Cats
Trevor Nunn, Richard Stilgoe and Andrew Lloyd Webber, after T S Eliot
Regent’s Park Open Air Theatre Production
Palace Theatre, Manchester
November 10-21, 2026: 2 hrs 25 mins
(Also at Venue Cymru, Llandudno December 1-5, Sunderland Empire January 26-30, 2027, Bradford Alhambra 27 April - 1 May, Liverpool Empire 5-15 May, Newcastle Theatre Royal 8-19 June and other venues).
Turning T S Eliot’s comic poems about cats into a semi-mythical story of felines gathering at night to witness the rebirth of one of their number to a new life was an inspired idea that gave birth to several stage careers.
Cats hit the musical stage in 1981 like a breath of fresh air, and it still is a show like no other. It’s not cheap to put on, mind you, with its big cast of dancers and singers (and some who do both), at least some of whom have to be very good to give it what it deserves.
This is a new production, by Drew McOnie, who is both director and choreographer (along with Ebony Molina). It’s faithful to the original in some ways (Growltiger’s Last Stand, the story of a pirate ship’s cat introduced by Gus the theatre cat, is back, after being dropped in recent versions), but it also includes the transformation of Rum Tum Tugger to a breakdancer – a more recent innovation.
The first production, with choreography by Gillian Lynne, was at the New London (now the Gillian Lynne) Theatre, and introduced audiences to a giant rubbish dump – using the theatre’s huge revolve apparatus – against which the human “cats” appeared in life-like size and crept on to the stage via the auditorium seating.
That scenario was never completely replicated in touring versions but now, in Sami Fendall’s design, the rubbish dump has gone and we are in a leafier part of town (or country). The cats’ costumes are a bit different, too: they don’t have furry tails, and the leg-warmers are gone. In this casting, Old Deuteronomy is now a female role (in the 1981 original the character was played by Brian Blessed).
But essentially the show remains the same – it owes a lot to Gillian Lynne, as it should, and it’s delivered with panache and spectacle. The dancing is good (good throughout, though if I have to choose a stand-out pair, it’s Danny Natrass as Mungojerrie and Briana Craig as Rumpleteazer), and some of the individual performances are equally strong. Not all are completely able to put their words over when singing – and in this show, based on witty lyrics, that matters – but those who can, do it well.
Among those deserving of praise are Jellyanydots (Laura Tyler) – and I liked the crocheting mice who accompanied her; also Elliot Broadfoot as Bustopher Jones and Gus, who can deliver a line to perfection (and he, like Jack Wilson later as Munkustrap, gave Bustopher a northern accent – deliberately for this leg of the tour, I suppose). Matthew Caputo, as Skimbleshanks, has a properly posh and clear voice for his Railway Cat impersonation, making a nice contrast. Diante Lodge is an excellently devilish Macavity, and the scenic pyrotechnics for his song are excelled by those for breakdancing Magical Mr Mistoffelees (Jet Yau).
I wasn’t too sure about the female version of Old Deuteronomy, as Kalisha Amaris tended to declaim rather than sing at some points, and Grizabella (Rachel Wooding) has a tendency to belt the top notes too much – which spoiled Memories for me, though it got her a big reception.
I remember buying the sheet music of Memories from the merch on show after the original production in London – not knowing until much later that its tune wasn’t composed for this show in the first place, but as a melody Andrew Lloyd Webber had composed and put in his drawer, ready for the right moment. The words to it by original director Trevor Nunn, only distantly related to anything by Eliot. But it’s still a fantastic song, and provides the high spots of emotion the show needs, alongside its fun and games. Do what you like with it, it’s still a stunner.
More info and tickets here
