Instead of wondering about the tenuous narrative through-line, it struck me early in the 1st Act that this is like a 1970s concept album or, perhaps more appropriately, a Showcase of sorts. Each song is a distinct set piece as different cats are introduced who have their own characteristics and personality expressed through lyrics and movement. Experienced through that lens I sat back and let the performances speak for themselves.
Two aspects are immediately apparent - this is a dance heavy production with Jayne Smeulders' stunning choreography testing the performers' stamina and athletic limits; and the music students in the 16 piece orchestra (including 5 staff members) under the baton of musical director Craig Dalton are featured as equally as the performers on stage.
This was notable from the get go. All of the musicians are visible in the 'pit' in front of the stage so are part of the visual presentation. I really liked how the cast gathered stage right and listened intently to the Overture then applauded along with the audience before taking up their positions. Prior to the commencement of the 2nd Act, a sparkly attired Dalton asked the musicians to stand for applause which was another lovely touch. And applaud we did as they played out the show after final bows. The musicians did the keyboard/synth infused score justice and then some. Sound design by Dale Kerrison ensured the balance between music and vocals was spot on.
Then there were the smart decisions that reinforced the "Seen through new eyes" tag line on the poster. Significantly, there isn't a tail or a whisker or a litter of lycra bodysuits in sight. Featured cats such as Jennyanydots (Eilidh Sinnamon) and Bustopher Jones (Mitchell France) are given distinctive, colourful costumes while the bulk of the company are all in black; sleek, sexy, and sensational. Sure, there is the occasional pawing motion or flick of an imaginary tail, even a hiss or two, but this show is designed for perpetual motion.
To assist that kinetic momentum, the stage design is sparse to maximise the space for the nineteen strong company to cavort, tumble, and slink about in. There are numbers designed around a piece of movable set such as a wardrobe, street lamp or piano with the use of a scrim at other points to project surtitles onto or to enable startling shadow work. The lighting design uses a lot of spotlights to highlight individual performers for their moment in the moonlight but also use of shadow and darkness to disguise the movements of one mystery cat in particular. Excellent work by set and costume designer Elouise Greenwell and lighting designer Amber Lorenzi.
Which brings us to the MT students and what a marvellous cohort they are.
Matthew Manning embodies a real sense of showmanship with his Munkustrap, like an emcee in this strange, feline world. I'm always a sucker for a tap routine which Sinnamon leads during The Old Gumbie Cat. Patrick Friedlander offers up swagger aplenty as a cross between Stuart Goddard's alter ego and Billy Idol as Rum Tum Tugger. France is an affable fat cat with padded cushion and all while Curtis Kossart and Emily Lambert dazzle in an early highlight with Mungojerrie and Rumpleteazer.
Cameron Taylor has a gorgeous singing voice which lends his Old Deuteronomy enormous empathy. Genevieve Goldman sings the hell out of the iconic Memory and looks resplendent in a sequined evening gown as her Grizabella ascends to cat heaven.
The first act ends with a prelude of that song right after the extraordinary dance sequence of The Jellicle Ball, a balletic and acrobatic tour de force that rightfully drew raucous applause. The WAAPA Marketing department has been doing a terrific job on social media posting behind-the-scenes clips one of which was the before and after of that sequence. Now I know why the performers were drenched in sweat!
I was utterly charmed by Gus: The Theatre Cat as a quiet interlude early in the 2nd Act as Mia Beattie (Jellylorum) introduces Asparagus (Tim Brown) with such a deft touch. Then director Crispin Taylor cranks up the energy even further and the show rockets into another gear. Brown leaps forth to launch a full on charm offensive as Gus regales us with the tale of The Awefull Battle of the Pekes and the Pollicles usually reserved for Munkustrap. In this he is assisted by terrific shadow play on the scrim and other cast members engaging in some delightful whimsy... as humans playing cats playing, um, dogs.
Before you can catch your breath Marcus Frost's Skimbleshanks, the Railway Cat, is dancing up a storm with the rest of the cast using everything from umbrellas to old-fashioned lamps, suitcases, and brooms as props in another burst of eye-catching choreography. Then it's time for my favourite song, Macavity: The Mystery Cat, where Hanna Harvey (Demeter) and Grace Alston (Bombalurina) are seductive and playful as the song builds and the orchestra swells into a brassy crescendo. Patrick Volpe exudes physical menace as Macavity in a year that's also seen him play a brooding Sweeney and an intense Chuck from Footloose. There's a lovely piece of stagecraft that proves that Macavity was indeed not there.
Then it's time for some audience singalong to Mr. Mistoffelees led by Friedlander while Declan Allen engages in an acrobatic dance routine that Cirque du Soleil would be proud of. Mia Guglielmi (Jemima) leads us into Goldman's showstopper and then we're racing towards final bows. In a move that surely was intended Volpe and Guglielmi are placed together in those final moments, Sweeney Todd and Mrs. Lovett reunited.
There's no doubt about it, my initial scepticism was swept away and this was an impressive way to end an impressive year.
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