Cats AT THEATRE ROYAL PLYMOUTH
A breathtaking, mesmerising, transfixing revival.
For many years, Cats was the longest running musical on both the West End and Broadway and smashed Box Office records. In recent times, perhaps due to the disastrous movie adaptation, Cats has died down in popularity. This new production, directed and choreographed by Drew McConie seeks to bring in a new generation of fans by revamping the usual style and look of the production that audiences are used to and has given the production a new set, costumes and direction. These changes, from what I had seen, have had marmite feedback, but for me, the changes are very welcome.
First to address is the new costumes, they are very different to the original look and have been modernised, appearing more as artistic interpretations of the Cats rather than an obvious feline-like costume with fur and heavy face paint. I very quickly warmed to the new costumes, obvious fluffy costumes to tell us they are indeed cats are not necessary, the new looks gave every character more of a personality and encouraged us as the audience to use our imaginations. There are small nods to feline features such as long hair being tied up to appear like cat ears or little ears sitting atop hats, and subtle makeup was applied to all the performers. The word “cat” is sung many times throughout the show so dressing as a literal cat to spell it out for the audience is not necessary and these new costumes allow more freedom for the dancers to move in. The introduction to Gus the Theatre Cat in Act 2 is a nice nod to the original production as this costume looks the most like the original design with very heavy make-up and feline features. There was just one costume that I couldn’t warm to which was the new design of Macavity, the ears atop his head were extremely long and pointy which to me made him look more like an insect, the use of the pointy features of this costume however was very well used to create haunting shadows during his moments so I could understand the reasoning behind the design choice.
The scenery of this production takes place withing a forest-like setting, there are tree branches either side of the stage and a starry sky and bright full moon at the back of the stage. The stage remains bare throughout except for one crescent moon that can light up occasionally and acts as a space for the cats to climb onto and make their entrances and exits. The traditional junkyard setting has been removed, reinforcing the production’s desire to move away from the original. In its place, the new setting creates a more magical and mysterious atmosphere, offering a fresh and imaginative interpretation of the world of Cats. It also allows for much more space on the stage for the energetic ensemble choreography throughout the show.
Cats is very well known for its choreography and high energy dance routines and this version lives up to the expectations and then some. Drew McConie’s choreography is exquisite, it is modern without being overly abstract. A variety of dance styles is showcased throughout the production, with individual Cats displaying their own distinctive movements and techniques. These unique choreographic styles perfectly complement each character’s personality, adding another layer of individuality and bringing each feline vividly to life on stage. For example, Patricia Zhou, in the role of Cassandra, performs exquisite ballet steps throughout, including what I believe is called an arabesque, a beautiful, poised movement in which she rotates on one leg with remarkable balance and not the slightest wobble. Another style of dance introduced to the production lies with the magical Mr Mistoffelees, this was an excellent addition of breakdancing at an outstanding level of skill performed by Jet Yau. The way Jet was able to dance looked so freeing and natural but with immense skill, spinning on his head and balancing in incredible positions, this performance was one of the highlights of the night.
If you are more of a fan of the traditional musical theatre choreography seen in Cats, do not fear, it is there in abundance, my absolute favourite moment of the production came towards the end of Act 1, during “The Jellicle Ball”. The dance routine was nothing short of exhilarating. These performers are not only exceptional dancers but highly skilled gymnasts too, executing spectacular backflips across the stage and soaring into the air with impressive split leaps. This dance sequence was performed by the entire ensemble and was truly exciting to watch. The energetic music of this moment alongside the talent on the stage created a truly electrifying spectacle. The routine was met with an eruption of applause from the audience, and rightly so.
The sheer talent of this production’s cast makes it almost impossible to single out individual performers without mentioning every single member of the company. If there were an Olivier Award for Best Company, this cast would surely be a strong contender. When they sing together, their vocals soar with tremendous power and impact, while their phenomenal dancing is equally breathtaking. There is a notable strength and unity to this ensemble, whose collective talent makes the production such an exhilarating theatrical experience.
With that being said there are some honourable mentions within the company that deserve a mention, first to mention is Jaydon Vijn as Rum Tum Tugger, whose characterisation is superb, Rum Tum Tugger is renowned for his sex appeal and Jaydon absolutely embodies it, oozing confidence throughout. His commanding stage presence remains throughout the entirety of the production, never relaxing, and he maintains an effortlessly suave manner in every movement, perfectly capturing the irresistible appeal of this charismatic Cat. Another outstanding performance comes from Elliot Broadfoot, who takes on the roles of Bustopher Jones and Gus. The contrast between these two characters showcases Elliot’s exceptional character acting. Bustopher Jones radiates happiness, energy and cheeky charm, while Gus is a much older, frailer cat who immediately warms the hearts of the audience. Elliot brings wonderful depth and individuality to both roles, portraying each with such warmth and charm that they are an absolute delight to watch. Matthew Caputo in the role of Skimbleshanks is a knockout. His number follows directly after Gus’s more tender scenes, instantly lifting the atmosphere and bringing the audience back to an exhilarating high. Bursting with joy and energy, the number is a real spectacle, made even more entertaining by Matthew dancing atop an illuminated steam train. Matthew beams with happiness and enthusiasm as he sings and dances his way through this wonderfully lively number, his infectious energy making it impossible not to smile.
Perhaps the most iconic song in the entire show and undoubtedly the moment many audience members were waiting for, is the much-loved “Memory”, beautifully performed by Louise Dearman in the role of Grizabella. This rendition of the song is nothing short of breathtaking, her voice is spectacular and soars through the auditorium, leaving hairs on the back of your neck standing up and goosebumps all over, she performs the song with such passion and power that during the tender moments of the song you couldn’t hear a pin drop in the audience. The applause after this number blew the roof off the Theatre and even had a handful of standing ovations scattered in the auditorium. Her rendition of this song is simply exceptional, serving as yet another reminder of the extraordinary talent possessed by this entire company.
Overall, I believe that now is the time for us to fall in love with Cats again, forget the movie adaptation, forget the Cats you have seen before and immerse yourself in this new experience. It is impossible not to be in awe of the sheer talent being performed in front of you and if you are unsure of witnessing this new version, give it a try! For me, I would take this version over the original any day and could have quite happily walked back into the auditorium straight after the show and watched it all over again. Do not miss out, get your tickets for this production as it tours the country and let the memory live again!
⭐⭐⭐⭐⭐
SEAT REVIEW
Theatre Royal Plymouth: Stalls G6 (Gifted)
I'm a believer that there is not a bad seat at Theatre Royal Plymouth, though this seat was fantastic. There is a clear central view of the stage, legroom is good and there are not too many people to cross to get into the row. Toilets are a little walk away from the door you enter through but very close to the bar and cafe.
