Theatre Review: Georgetown Palace Theatre’s Cats
Cozy musical comfort in a purrfect classic
Reviewed by Cat McCarrey, Fri., Aug. 30, 2024
“Hal, it’s about cats.”
That's what Andrew Lloyd Webber said when collaborator Hal Prince pressed him to elaborate on the symbolism, the political meaning, the secret drive behind Cats the Musical. But it's about cats. The furry feline muses who inspired Old Possum’s Book of Practical Cats, a series of children's poems by epic poet T.S. Eliot. This collection wasn't Eliot's typical commentary on a dying world. No daring to disturb the universe here, just a gathering of quirky kitties memorialized through basic rhymes and songs.
I’ll admit, I first jumped on the chance to review Cats purely because the memefication of the property made the idea of experiencing it in this day and age hilarious and intriguing. Who puts on Cats after the disastrous Tom Hooper movie dragged the good name of the Jellicle Cats through the mud? (And arguably caused a worldwide epidemic. I mean, we can’t prove Cats caused COVID, but ... have they been in the same room at the same time? I think not!) Who would be audacious enough to risk the ironically rowdy reactions to people screaming out “Magical Mr. Mistoffelees” for a goof?
Georgetown Palace Theatre, that’s who.
From the onset, the sheer sincerity of the cast melted whatever snark may have dwelt in my cold, dead heart. They gamboled onstage, with pert paw movements and warm head nuzzles, and how could I resist? The cast full-on grins through the majority of their songs. They were having the time of their lives relaying the good news about Jellicle Cats, the Jellicle Ball, and presenting the spotlight roll call-style songs that make up what passes for story in this musical. But again, it’s not about the story. It’s not about anything deeper than a gathering of particular practical cats.
Already they were miles ahead of the movie by respectfully re-creating the traditional stage costuming and makeup. Again, these were impressive labors of love, from costume designer Kayla Bennett’s handmade arm and leg warmers to each actor’s individually designed face painting by makeup designer Tessa Maxwell. No two cats looked the same, and each carried a quirky style all their own. Each performer fully embodied their cat character, from the scenery-chewing Hayden Tran as Rum Tum Tugger with a perpetual cocky sneer, to the joyful buffoonery of petty thieves Mungojerrie (Gabriela Santiago) and Rumpleteazer (Shannon Gibson).
Aside from creative costumery, Cats is predominantly known for spectacular dance numbers. Assembling skilled steppers in a community theatre production seems daunting, but the cast handily managed choreographer Evelyn Joy Hoelscher’s moves. There was an entire passable tap number that made my soul leap. Tap! When was the last time you saw tap outside of old Astaire/Rogers films or a cameo by the late, great Gregory Hines on Will & Grace?
It served to reinforce the charmingly nostalgic feel of the show, harkening back to a time when theatre was spectacle, musical revues made to show off skills and leave the audience with a song in their heart. The dancing was definitely elevated by a few specialists pulling incredible weight with their balletic solos, particularly Ripley Mayfield’s graceful Victoria and Micaiah Armstrong’s gymnastic moves as the brash Bombalurina.
Armstrong also stunned during the “Macavity” duet, rocking a sultry number with knockout vocalist Ciceley Fullylove. That duet alone was worth the price of admission, even though I did also enjoy the sweetness of Alicia Escobar’s sung narration during “Gus: The Theatre Cat.”
Will the Palace’s production of Cats change your life? Probably not. But it will absolutely brighten up your night and leave you wistful for Broadway styles of yore. I dare you to walk away without trying to belt “Memory” in the car. If you succeed, you’re a stronger viewer than myself.
Cats
Georgetown Palace Theatre
Through Sept. 8
