Purrr-fect ‘Cats’ Revival Returns to Marcus Broadway Series

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Photo by Matthew Murphy

'Cats' 2022 North American Tour

'Cats' 2022 North American Tour

They prowl. They preen. They pounce. They pose. Just like your cat at home. But the Cats who are part of the “Broadway at the Marcus Center” series can do much more. They somersault, tap dance, do cartwheels, slide down a car hood, talk and sing. There’s rarely a millisecond that the cast of Cats isn’t doing something worth watching. Combined with the music of Andrew Lloyd Webber and the poems of T.S. Eliot, this Cats creates a magical spectacle for audiences of all ages.

The national tour of Cats opened on Tuesday night at the Marcus Performing Arts Center, with performances continuing through May 15.

The musical phenomenon known as Cats is the fourth longest-running show in Broadway history, and the winner of seven Tony Awards. It has been around for 40 years, and many theatergoers have seen this show almost too many times to count.

This non-Equity national touring company doesn’t have any “name” performers, but Cats doesn’t really need any (with one particular exception). Instead, it has a youthful, joyous and talented group of performers who must act, sing and dance their hearts out for every performance. They are spectacular to watch in this two and a half-hour production.

A Primer for Newcomers

For Cats newbies, the musical is based on T.S. Eliot’s 1939 poetry book titled, Old Possum’s Book of Practical Cats. Most of the dialogue and song lyrics can be directly tied to the book, resulting in silly character names such as “Skimbleshanks,” “Rum Tum Tugger” and “Old Deuteronomy.” They are part of a much larger group of felines known as the Jellicle Cats. They gather in a junkyard one night each year for a Jellicle Ball. A wise elder named Old Deuteronomy (whose costume looks mostly like a reconstructed shag rug) appears onstage to announce the name of the cat who will travel “up, up, up” to a cat-version of heaven. There, the chosen one will be reborn as a new cat.

Before that happens, however, the audience is treated to a loose-knit collection of vignettes. Each one is meant to be savored. The show is the most thrilling during the big production numbers, where a huge number of individual “cats” frolic in the moonlight.

Andy Blankenbuehler’s choreography is strongly based on the original by Gillian Lynne, and it is mesmerizing to watch. Each cast member, wearing their own distinct outfit and makeup, reacts individually to events happening onstage. It is Webber’s music, however, that makes the most lasting impact. Don’t be surprised if you find yourself humming these tunes on your way home after the show.

Making Dreams Come True

Imagine how you would feel if you were a young kid in the audience, watching Cats for the first time. You are transfixed. Then a few years go by, and you work hard to learn your lessons in ballet, jazz, tap, singing, acting, etc. Then, on one miraculous day, you audition for a production of Cats. Out of hundreds of applicants, it is your name that appears on the casting list.

That’s the level at which this cast performs—as though they are experiencing a lifelong dream. It is impossible to describe the high energy level, physical dexterity and singing talent you are about to witness.

This reviewer—who clearly remembers seeing Cats at Broadway’s cavernous Wintergarden Theatre—will never forget being dazzled by this innovative show. In preparation for the opening, the theater had been transformed into a junkyard that extended far beyond the proscenium frame. The cats would slink along these oversized pieces of “trash” located far above the seats. Sitting in the audience, you’d think that one missed paw-step would cause a “cat” to fall into your lap.

Even those who’ve never seen a production of Cats has probably heard the song standard, “Memory.” In the show it is sung by Grizabella, an elderly feline who walks with an arthritic limp. Her fur is matted, and she is mostly avoided by the other Jellicle cats. On Tuesday’s opening performance, it was an understudy, Kelliann DeCarlo, who took the part. Her Grisabella had the right blend of poignance and wistfulness. Her voice soared as she sang of the days when Grisabella was young and beautiful.

Ascending to the ‘Heaviside Layer’

At the end of the show, it is Grisabella who is chosen to reach “the Heaviside layer.” The technical contraption that makes this happen looked a bit corny 40 years ago, and it hasn’t improved with age. Still, there’s an onstage hush as Grisabella ascends, disappearing into the mist.

In addition to Grisabella, some of the other highlights include: a particularly sharp duet by Mungojerrie and Rumpelteaser (Max Craven and Allison Lian). They display the precision of an Olympic ice-skating couple. Also, appearing as two of the show’s main characters, Bustopher Jones and “Gus, the theater cat,” is the abundantly talented theater veteran John Anker Bow. And as Old Deuteronomy, Indalecio de Jesus Valentin displays the necessary qualities of wisdom, kindness and deep vocal range this character requires. Finally, Paul Giarratano impresses with his moves as “the magical Mr. Mistoffelees.”

But the entire cast, not to mention an excellent live orchestra, deserve plaudits for their performance. John Napier’s costumes and set design are wonderful, as is Natasha Katz’s sparkling lighting design (which includes numerous special effects), and John Napier’s sound design. Trevor Nunn directs, with music direction by Jonathan Gorst.

Cats continues through Sunday at the Marcus Performing Arts Center, 929 N. Water Street. Masks are optional, but encouraged. For ticket information, call 414-273-7121, or visit marcuscenter.org.