Cats at Regent’s Park Open Air Theatre: A Skillful Yet Absurd Revival
Andrew Lloyd Webber's iconic 1981 musical, 'Cats', takes on a new life in an open-air setting, transforming indoor felines into their outdoor counterparts. While the thrill of witnessing this legendary show in a magical outdoor venue is undeniable, the show itself is undeniably silly. The musical, based on T.S. Eliot's comic poems for his godchildren, is a song cycle loosely structured around a resurrection and redemption narrative.
The performance, directed and choreographed by Drew McOnie, presents a cast of actors in leotards with prosthetic ears and tails, slinking down the aisles with disdainful curiosity. This ensemble embodies the Jellicle Ball, an annual gathering of superior felines, where Old Deuteronomy (Melanie La Barrie) selects a candidate for the Heaviside Layer, a rebirth on Earth with a new identity.
The show features a range of characters, from the haughty Grizabella (Taziva-Faye Katsande) to the enigmatic Mr. Mistoffelees, the roguish Rum Tum Tugger, and the lazy Jennayanydots. The songs, while mostly pop-rock with jazz and nursery rhyme elements, are memorable, with 'Memory' standing out as anthemic. Eliot's verses, with their references to pet mousers and boozers in Tottenham Court Road, create a quaint, bygone atmosphere.
McOnie's direction brings a sinewy grace to the action, with acrobatical and balletical displays from the cast. The dynamic breakdancing interlude by Mr. Mistoffelees (Jet Yau) adds a surprising element. The show's atmosphere is enhanced by smoke, lighting, and the ensemble's bodies forming a rippling spine.
Despite the skillful mounting, the show's absurdity is undeniable. The stalking, preening, and back-arching moves of the cast, pretending to be pussies, resonate with audiences on a primal level. The elusive criminal Macavity's exit, igniting a ring of fire, is a memorable moment, albeit one that evokes an unpleasant comparison to the controversial CGI anuses in the 2019 film adaptation.
Lloyd Webber's dedication to reworking his past hits is commendable, especially after the cinematic disaster. McOnie's version, while more pedestrian and safe, is a testament to his ability to shape public taste. The show's stripped-back set and costumes, along with its fourth-wall-breaking felines, were radical for its time, becoming the West End's longest-running show and boosting Eliot's publisher, Faber's fortunes.
In conclusion, 'Cats' at Regent’s Park Open Air Theatre is a skillful revival, but it is also deeply, deeply silly. The show's combination of skill and absurdity makes it a captivating experience, leaving audiences enthralled and entertained, despite its inherent silliness.
