Review: Cats (Regent's Park Open Air Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

When it comes to Andrew Lloyd Webber musicals, Cats has never been a particular favourite of mine. I would much rather watch a singing Pussycat Doll than a dancing cat, but I am always open to new productions changing my mind. If anything has a good chance to do that, it’s the latest iteration at Regent’s Park Open Air Theatre, especially with the supremely talented Drew McOnie at the helm. But would this production end up being a thrilling memory, or would it leave me feline like just because Jellicles can, doesn't mean that Jellicles should?

Inspired by a poetry collection by T.S. Eliot, Cats made its West End debut in 1981, and premiered on Broadway the following year. Rather than being a fleeting hit, the show packed audiences on both sides of the Atlantic until the productions closed in New York in 2000 and London in 2002, where the musical still holds the title of being one of the longest-running shows both in the West End and on Broadway. Its influence can still be felt decades later through cultural references, revivals and remakes (though the less said about the 2019 movie, the better). Though it might not boast the most substantial plot in musical theatre, ultimately it takes place on one special night where a tribe of cats gather for the annual Jellicle Ball. This is no ordinary ball, however, as Old Deuteronomy will pick one deserving cat to ascend to the Heaviside Layer for the much-coveted prize of being reborn into a new life. Prior to this, the Jellicles take it in turns to introduce themselves and tell their individual stories, hoping they will be crowned the winner. Essentially, think of it like Six… but with cats.

The issues I've always had with Cats haven't disappeared as if Mr Mistoffelees has magically fixed them, but they are minimised here thanks to one crucial aspect - this production has been created by a team who know, understand and most importantly love the show and that is the key difference. Certain other musicals I have seen in recent weeks have fallen woefully short of the mark, and one of the reasons attributed for that is their clear lack of understanding or indeed affection for the material. It is something that might be overlooked in the rehearsal room but an audience always knows, and the success of this production of Cats is the perfect demonstration of that.

Much of that success is down to one man - director and choreographer Drew McOnie. His vision for this production doesn’t just honour those that originally brought it to the stage but offers something fresh, new and revitalising to the mix, creating a Cats that feels effortlessly at home in 2026. There is the clear sense that McOnie knew exactly how he wanted to tell that story, and that confidence and assured nature has led to the most surprisingly cohesive and captivating Cats I’ve ever seen - a sentence I never thought I’d say. It is this perfect balance of the old and new that makes Cats such a roaring success, with McOnie using his reputation as a genius when it comes to choreography as an opportunity to take his skills to unprecedented heights. It is a bold and audacious approach, but one that doesn’t just work, it excels. With this production, Drew McOnie cements himself as a clear visionary with innovative and inspired choices that left my jaw on the floor.

You could argue that Cats could often be considered a case of style over substance thanks to its paper-thin narrative, but McOnie somehow manages to bring substance where there was none before, ironically through his stylish choices. His intricate and meticulous choreography proves exhilarating to watch during some of the bigger song and dance numbers as you might expect, but where it gets surprising is in how astonishing his use of movement and direction is in the smaller numbers. The best way to describe this is to compare it to the iconic “The Last Supper” moment in Jesus Christ Superstar where the cast get in formation to recreate that iconic image. Cats does this time and time again, with absolutely jaw-dropping imagery taking shape through the formation of the cast. On more than one occasion, I found myself gasping at the sheer beauty of these images, often as the sizable cast got close with each other to form one singular unit to phenomenal results.

While Drew McOnie is a big reason why this iteration of Cats is as successful as it is, it takes a village and this production benefits from the other creatives involved just as much. Sami Fendall’s set design is a thing of beauty, keeping with the theme of the rustic, back-to-basics nature of this season at Open Air Theatre, but with a few tricks up its sleeve. Returning to my seat following the interval, I stopped in my tracks as I saw how the stage had transitioned due to the sky getting darker, with the now lit-up moon absolutely stunning to witness. It is a simple stage but one that works to incredible effect, with McOnie’s direction providing some striking images such as (spoiler alert) Grizabella’s eventual ascent.

One of the most magical aspects of any night at Regent’s Park Open Air Theatre is the use of lighting. This usually comes into play in Act Two, with not much chance to do anything with lighting in the first Act due to how light the sky still is. So it is with much surprise that lighting indeed plays a big part of the first Act, with Jessica Hung Han Yun’s lighting design always astonishing to witness. Through clever aspects of the set design, the opportunity to utilise this lighting earlier than Open Air Theatre shows have historically allowed works in its favour, and as the sky gets darker, the use of the lighting becomes even more effective. Sequences such as ‘Old Deuteronomy’ and ‘Macavity: The Mystery Cat’ are elevated through the combination of the lighting, choreography and direction in a prime example of how magical a show can be when all creatives are aligned and collaborate to get the best out of each other. Visually, Cats is always striking, and though I have been to many a show at Regent’s Park Open Air Theatre over the years, I have never seen a production quite as breathtakingly beautiful as this one is, making full use of the picturesque space and invoking a sense of romance, magic and wonder.

Though this is a very visual show, thankfully Cats sounds as spectacular as it looks, with Adam Fisher’s sound design, musical director Geraint Owen and musical supervisor Alex Parker ensuring Andrew Lloyd Webber’s timeless score is played out in a way befitting of its magnificence. It can be argued that Cats is an example of a “one song show” as everybody waits to be blown away by ‘Memory’ (more on that shortly), but this production made me appreciate the other numbers in the show, with ‘Old Deuteronomy’ rivalling that other timeless classic for its beautiful presentation.

Of course, no production of Cats would be complete without a stellar cast, and this one has it in spades. Elliot Broadfoot is a comedic joy as Bustopher Jones, with Danny Nattrass and Briana Craig a fabulous double act as Mungojerrie and Rumpleteazer. Jack Wilcox is a delight as Munkustrap, with Matthew Caputo a highlight as Skimbleshanks, turning his musical number into an unexpected showstopper. Gary Wilmot is the perfect casting as Gus, perfectly displaying his proven abilities on both ‘Gus: The Theatre Cat’ and ‘Growltiger’s Last Stand’ in an utterly charismatic and captivating performance. The always incredible Melanie La Barrie once again shows her unrivalled skills in a faultless and fantastic turn as Old Deuteronomy, with a commanding stage presence and the ability to express herself through reactions alone, without the need to even say a word. With her unmistakable vocals added into the mix, she is a joy to witness in the role and an unsurprising standout.

The role people will be keen to see for themselves is, of course, Grizabella. Among those who have donned the paws before are Nicole Scherzinger, Beverley Knight and, of course, Elaine Paige, so expectations for this iteration are understandably high. It falls to Rachael Wooding to take on the role for this production… only not at this press night performance. Such is the nature of theatre, Wooding being unwell led to cover Taziva-Faye Katsande stepping into the role. Not known to many in the audience prior to the show, she certainly was once it concluded, delivering the most spine-tingling and emotional rendition of ‘Memory’ I have ever heard. I found myself reduced to tears at the sheer beauty of it, and the huge standing ovation she received immediately after is a testament to her talent. It is moments like this, when a cover steps into the spotlight herself that really highlights how exciting and ultimately rewarding theatre can be. It also draws fitting parallels with Elaine Paige taking over the role prior to the original opening night back in 1981, and also the very nature of Grizabella with her desire to once again be in the sun. Though the best days of Katsande are still to come, it became clear through her turn as Grizabella that this is one phenomenal talent who very much deserves to be in the spotlight - the phrase “A star is born” may be overused, but it feels very much apt here for a performer who I look forward to seeing much more from in the future.

One of my favourite things about theatre is its ability to surprise and delight me, and this production of Cats has truly come at a perfect time for that, given the other musicals I have been underwhelmed by thus far this month. You never know when a show is going to provoke that reaction in you, and I certainly didn’t expect Cats to be the one that did it for me. If you told me I was going to be awarding this production of Cats five-stars, I may well have tried to scratch you and bury you in my giant kitty litter tray, but that is exactly what has happened.

Does that mean I am a Cats convert now, or is it just a case of me being drawn to how exceptional this production is? That remains to be seen, but what is clear is that what Drew McOnie has created with this production is nothing short of sensational - truly awe-inspiring and a show that has just established himself as the front-runner to sweep the Olivier Awards next year. Certainly, if McOnie doesn’t receive one for his choreography, I may well riot (I won't, but I’ll politely sigh). Cats at Open Air Theatre really is theatre at its best - with choices as bold and daring as the ones taken here, this could have easily been a cat-astrophe. However, that is as far from reality as possible, meaning this very special production can easily be considered the theatrical equivalent of the cat that got the cream in what I consider to be an absolutely purrfect revival.

Cats plays at Regent’s Park Open Air Theatre until 19th September. Tickets from https://www.londontheatredirect.com/musical/cats-tickets

It then tours the UK from October into 2027 - dates and tickets at https://uktour.catsthemusical.com/tickets

Photos by Mark Senior