Abbey Musical Theatre

Palmerston North’s Abbey Musical Theatre added to its already stellar reputation last night, delivering a magical musical experience to its premiere audience at the Regent on Broadway with “CATS”.  To escape into this dreamlike world, “under the jellicle moon”, couldn’t have been more pleasurable at the end of a grey and rainy Friday.

Since its first London performance 26 years ago, Andrew Lloyd Webber’s “CATS” (based, of course, on Old Possum’s Book of Practical Cats, by TS Eliot) has become one of the world’s most-loved and durable musicals.

Its story tells of the one special night of the year when the Jellicle Cats come together to hold a Jellicle Ball and to celebrate their tribe’s talents.  And it’s when wise Old Deuteronomy, their leader, chooses one worthy feline to ascend to the Heaviside Layer, for rebirth into a new life.

Last night, the Abbey production’s youthful 40-strong cast, in fully customised cat gear, threw (and slid and pounced and purred) themselves into their roles with a passion, against an amazing junkyard set bedecked with neon lights and stars.  Great credit for the heart and harmony on display must go to director-choreographer Dean McKerras.  Talk about electricity – the energy, confidence, cohesiveness and sheer stamina pouring out of his dancers looked as if it could power up the entire city, while Barry Jones’ musical direction and the show’s offstage “alleycat” chorus gave extra oomph to the onstage action.

In this ensemble each cat character is given a special turn, a moment to shine; and each has his or her own identity and style, along with wonderful names:  Rum Tum Tugger, Skimbleshanks, Magical Mr Mistoffelees, Bustopher Jones, Gus the Theatre Cat, Jennyanydots, Macavity, Mungojerrie and Rumpelteazer and all the rest.  To single out individuals seems unfair – but the voices and presence of Andrew Jamieson (narrator Munkustrap) and Carrie Green (Grizabella the Glamour Cat) are extra-powerful in a cast that is already all it should be, and more.

First-night nerves might account for an occasional weakness in some non-principal female song segments.  And the Italian aria lip-synching in Growltiger’s Last Stand could do with a little more work.

But, these small quibbles apart, “CATS” is great entertainment, a colourful antidote to the winter blahs.

This season’s production of “CATS” is indeed a magical culmination of music and movement.

Based on TS Eliot’s masterpiece Old Possum’s Book of Practical Cats and with music by Andrew Lloyd Webber, “Cats” has always been an exceptional musical experience and Abbey Musical Theatre’s production is certainly no different.  Fans of “Cats” will recognise that in contrast to the former backdrop of a rubbish dump, this production is staged at an abandoned amusement park where extensive use is made of the various opportunities such a versatile scene presents, including a steam engine, rollercoaster and a pirate ship.

Against this impressive background the tribe known as the Jellicle Cats come out to celebrate their distinct and unique character at the Jellicle Ball, gracefully presided over by Old Deuteronomy (Glen Nesbit).  By the light of the luminous moon, one by one we are introduced to the cats who are competing with one another to be chosen for that special privilege – to journey to the Heaviside Layer and be “reborn” into a new life.

Laudable performances were given by Andrew Jamieson, Richard Rewa, Janine Bonny and, in particular, Ian Harman, who gave a most energetic performance of Rum Tum Tugger.  Carrie Green (Grizabella), with her exquisite rendition of Memory, was undoubtedly one of the highlights of the show.

Brilliant costumes coupled with great dancing skill and agility immediately endeared the efforts of the company to the audience.  The music in particular was always dynamic, often changing in rhythm but never dying away unless it was for effect.

A tribute to musical director Barry Jones, the story of “CATS” unfolded seamlessly as a musical drama as well as a captivating story told to us by the voice of TS Eliot.  Both the lighting design and the sound effects were smooth and although at times clarity was sometimes compromised, it was at no great expense to the overall production.

A wonderful performance that you are sure to enjoy.

Palmerston North’s Abbey Musical Theatre production proves you don’t have to go overseas to see a great performance of Andrew Lloyd Webber’s record-breaking adaptation of TS Eliot’s “Old Possum’s Book of Practical Cats”.  The show was everything I’d hoped for driving across to it on a very wet, cold night for the 8 p.m. opening.

McKerras’ (ex-Wanganui) direction and choreography of his 40 strong, mainly youthful cast makes the show’s Jellicle Ball a must be at event.  The ball is an annual gathering of the Jellicle Cats tribe at which they celebrate who they and at which the leader, Old Deuteronomy, chooses one worthy feline to ascend to the Heaviside Layer for rebirth into a new life.

The energy, grace and feline authenticity of movement showed by each of the cast is phenomenal.  Dressed in extremely individual, stunning cat costumes they glide, purr, pounce, snarl, slink and shiver with delight as the story unfolds to superb music on a magical, well lit, spectacular set.  And there is no let up in the two-hour plus show as in the interval the cats invade the auditorium, climbing over seats, patrons and in at least one case nibble on an ice cream!

Superb diction is a hallmark of most of the show.  Carrie Green gives a heartfelt and poignant interpretation of Grizabella, the Glamour Cat who left the tribe for the outside world and is shunned on her return.  Her rendition of Memory is extremely good.

Each cat has a special turn to shine at the ball, and all are deserving of mention, but for me Mark Kilsby gives a masterly performance as Gus, the aged cat stage actor who has worked with the greatest of his day.  Gus is Kilsby’s 100th stage role, some of which were in Wanganui during his time here in the 1970s.

Well, “CATS” certainly is a picture book spectacle.  The iconic status of Andrew Lloyd Webber’s take on TS Eliot’s Old Possum’s Book of Practical Cats, makes this a hugely ambitious undertaking for a local company.  Multi-level staging, energetic dance routines, flying cast members, pyrotechnics, complicated sound and lighting plots, all contribute to a wow! factor amusement park setting.  And despite there being areas that need honing, and wrinkles that need smoothing out, there is plenty to commend in this dance musical production.

The assurance of Dean McKerras to direct and choreograph the show has advantages that are reflected in its integrated style.  There are effective cast groupings, and individual performers are nicely posed during their songs and set routines.  However, with so much focus on movement and positioning, it’s almost inevitable that some of the character nuances go missing.  For instance, Carrie Green’s Grizabella the Glamour Cat is beautifully presented, and the performer has an extra resonance that makes her rendition of Memory – the show’s hit song – a particularly arresting one.  However, this is a slightly brittle character interpretation that still has a layer or two to explore.

As Munkustrap, Andrew Jamieson has a good singing voice, but on opening night hadn’t yet stamped his authority on this leading role.  Other major characters also lacked vital presence or distinctiveness against the hard working, but not always together, ensemble that surrounded them.

Lack of presence is not a criticism that can be levelled at Ian Harman’s Rum Tum Tugger.  Played with an over-the-top sassiness, the stage magician added deft conjuring illusions to the song Magical Mr Mistoffelees.  Skimbleshanks the Railway Cat – featuring an on-form Scott Andrew – was a beautifully contrived and executed ensemble routine.  The (hopefully) deliberate mis-lip-synching of Growltiger’s Last Stand, to the out-of-spotlight voice of Dean O’Flaherty, played up the theatricality of the piece (even with its mawkish “yellow peril” sentiments and undertones), and with contributions from Rocky Rowland as Griddlebone, it worked a treat.

An extended loosely linked revue style show, “CATS” is a tribal musical with fur, but its tenuous storyline wasn’t always apparent or easy to follow here, and left question marks over purpose and motivation.  Choral vocals were sometimes frustratingly indistinct – perhaps due to lapses in co-ordination between onstage and off-stage choruses, and some overloud orchestral backing.  Generally though, Barry Jones’ musicians provided spirited and reliable accompaniment.

Not as sharp or as snappy as it could have been, opening night represented a reasonably solid start – with the show’s song, dance and character highlights hinting at a potential other sections of the production must now step up to reach.

It was a typical Palmerston North winter’s night last Friday – cold wet and miserable – when the annual Jellicle Ball was held at the city’s old disused carnival site.  Whereas many of the city’s moggies were braving the outdoor elements, a menagerie of some 34 furry felines was comfortably housed in the warmth of the Regent Theatre entertaining the city’s human population.  And what great entertainment it was!

It was a stupendous show, electrifying the audience from start to finish.  It was possibly the most sensational show seen at the theatre in recent times.  The operatic society has a history of good shows over the years, but “CATS” would be their jewel in the crown.  It was as good as any touring overseas professional company and even Andrew Lloyd Webber would have been proud of this local production.  The story is about the Jellicle tribe of cats that meets annually, originally in the city’s rubbish dump but now upgraded to an abandoned amusement park, where their leader chooses one of their number to ascend to the “Heaviside Layer” to be reborn into a new life.  The cats audition before their revered leader, hoping to be chosen for the special honour.  This allows all the cats to display their unique abilities and special qualities.  Thus there is no on-stage ‘chorus’, all 34 cats being a principal in their own right.  Perhaps, therefore, it may be inappropriate to make mention of any one performer, but four characters did stand out.

Carrie Green, as Grizabella, played the role of a has-been star who dwelt on her memory of past successes.  Her rendition of the ALW’s favourite classic, “Memory”, was simply superb, as was Megan Davies’ singing of the same song.  Grizabella was the Jellicle Choice and her ascension into the star-lit sky was a masterful piece of stage crewmanship.

Glen Nesbit, a Kiwi who especially returned from Sydney to play the part of Old Deuteronomy, the tribe’s respected leader, gave a regal performance befitting the role.  His strong baritone voice needed no microphone to be heard.

Ian Harman, as Rum Tum Tugger, played the role of “a playful prankster that the female cats find extremely attractive and who enjoys being the centre of attention”.  Who else but Harman could fit this role?  As an experienced and talented dancer and actor, he knows how to play to the audience – and they loved it.

And then, finally, there was dear old Mark Kilsby as Gus, The Theatre Cat, playing his 100th stage role.  What an achievement to have clocked up his ‘ton’ at this show!

The scenery and stage-props were simple but effective, the lighting effects were extremely good and the creation of a railway engine by dancers and props was most ingenious.  The full moon, hanging from the ceiling over the heads of patrons, gave an unusual tinge of light.  And, probably not noticed by all, the clown’s face on the front curtain opened its eyes just as the show started.  Usually “out-of-sight” means “out-of-mind”, but not so the 18-person orchestra tucked away in the pit.  Under the control of Barry Jones, they played throughout the 120-minute show with no rest other than the interval.  Their music was purrfect.  And even during the interval, most of the cats did not rest.  Many of them prowled around the floor of the theatre on all fours, cosying up to members of the audience.  Anyone with an ice cream was fair game for the cats who wanted a lick.

No show can be successful without a dedicated crew of stage hands, support choristers and electricians, working behind the scenes and also controlling the electronic equipment.  Their work was flawless.  And, on this occasion, the microphone system was impeccable.  Co-directors Dean McKerras (choreography) and Barry Jones (music) should be congratulated on producing such a splendid show.  Both have been assets to the operatic society for a number of years and, hopefully, will continue in those roles.

“CATS” is a must-see show, even for the wider populace who may seldom visit a theatre.  The show is a third of the way through its 2-week period with only eight performances to go.  Citizens will scratch themselves if they miss this once-in-a-lifetime musical extravaganza.