* REVIEW "Now and Forever." That was the slogan the marketing big-wigs came up with for the musical "Cats" back in the 1980's. While some people have joked that the phrase sounded more like a threat than a prediction, it can’t be denied that the show has been incredibly successful over the years. In spite of what some critics might say, it continues to land on its feet.
The dance musical, inspired by the poems of T.S. Eliott, is currently in its fifth life (out of nine) at the Sangamon Auditorium in Springfield. It was greeted by a large crowd last evening and continues for two performances today at 2:00 p.m. and 8:00 p.m.
The musical premiered in London in 1981 (where it is still running), and opened on Broadway in October of 1982. It won a litter box full of Tony Awards, including Best Musical and Best Score (it lost Best Choreography to "My One And Only"). When it finally closed in September of 2000, it had earned its place in theatrical legend as the longest running musical in Broadway history.
And quite frankly, I’m still mystified. Maybe it’s because I’m a dog person. Maybe it’s because I’m allergic to cats. For whatever reason, I’ve never quite grasped the appeal of this show. It’s always seemed more than a little silly to me, but apparently I’m in the minority.
When it opened in New York City back in 1982, it was the hottest ticket in town. The non-stop dancing, the state-of-the-art special effects, and the power ballad, "Memory," all contributed to the show’s mystique.
Twenty-one years later, it’s still touring the country. It’s not quite the cute little kitten it once was, perhaps, but it’s not ready to be put to sleep yet, either.
There’s really no plot to speak of, just a series of musical numbers that introduce the different "Jellicle" cats that live in a mystical junk yard.
The cast is filled with limber singer/dancers who perform the show with conviction. It must be hard to sustain the feline-inspired choreography for the two and half hour show, but this young group is up to the task.
Shane Hall, as Mr. Mistoffelees, provided some of the best dancing of the night. His choreography was very difficult, and he was able to execute it with style and astonishing agility.
Mary Elizabeth Sweeney stood out as Griddlebone and Jellylorum, singing with an operatic soprano during the "Growltiger’s Last Stand" sequence, and with great sensitivity during the "Gus, The Theatre Cat" number.
Fine performances were also turned in by Bo Ranney, as Munkustrap, Martin C. Hurt as Old Deuteronomy, Jesse Factor as Skimbleshanks, Kevin C. Wanzor as Bustopher Jones/Growltiger and James Ginnever as Macavity.
Brian Gallagher had some nice moments as Rum Tum Tugger, especially in the "Macavity" number, but I wish he had more of the Mick Jagger swagger in his signature number.
Understudy Kym Chambers stepped into the role of Grizabella, the Glamour Cat, at last evening’s performance. Grizabella gets to sing the best known song from the show, "Memory," and Chambers did a fine job. It wasn’t the spine tingling moment that can sometimes occur, but she still belted it out to the back row.
The sets and costumes were all based on original designs, and were top notch. The sound was frequently muddy, however, and I had a hard time understanding many of the lyrics. I don’t know if it was a balance issue or a diction issue, but I struggled to hear the lyrics on several occasions.
The original choreography and direction was recreated capably by Richard Stafford.
Gus Gordon is the chief meteorologist at NewsChannel 20 and a free lance arts reviewer. He can be reached at gusgordon00@lycos.com