danced with a giant spoon. Next, we meet Mungojerrie (Jake O’Brien) and Rumpleteazer (Savannah Lind), the delightful acrobatic duo. O’Brien and Lind were in sync, shocking the audience with their stamina to fly across the stage whilst singing and contributing to the Jellicle Ball. Their precise movements defied gravity, pushing their bodies to perform with impressive skill and grace.
Truly this show is about cats. However, if I were to sit and reflect more on this production, it’s clear that there is a large amount of social commentary on how we engage with those around us, and how perception of others overshadows their potential contributing values. We fail as a society when we only see what others can give us, and don’t value attributes that don’t serve us or the community as a whole. This is most clear in the cat’s treatment of Grizabella (Gabriyel Thomas). Her beautiful vocals were punctured by the bullying yowls of the other cats. She is an older cat, with stories that could be valuable to the group as a whole, but because of how she is perceived by the other cats she is ignored and ostracised. Act 1 concludes with Grizabella the Glamour cat, Thomas took the opportunity to sing with a gentle, reserved, balanced and beautiful voice. I sat in the audience and was surprised my thoughts took me through a deep sociological journey, trying to make sense of why the cats behave the way they do, and what that means for humanity.
After intermission, while the house lights remained on, the cats slowly make their way on stage, again leisurely and enjoyable toying with the audience. Throughout the second act the audience caught glimpses of Macavity (Edward Smith), as he causes chaos and strikes fear into the hearts of the other cats. He built tension that crashes as he, naturally, sings a song. With some major fosse dance moves, Macavity shimmies his way into trouble. This number was exquisitely choreographed and majestically executed.
The cats continue to sing songs about themselves. Todd McKenny as the elderly Asparagus was endearing, funny and silly. He enrapt the other cats in his stories of adventure. The ensemble puts on costumes made of found items, like boxes, and tell the tale of a dog battle. We then met Skimbleshanks (Tom Davis) the railway cat, who the ensemble introduces using elaborate props that one might find a junk yard. The creative proper work allows the audience to experience story telling in a magical way that remains grounded in the world the Cats are in. All the props feel appropriate for the setting, allow the audience to continuously be spellbound.
Mr Mistoffelees (Tim Haskayne) arrived to the Jellicle Ball in time to help undo the chaos created by Macavity. Rum Tum Tugger proceeded to delight in reminding the audience how wonderful Mr Mistoffelees is. The playful lighting enhanced Haskayne’s spell bounding dancing, as the audience watches the ensemble of cats continue to harass Grizabella. The set pieces move and work to enhance the story telling, creating a dramatic visual to mirror the dramatic ending of the show.
Ultimately cats are simple. They explain throughout the show that they are always either working, playing or thinking about their own name. Ending the show noting life can be simple, “this is this, and that is that.” I found this production to be beyond this or that. It was truly an unmissable experience.
CATS the Musical is now playing at Hamer Hall, Arts Centre Melbourne for a limited season.
For more information and tickets: https://catsthemusical.com.au/
Photo credit: Daniel Boud
