The Jellicle cats have returned to London, and they could not have chosen a more fitting stage than the lush greenery of Regent's Park Open Air theatre. The trees rustle as they prowl, and the brilliant moon on the steel crescent set shines down on their nightly revels. The big cats at London Zoo nearby would surely approve—up to a point.
Directed and newly choreographed by Drew McOnie, this production is more balletic and graceful than the 1981 original, and it firmly distances itself from Tom Hooper's 2019 film adaptation, which many critics panned (though some, including this reviewer, found it oddly endearing). Sami Fendall's set glimmers and glitters, while her costumes evolve from earthy tones into flamboyant leotards and catsuits.
A Dance-Heavy Revival
This perky crew don't just sit and sit like the Old Gumbie Cat—they dance and dance and dance through the flimsy, patchwork story of Jellicle cats convening for an annual ball, where one will be reborn for another chance at life. Based on TS Eliot's playful 1939 collection Old Possum's Book of Practical Cats, Lloyd Webber's musical is only slightly less strange in concept than his singing train carriages in Starlight Express, which was also recently revived. As with the poems, the musical is structured as a series of vignettes introducing each cat contender, resembling an elegant feline variety show at times, and an old-school film fantasia at others.
That is partly the problem: it is a hodgepodge in style, although always very stylish. The musical's sung-through nature does not lend itself to cohesive storytelling, and the balance here is tipped too much in one direction, making it seem like Cats: The Dance, with extended choreographed sequences and circus-like acrobatics. This results in some lovely expressive scenes but makes the structure even more disjointed, with less of a story to bind it together.
Characterful Cats and Standout Performances
Some of the cats are more characterful than others: Old Deuteronomy (Melanie La Barrie) plods around a little generically, Macavity (Dianté Lodge) is sufficiently mysterious, and the criminal duo Mungojerrie (Danny Nattrass) and Rumpleteazer (Briana Craig) come across as a classic variety hall double act. The highlight, without doubt, is Rum Tum Tugger with his eponymous song, which Jaydon Vijn delivers with the hip-thrusting swagger of a young Mick Jagger, David Bowie, and an alley cat on heat, all rolled into one. Vijn brings so much attitude and personality that you wish the others could all be a little more Rum Tum.
Gumbie Cat (Charlotte Riby) is endearing when her eponymous number comes up, but Gary Wilmot's comic chops seem wasted on his turn as Gus, the old, nostalgic theatrical cat. Why not cast him in a more playful role? Mr Mistoffelees (Jet Yau) also showcases some street dance, spinning on his head, adding to the acrobatic flair.
Understudy Shines in Memory
Taziva-Faye Katsande, an understudy stepping in as Grizabella, builds to a storming final rendition of Memory, the show's signature song. Her vocal abilities are faultless, but her characterisation is less polished, leaving you wondering who Grizabella is exactly and what has got her back up.
The ensemble often falls out of character, becoming a preening, prowling chorus that feels too much like a collective. Some of the movement between cats has a slow, ritualistic quality that verges on corny and slows the pace considerably. By the end, you well and truly know how to address these cats, but you would also quite like them to curl up and take a nap now.
Cats runs at Regent's Park Open Air theatre, London, until 19 September, then tours the UK and Ireland until 19 June 2027.
