Cats at Regent’s Park Open Air Theatre: A Skillful Yet Absurd Revival
Andrew Lloyd Webber's iconic 1981 musical, with its anthropomorphized felines, takes on a new life in an open-air setting. The show, while thrilling, is undeniably silly, transforming T.S. Eliot's whimsical poems into a redemption story. The revival, directed and choreographed by Drew McOnie, presents a spectacle of graceful acrobatics and ballet, with a cast that embodies the essence of feline pride and playfulness.
The circular stage, adorned with a giant 'C' and a full moon, sets the tone for this whimsical production. The opening sequence, with its glissades and leotarded actors, captivates the audience, inviting them into a world of Jellicle cats. Old Deuteronomy, played by Melanie La Barrie, presides over the annual Jellicle Ball, where the fate of these cats is decided.
The cast brings Eliot's characters to life with flair. Grizabella, portrayed by Taziva-Faye Katsande, exudes glamour and belts out the memorable 'Memory'. Mr. Mistoffelees, Rum Tum Tugger, and Jennayanydots showcase their unique personalities, from the enigmatic to the mischievous. The musical score, a blend of pop-rock, jazz, and nursery rhymes, adds to the show's charm, with a notable reggae influence in 'Jellicle Songs for Jellicle Cats'.
Eliot's verses, inspired by a bygone era, evoke a sense of nostalgia. The characters, like Mungojerrie and Rumpleteazer, speak with a playful London accent, transporting the audience to a time when theatres and steam trains had their own feline companions. The revival's choreography, a mix of flirtation and threat, showcases the cast's agility and grace, with a highlight being Jet Yau's dynamic breakdancing as Mr. Mistoffelees.
However, the show's absurdity is undeniable. The idea of cats, with their preening and stalking, resonating with audiences on a primal level is both fascinating and unsettling. The production's lack of a set and its reliance on smoke and lighting create an atmospheric experience, but the CGI anus reference in the review is a bit too much.
Despite its silliness, the revival is a testament to Lloyd Webber's ability to shape public taste. The stripped-back set and costumes, along with the fourth-wall breaking felines, made the original a West End phenomenon. McOnie's version, while more pedestrian, pays homage to the past and showcases the enduring appeal of this musical. The show's success lies in its skillful execution and its ability to entertain, even if it's deeply, deeply silly.
