I’ve never quite understood the appeal of Cats. Andrew Lloyd Webber’s mega-hit musical, based on the poems of T.S. Eliot, is essentially two hours of cats singing songs about themselves to other cats, wrapped around a notoriously thin plot in which Old Deuteronomy must choose one Jellicle Cat to be reborn into a new life. Drew McOnie’s reimagined production at Regent’s Park Open Air Theatre is still bound by the peculiar bones of the original show, but it succeeds in revitalising them in ways I never quite expected. In fact, I found myself actually enjoying Cats for the very first time.
On press night it fell to understudy Taziva-Faye Katsande to step into the role of Grizabella, no mean feat in a production where all eyes inevitably turn towards the show’s most famous number. Katsande rose magnificently to the challenge, winning over the audience in much the same way Grizabella eventually wins over her fellow Jellicle Cats. Despite the obvious pressure of the occasion, she delivered a stirring and emotionally charged rendition of ‘Memory’, earning a thoroughly deserved standing ovation.
This is a strong cast all round, each performer successfully navigating McOnie’s physically demanding choreography while giving their individual feline character a distinct personality. The standout among them is Jaydon Vijn, whose physicality, vocals and performance combine to make Rum Tum Tugger a genuine rock star presence. Charismatic, playful and commanding throughout, Vijn consistently draws the eye whenever he is on stage.
Brief but memorable turns come from Melanie La Barrie as Old Deuteronomy and Gary Wilmot as Gus the Theatre Cat. There is something particularly delightful about hearing theatre veteran Wilmot lamenting “modern productions”, adding an extra layer of knowing humour to the number.
Elsewhere, Danny Nattrass and Briana Craig make an entertaining double act as Mungojerrie and Rumpleteazer, while Matthew Caputo and Elliot Broadfoot both deliver rousing comic performances as Skimbleshanks the Railway Cat and Bustopher Jones respectively. Diante Lodge is suitably menacing as Macavity, creating a genuine sense of threat whenever he appears.
Sami Fendall’s set design is deceptively simple yet remarkably effective. Rather than overwhelming the stage with elaborate scenery, it transforms Regent’s Park into a believable urban playground for its feline inhabitants, making excellent use of the theatre’s unique open-air setting. The costumes, however, may divide opinion. Eschewing the iconic fur-heavy designs most closely associated with Cats, this production opts for a more contemporary aesthetic. While the approach helps support McOnie’s reimagining, some costumes feel a little basic and lack the visual flair audiences might expect. The exception is Gus the Theatre Cat, whose costume offers a welcome nod to John Napier’s original designs.
As darkness falls over Regent’s Park, the production truly comes into its own. Jessica Hung Han Yun’s lighting design transforms the stage after sunset, bathing the action in rich colour and atmosphere. It is during these moments that the sense of theatrical magic most associated with Cats finally emerges, creating some genuinely breathtaking stage pictures.
McOnie’s choreography is undoubtedly the production’s greatest achievement. Fresh, inventive and relentlessly energetic, it replaces the familiar movements of previous incarnations with something that feels entirely new. The dance sequences surge with excitement and momentum, ensuring there is always something captivating happening on stage, even when the narrative itself threatens to drift.
For all its flaws, Cats remains one of musical theatre’s strangest phenomena, and there are still moments when its plotless structure feels baffling. Yet Drew McOnie’s bold revival finds fresh life in the material through exceptional choreography, a committed cast and a striking use of Regent’s Park’s unique setting. I may not have been converted into a lifelong Cats devotee, but for the first time I finally understood why audiences continue to fall for it.
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