Cats

Andrew Lloyd Webbers famously long running sung through musical based on the 1939 poetry collection “The Old Possums Book of Practical Cats” by T S Elliott tells the story of a tribe of cats called the Jellicles and the night they make the Jellicle choice deciding which cat will ascend to the Heaviside layer and come back to  a new life. The show famously ran for 21 years in the west end and has toured a number of times. Originally conceived as a musical in the round, it has adapted over the years to a traditional proscenium arch format. I would suspect that most audiences wouldn’t realise what the story actually was about as it is often so tempting just to sit back and let the entire dance spectacle just unfold in front of you without too much care as to what it actually means.

When Cats was eventually released for amateur performance there was much conjecture as to just how many groups would be able to satisfactorily present this show, especially given the non-copying element in the contract and considering the publics expectations with regards to what they would see.

Well, the non-copying clause appears not to have caused much concern as most groups have managed to get so close to the publics visual expectations that it matters not.

The other, and more major consideration, is the actual performance of this piece, which is primarily danced through, with some very lengthy dance sections. While many amateur groups, especially larger ones, have many female dancers, it is true to say that most do not have many good male dancers. They have men who can move, but perhaps are not adept dancers. This, in itself, presents the major challenge.

 

Thankfully many groups have met this challenge head on, and Tops are no exception. The decision was taken to rehearse over an extended period of time and working so hard at the show over this 7 month period ensured that even those male cast members who would be considered movers, but not dancers, stepped up to the bar most effectively. Although the production wasn’t overloaded with male performers, not one of those required to engage in much of the dancing, stood out as not effectively managing what was required of them. The months of hard work paid off handsomely.

The production had pace and energy and excellent choreography by Tracey which ensured the band of cats was forever on the move, from lurking in the shadows, to overt displays of dancing prowess. There were some really impressive set pieces that must have taken many hours of plotting and revision to perfect.

Of course, the headline, and most famous,  number in this show is “Memory” here sung most effectively by Jo Button as Grizabella. She gave this number pathos and emotion and was at her most effective as she flew off precariously to the Heaviside layer. But in this production, there was much else to impress.

 

For me, the headline moments were Sarah Montague as Bombalurina and Harriet Loveridge as Demeter and their number “Macavity the Mystery cat” which was a highlight, Paul Michaels as Gus the Theatre Cat, Gary Abraham as Old Deuteronomy keeping watch over the cats from his position up high, Dan Sinnott as Mungo Jerry, but especially Sam Tyler who was most impressive as the swaggering Rum Tum Tugger. Sam Loveridge in his first major role had an impressive first entrance flying in from above as Mister Mistoffelees.

 

My favourite big set pieces were Growltigers Last Stand, Skimbleshanks the railway Cat, and Gus the Theatre Cat. All of these large set pieces appear in act 2 and it is fair to say that the shows best moments happen in Act 2 , much of act 1 being taken establishing the setting, the story (such as it is and such as the audience would understand) and a very long opening section, that must have taken weeks to set.

It is true to say, and I make no bones about it, that this show is not my favourite, but this production was hugely impressive, being a culmination of much hard work and determination. The choreography, the set and the costumes all impressed as did the musical accompaniment from Rob’s usual impressive musicians.

It is always hugely gratifying when a challenge such as this is so magnificently met, and even though I had no connection with this production I did feel a sense of quiet satisfaction that all my Tops buddies had pulled this one off so effectively.

 

 

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