Furry Dated: Cats UK Tour Review

Andrew Lloyd Webber's smash hit musical Cats opened in London's West End over 20 years ago. Since 1981, audiences all over the world have warmed to this cute tale of moggies, Jellicle cats, that even end up on the laps of those of you sat in the stalls. But, looking at this 'kitty' song 'n' dance show in 2007, time has not been kind. You simply cannot trade on nostalgia alone, so what will an ipod generation make of it?��

The narrative for this musical concept has always been slim, as it is based on TS Elliot's Old Possums Book Of Practical Cats which is all of a few pages long. But something interesting could be done with the material, in that you could make the show engaging for both adults and children. You also expect there to be plenty of magical touches, after all there is a set piece called Magical Mr Mistofolees. But instead� kids are left looking at an archaically dressed song and dance number which has the same amount of pyrotechnics as a Great Soprendo comedy sketch.��

Visually, the show has a certain something, from the rubbish strewn set to the cats themselves, part punk, part keep fit video, clad in bright Lycra. There is also audience involvement as the felines regularly visit them, eating their sweets, longing to be stroked and making them jump. But this is not enough to dress an extremely basic storyline which has about as much meat as the very fish bones that litter the stage.��

The celebrated song Memory has the power to move, having been recorded by both Elaine Paige and Barbra Streisand. Here it is delivered with real poignancy by the superb Chrissie Hammond as ageing cat, Grizabella. Whenever this gifted performer is on stage, the emotion that this piece lacks is restored instantly. Dressed in a tatty costume, she gives the part flesh and bones, moving you at every turn.��

But the entire cast gives it their all as a menagerie of moggies, all with individual personalities. They dance, sing and inhabit the roles of our four legged lap huggers with ease. They all rise above the limited material and involve you with the piece whenever the narrative starts to falter, which it does all too frequently.�

Of the songs, Memory is timeless and Macavity has an epic feel but many of the other 'classics' fades from memory quicker than an� episode of Tom and Jerry. In part this is because many of the dance routines are so overlong and overdone that you do start to get bored easily. Gillian Lynne's choreography is so robotic that the cats start to resemble extras in an exercise video featuring Jane Fonda from back in the day. None of the dance has any life as a result; it seems very clinical and totally uninvolving.��

Many of the costumes have additions to them which you would imagine add light and shade to this age old musical. But once the cats start to walk on stage with oversized trainers on their head or enormous shoe boxes, you may find yourself chuckling. These unintentionally funny moments reminded me of Springtime For Hitler�(The Producers). I half expected some of the leads to enter the stage with sardine cans for hats or huge fish bones! �

Some audience members looked like they wish they had stayed in and fed the cat, whilst others rose to their feet at the end of a very long evening. As for me, I think I must have missed something because I would rather walk the dog than watch it again.

Glenn Meads

Reviewed at the Opera House, Manchester (until Sat 9th June). �

For more tour dates, please visit http://www.catstour.co.uk/boxOffice.html