We take a look at what is being said about the revival of Andrew Lloyd Webber’s musical, playing until the 29th September.
Time Out: “Really it’s a very decent production of a tuneful and idiosyncratic musical that just happens to have sold a kerchillion tickets back in the day. But McOnie doesn’t really try to find new depth or meaning to Cats and ultimately this feels in the shadow of its previous incarnation. “
The Guardian: “As with the poems, the musical is constructed as an introduction to each cat contender in a series of vignettes, which here resemble an elegant feline variety show at times, an old-school film fantasia at others.”
The Reviews Hub: “Cats is described as a sung-through musical, but danced-through is probably a more accurate description, demanding an enormous amount from its hard-working 25-plus cast who remain on stage for most of the show and are central to bringing the different stories to life. It’s a shame the music under Geraint Owen hasn’t shaken off the synthesised sounds of the 1980s which make some of the score feel dated, but there are parts of Lloyd Webber’s composition that swoop and glide, force you to tap your toes and draw you in. And it’s held together well by semi-narrator Munkustrap (an excellent and poised Jack Wilcox) as a master of ceremonies.”
London Theatre.co.uk: “We had a surprise ‘star is born’ moment on press night, when Rachael Wooding (sadly unwell) was replaced as Grizabella by an exciting young talent, Taziva-Faye Katsande. She made “Memory” her own, delivering it as an authentic, soul-baring, R&B-tinged lament. Definitely one to watch.”
All That Dazzles: “Though this is a very visual show, thankfully Cats sounds as spectacular as it looks, with Adam Fisher’s sound design, musical director Geraint Owen and musical supervisor Alex Parker ensuring Andrew Lloyd Webber’s timeless score is played out in a way befitting of its magnificence.”
WhatsOnStage: “Above all, Taziva-Faye Katsande, the cover taking the role of Grizabella on press night because Rachael Wooding was unwell, seized her star is born moment by delivering a rich and raw version of “Memory” that sent the audience out into the night humming along happily. The oddest musical works its magic again.”
British Theatre Guide: “For children this summer, this will be magical experience. And for the rest of us—if you think you are not one for Cats (and perhaps saw the recent film), then think again; as both moons rise (stage and real) and theatre lights begin to twinkle among the trees, this is a little oasis in which to make new memories.”
Musical Theatre Review: “McOnie’s staging carries real ambition, matched by the pedigree of its leading players. But it is the design work that leaves the deepest mark: the costume and wig design by Fendall – who also created the efficient single set with its moving moon – and the make-up design by Guy Common have stripped the cats of their 1980s legwarmers, perhaps the most dated aspect of the original production.”
London Box Office.co.uk: “As for McOnie’s choreography, it’s resoundingly his own — underpinning the requisite character work inherent in CATS with strong ballet-based movement.”
The Stage: “Drew McOnie’s revival makes a visual feast of Andrew Lloyd Webber’s iconically odd musical”
Theatre Weekly: “For all its flaws, Cats remains one of musical theatre’s strangest phenomena, and there are still moments when its plotless structure feels baffling. Yet Drew McOnie’s bold revival finds fresh life in the material through exceptional choreography, a committed cast and a striking use of Regent’s Park’s unique setting. I may not have been converted into a lifelong Cats devotee, but for the first time I finally understood why audiences continue to fall for it.”
The Arts Desk: “Will this odd piece make new converts? Probably, if only because it’s performed by all involved, including a hidden 12-piece band, with such gusto and expertise.”
Broadway World: “The final verdict has to be that this is an accomplished production that is worth your time if you like dance, cats, or the score which remains one of Lloyd Webber’s best. At nearly 50 years since he first toyed with Old Possum, and 46 years since its first appearance as a song cycle at Sydmonton, Cats still has the claws, the purrs and the attitude.”
London Theatre Reviews.co.uk: “Cats ignites in Act II and answers the question of why. Why did Lloyd Webber turn this offbeat collection of poems into a smash hit musical? While Act I is disjointed and even frustrating, its second half demonstrates its credibility. The arrival of Melanie La Barrie (Old Deuteronomy) brings an extra gravitas to the piece.”
London Theatre 1: “A note in the show’s programme from director and choreographer Drew McOnie reveals he “snuck away from school at 17 to attend an open audition for the international production of Cats”, and it seems in this fairly energetic production that his love for the show remains undimmed.”
West End Best Friend: “CATS remains an enjoyable evening at the theatre. The humour, spectacle and eccentric charm that have kept audiences returning for decades are all still present, and the refreshed choreography gives the production a welcome sense of renewal – even if the unmistakable synthesiser sound remains gloriously intact.”
To book tickets click here.