In December, a new movie version of CATS THE MUSICAL will be shown in theaters worldwide. I am a huge CATS-lover and let me tell you now: So far, I’m not liking most of the changes they’ve done. But, alright, I’ll give it the benefit of the doubt. Who knows? I might like it.
Anyway, below is the semi-review that I did on the original movie years ago. I call it “semi-review” because it’s more of a feature. Well, more of a fan-made writeup. This was posted way back in the old Multiply days. I have decided to share it again (1) since it’s timely, (2) to introduce new viewers to the original musical, and (3) to give them points of comparison once the new movie is released. I did edit things to correct some grammatical errors, shorten the piece a bit, and add some updates.
By the way, links to more reviews can be found in the CRITIC’S CORNER.
FAIR WARNING: I am posting a reaction-slash-comparison video on my vlog one of these days. Bear with me. Humor me.
A CATTY EXPERIENCE
Indeed, I could choose from a variety of movies that I have already seen. Instead, I chose to love a film that is, for sure, not on a lot of people’s favorites-list. It’s a story with a simple plot. Cinematography is good, not outstanding. The visual effects are there only because they are necessary. And then, there are glaring editing misses!
So what’s there to love, really?
CATS THE MUSICAL is simply not the kind of film most Filipinos would appreciate. Well, most people in general. But I am a musical-enthusiast, videophile, dance-lover and poetry-maker. That combination explains why I find CATS very entertaining, beautiful, and original. It is poetry in words, music, and motion, all rolled into one cool package. Great score, great singing, great dancing! In the words of T. S. Eliot, it is “ineffable…effable…eff-an-in-EF-fable!”
The History of CATS
In the past, stage musicals like OKLAHOMA and FIDDLER ON THE ROOF were made into successful films. Many were culled from classic literature such as OLIVER!, from Charles Dickens‘ book Oliver Twist. THE WIZARD OF OZ, meanwhile, was based from the 1939 film, which was an adaptation of L. Frank Baum‘s The Wonderful Wizard of Oz. As for WEST SIDE STORY, it was inspired by William Shakespeare‘s Romeo and Juliet.
Came the early ’80s and there was the musical genius Baron Andrew Lloyd Webber (ALW). He of the JESUS CHRIST SUPERSTAR and PHANTOM OF THE OPERA fame had a novel idea: Why not make a musical about cats based on the book his mom used to read to him — T. S. Eliot’s Old Possum’s Book of Practical Cats?
So CATS was conceived and developed. It was made by famous theatrical producer Cameron Mackintosh and ALW’s The Really Useful Theatre Company. CATS was officially ‘born’ in London’s West End, at New London Theatre, on May 11, 1981. Then the show made its Broadway debut on September 7, 1982 at the Winter Garden Theatre.
The sung-through musical proved to be a hit and won many awards and accolades. For quite a time, it was the longest-running musical as it was performed on West End stage for two glorious decades! There were 8,489 shows in 21 years. On Broadway, it ran for 18 years with 7,485 shows.
A true Taurean, CATS was as stubborn as a bull, refusing to budge from its position as the “World’s Best-loved Musical”. Well, that was until LES MISERABLES took its place in 2006. Sadly, CATS bid farewell to Broadway and West End in 2000 and 2002 respectively. (Ed. Fortunately, it’s currently back in the game, enjoying the limelight, entertaining more theatre fans, and translated into multiple languages. “As of 2019, Cats remains the fourth-longest-running Broadway show and the sixth-longest-running West End show.” Oh, and it had a worldwide gross of US$3.5 billion by 2012.)
In 1998, ALW pushed the barriers further by producing the film version of CATS. It was, in fact, the first of its kind, an actual stage performance captured on film. In essence, they picked up where they left off, only with a different medium. Directed for film by David Mallet, the musical was shot in London’s Adelphi Theater by running through the whole production twice and then adding other essential shots. They did it in a span of 18 days. Meanwhile, costumes and make-up were toned down for film.
Original performers like Elaine Paige and Ken Page took on the roles they originated on West End (her) and on Broadway (him). The show also brought in veteran actor Sir John Mills for a special role. ALW then chose actors he thought could best portray the 28 other important characters. The cast were chosen from productions that were then currently showing the musical. Judging from the performances captured by the lenses, it seems that ALW’s team chose wisely and well.
The Story of CATS
The story unfolds as the Jellicle Cats meet at a junkyard for the annual Jellicle Ball. In attendance are the adult cats and the kittens that are on the verge of adulthood, probably attending their first ball.
Led by the protective silver-and-grey tom, Munkustrap (Michael Gruber), they sing, dance, do acrobatics, and bask at the Jellicle moon. That is, while they await the arrival of their leader, Old Deuteronomy (Page). Every year, just before dawn, Deuteronomy makes what is known as the “Jellicle Choice”. He chooses the cat who gets the chance to be reborn, allowed to go up the Heaviside Layer (their kitty heaven), and “come back to a different Jellicle life”. Anyone interested could ask to be given this privilege.
During this time, the audience is given the chance to get accustomed to the characters. Some are easy to remember. That’s due mainly to particular costume designs that stage productions almost always follow . (Thanks, John Napier.)
For those familiar with the show, some characters are instantly recognizable. For instance, Victoria The White Cat (Phyllida Crowley Smith), the tuxedo cat Quaxo (Jacob Brent), the Siamese feline Cassandra (Rebecca Parker), or the twins Coricopat and Tantomile (Tommi Sliiden and Kaye Brown respectively). Some performers first show up as swing or supporting casts, wearing costumes specifically designed not to stand out. They later emerge as important characters. It is hard, though, to miss such a man (or cat) the size of Mister Page.
As the waiting continues, the presence of some adored cats are acknowledged. Jennyanydots The Gumbie Cat (Susie McKenna), with her tiger stripes and leopard spots, is a tabby perceived as lazy by her owners during the day. But she gets busy at night teaching or disciplining mice, roaches and beetles. The supposedly smart Bustopher Jones (James Barron) is a well-respected cat in his “coat of fastidious black” and “white spats”. He is revered when all he actually really does is eat.
The Rum Tum Tugger (John Partridge) also makes sure that his presence is known. He is “vain”, “perverse” and “inconsequent”. And yet, he is the object of almost every she-feline’s affection. The kittens and the sensual Bombalurina (Rosemarie Ford) idolize him like a sexy rockstar. Complete with a lion’s mane, a kiss-me curl, and gyrations, he is the show’s trademark Elvis. The Elvis theme is one that ALW plays with from time to time. Case in point: the Pharaoh in JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT. Together with Munkustrap, Tugger serves as another main storyteller.
Grizabella The Glamour Cat (Paige) – ironically un-glamorized now – then enters the scene. Excited to be back after years of absence, Grizabella is saddened when the others avoid and ostracize her. Needless to say, she is forced to stay away and watch from afar. Meanwhile, the notorious Bonnie-and-Clyde tandem of Mungojerrie and Rumpleteazer (Drew Varley and Jo Gibb respectively) are caught doing their usual naughty antics and misdeed. The comical troublemakers end up staying all throughout the party.
The Jellicle leader soon appears, to the delight of his followers. For further entertainment, the cats do a parody of warring dogs, with the “intervention” of The Rumpus Cat (Frank Thompson). Dancing resumes after. At some point of the elaborate dance number, the mating process happens. It’s a sort of PG-13 moment when the kitten Victoria “becomes” an adult cat. She mates with Plato (Bryn Walters) while the others also do their – uh – thing.
When it is over, Grizabella returns and tries to join the ball once again. She is still regarded as an outcast. Feeling alone, she sings the now-popular song “Memory”, sadly reminiscing her lovely past. She does not know that Deuteronomy is still there and leaves disappointed.
Soon after, the cats return and Deuteronomy tries to explain to them the meaning of real happiness, to no avail. So to get the message across, he conveys it in simpler words through the kitten Jemima (Veerle Casteleyn). She somewhat sings entranced. Jemima’s maturity at her age is evidenced by her understanding of Grizabella. She is always the first to try and touch the outcast only to be pulled away by the older cats.
Gus The Theatre Cat (Sir John Mills), senile as he is, also attends the gathering and talks of the good ol’ days. He makes you shed a tear or two at the end of his song. He leaves behind him a sad atmosphere. which Skimbleshanks The Railway Cat (Geoffrey Garrat) enlivens again through his storytelling and pantomime acts.
Chaos erupts as the criminal Macavity The Mystery Cat a.k.a. The Hidden Paw (also Walters) emerges and catnaps Old Deuteronomy. As they worry about their leader, Macavity returns in a different form. But the sensitive and rather dramatic Demeter (Aeva May) sees through his disguise and exposes him. A fight inevitably happens and sometime later, the Jellicle leader is somehow rescued. With the help of the magical Mr. Mistoffelees (also Brent) and the kittens — the wise and sweet Jemima and the kind, queenly Victoria — Deuteronomy is finally able to make the Jellicle Choice.
Thoughts on CATS
For anyone wanting entertainment-value, CATS will not be a disappointment. But to the uninitiated, the whole story may not be easy to follow. I had to watch it several times myself before I fully understood everything.
It also helped that I had the libretto downloaded from the Internet back then. That made it easier to understand and better appreciate the actors’ various accents. Varley’s and Gibb’s were particularly harder to follow for me, to be honest. Understanding the words made their lively performance more fun to watch.
Most of the characters that were introduced/announced were old. It was natural for Deuteronomy to choose among the elders. They had been there, done that, enjoyed things they would want to relive like Gus, regretted things they would like to change like Grizabella.
Grizabella did not use her youth wisely. Once it was gone, she was left with nothing but her memories. She felt the sting of loneliness, lamenting the meaning of real happiness. The brief but memorable duet of the old and the young in “Memory (Reprise)” emphasized this. One represented hope and innocence; one represented loss and grave regrets. Meanwhile, we saw a stunning performance from both actors. It is arguably one of the best scenes from the film.
Between Griz and Gus, however, the latter gets my vote. Sir John Mills was a very convincing Gus that I actually shed some tears almost every time I watched him. A brief performance worthy of an award!
The stage production itself is to be applauded, in my opinion. Few musicals can do what CATS do. They may have one or two of the elements, but the show offers more.
There’s great poetry (with additional texts from Sir Trevor Nunn), though already antiquated from the start. Understandable. The book the show is based on is old. What’s amazing is they somehow pull it off. If you’re not into poetry, you’ll tend to forget it anyway as you enjoy watching the cats and their various antics. You won’t really notice that it’s poetry.
There’s wonderful music. A lot of times, it is operatic, which, I admit, may not suit some theater-goers. They might find the show boring because of the music. I think most avid supporters of musicals will not mind, though. Many musicals tend to be operatic.
The dance numbers are totally awesome! I am so impressed by the dancers who train really hard to move like real cats, even think like real cats. They make dancing seem easy when it isn’t. It takes dedication to achieve the craft. CATS’ dance routines also differ in genres (e.g. ballet, lyrical, even acrobatic). That makes the whole show quite interesting. Credit goes to Dame Gillian Lynne. I think productions still follow her choreography up to now. I saw a live performance some years ago and it was like watching the movie.
The End Justifies the Journey 