In musical theatre circles, Cats is the show that everyone loves to hate, dismissing it as “weird” and “uncool”. So let me begin this review by stating that I love Cats. I listened to the cast recording over and over as a child, I met my best friend on a Cats mailing list (remember those?) when I was sixteen, and there's probably still some old Cats fanfiction floating around out there that I wrote in my teens. This much maligned show doesn't deserve the hate it gets.
When Cats was first performed in the early 1980s, it was hailed as groundbreaking, bridging the gap between concept musicals and mega musicals in a way no show had done before. It won both Olivier and Tony awards for best musical, and ran for decades on the West End and Broadway. These days, it’s viewed more as a “guilty pleasure” – the show you secretly enjoy but are supposed to pretend you don’t, lest you be seen as uncultured. But why?
Concept musicals based around a theme rather than a traditional narrative have existed since the 1950s, with notable examples including Cabaret, Hair and Company. Dance-heavy musicals are also not a unique concept. Cats isn't even the only show to combine these two elements. But while shows like A Chorus Line and Pippin are hailed as iconic, Cats – which is essentially A Chorus Line with tails – is not shown the same love.
Cats may not be too heavy on the plot, but it’s a show for people who love the little details
Much of the criticism surrounding Cats comes from wanting it to be something it isn’t, instead of appreciating it for what it is; a visually spectacular, dance-heavy, surreal concept musical. And on that front, Australia’s new 40th anniversary production well and truly delivers.
Andrew Lloyd Webber is known to mess around with his shows, and thus,Cats has undergone some changes through the years – including the questionable hip-hop styled “street cat” version of Rum Tum Tugger, who has thankfully been returned to his original Mick Jagger-esque rockstar form in this production (played with hip-swivelling panache by Des Flanagan). But much of the show remains true to its 1980s roots. This production, which celebrates the show’s 40th Australian anniversary at Sydney’s Theatre Royal (the very same venue where Cats made its Down Under debut all those years ago), retains the original set and makeup designs by John Napier, direction by Trevor Nunn (brought to life here by associate director and choreographer Chrissie Cartwright) and, most crucially, the choreography of Gillian Lynne. The choreo for this show is truly iconic, and as a lifelong Cats fan it was a joy to see it executed to such a high standard.
In particular, Claudia Hastings (The Phantom of the Opera) as Victoria and French ballet dancer Axel Alvarez as Mr Mistoffelees (a role he has played in various international productions) expertly handle their challenging solo dances, garnering spontaneous cheers from the audience throughout the show on opening night. Other standouts are Jake O’Brien (West Side Story, & Juliet) and Savannah Lind (Hairspray, Chicago) as Mungojerrie and Rumpleteazer, performing their number with mischievous joy and impressive vocal control. Particularly impressive is Lind’s ability to sing while cartwheeling.
Playing Grizabella, Gabriyel Thomas (Sister Act the Musical, Hairspray) has the unenviable task of bringing something new to an iconic song that must be one of the most overdone in all of musical theatre canon. Her connection to the role shines through in her performance and her rendition of ‘Memory’ is deeply heartfelt and authentic.
At its core, Cats is a true ensemble show which provides every performer a moment to shine. As a fan, much of the joy comes from the smaller moments that might not be noticed by more casual pundits. I loved looking out for Tantomile (Sarah Bourke) and Coricopat (Joshua Gordon) moving in unison, and watching the way Munkustrap (Jarrod Draper) protects the other cats and directs their performances during ‘Pekes and the Pollicles’. I found myself delighted by the close relationship between Demeter (Olivia Carniato) and Bombalurina (Mia Dabkowski-Chandler), and the slightly antagonistic behaviour from Rum Tum Tugger (Flanagan) towards Munkustrap.
Cats may not be too heavy on the plot, but it’s a show for people who love the little details. Every single moment tells us something new about the characters, and you could truly just choose one cat to watch for the entire performance and you’ll be entertained the entire time. If you’ve never seen Cats before – or worse, if your only exposure was the disastrous 2019 film – let this production be your formal invitation to join the Jellicle Ball.
The Australian 40th anniversary production of Cats is playing at the Sydney Theatre Royal until September 6, 2025, before embarking on a national tour. Find out more and book your tickets at catsthemusical.com.au.
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