Theatre Review: ‘Cats’ at Atlanta Lyric Theatre

By Manning Harris
fmanningh@gmail.com

The Atlanta Lyric Theatre’s “Cats” is a phantasmagorical delight. The Jellicle Cats would love that word. “Do I actually see with my very own eyes a man who’s not heard of a Jellicle cat?” If that’s the case, it’s time to secure your tickets to see “Cats”; and I wouldn’t delay, because I sense a sellout—and well-deserved, too. The show is running through Aug. 24.

When I first saw “Cats” on Broadway in the summer of 1983, I was dazzled by the stagecraft, the costumes, the dancing, the singing, the nocturnal, mysterious ambience. This time, at the Lyric’s production, I was not only dazzled and thrilled but also moved. Why? We’ll see.

“Old Possum’s Book of Practical Cats” was written by the great British poet T.S. Eliot; he wrote it in part to entertain his godchildren, but Trevor Nunn, the original director for both London and Broadway, wrote that he (Nunn) had a suspicion that Eliot knew that his friends would be reading the verses over their children’s shoulders: “It is this quality in the poems of hidden sophistication and double entendre that is so satisfying to grown-ups.” He goes on to mention that Eliot was also satirizing the cats’ owners and society at large.

There’s more to it than that, of course. How does a series of poems about individual cats, set to music by Andrew Lloyd Webber, become the longest running (18 years) show in Broadway history? (Yes, I know “The Phantom of the Opera,” still running, now has the record.) Also, there is the absence of a traditional narrative. How could such a show have such unprecedented success?

I can only answer: “The naming of cats is a difficult matter; it isn’t just one of your holiday games.”

The answer is finally inexplicable—that is, until you see the show.

The Atlanta Lyric’s superb production is directed by Ricardo Aponte and choreographed by Jennifer Smiles; it’s a collaboration made in heaven. It sounded (to my ears) like an orchestra was hidden from view, so imagine my surprise to learn that the music is recorded. Hats off co-music directors BJ Brown and Laura Gamble and the inimitable Robert Johnston, who does the sound design and is also production designer.

The magnificent set is by scenic designer Edward R. Cox. Make-up designer is Mary Nye Bennett.

I don’t have room to mention the entire production team; I will say that the Lyric’s artistic director is Brandt Blocker, who I hope is pleased with the most perfectly executed show I’ve ever seen at Atlanta Lyric. Before I mention the performers, pause here and order tickets. I really do smell a sellout.

We said the show has no ordinary narrative; however, the Jellicle cats do gather once a year for the Jellicle Ball; and one cat is selected to ascend to the Heaviside Layer, escorted by the venerable Old Deuteronomy (flawlessly played by Robert Wayne). The chosen cat will then return to a new life (they have nine lives, you know—and Jellicles probably have more).

“Memory. All alone in the moonlight, I can smile at the old days. I was beautiful then.” Sound familiar? Grizabella, the Glamour Cat, whose glamour has faded, sings the show’s most famous song, “Memory.” She is played by Shawn Megorden, whose shimmering rendition of the song takes a back seat to no one, including Broadway’s original (Betty Buckley) and Barbra Streisand, who famously recorded it.

The dancing and singing and sound quality in this “Cats” are simply gorgeous. I wish I could say more about a cast that truly has no weak links, but all I can do is express my appreciation for their beauty, talent, and commitment and tell you who they are:

Jennifer Arnold (Rumpleteaser), Jason Cohen (Alonzo), Brian Dixon (Plato), George Deavours (Bustopher Jones/Gus), Fenner Eaddy (Mungojerrie), Rex Glover (Skimbleshanks), Natalie Goodwin (Etcetera), Nick Hagelin (Munkustrap), Bonnie Harris (Victoria), Jamie Keener (Cassandra), Pablina Lopez (Sillabub), Jen MacQueen (Bombalurina), Cassandra Mora (Jennyanydots), John Streit (Quaxo), Ansley Van Epps (Demeter), Jeremy Varner (Rum Tum Tugger—I always think of him as the Mick Jagger of cats), Megan Wartell (Jemima), and Allison Brannon Wilhoit (Jellylorum).

Supplying extra singing muscle as Pit Singers are Nick Battaglia, Mike Bascle, Jack Brinsmaid, Alexandra Case, Megan Crane, Jono Davis, Kara Noel Harrington, Megan Hill, Lisa Manuli, Jennifer Smiles, and Tucker Weinmann.

Earlier I said I was moved, more than my ’83-’84 visits to Broadway (yes, I saw it twice). Perhaps now I better recognize the human resonances, the themes of mortality and the past. With all the mischievousness, fun, and frivolity of “Cats,” I sense a sweet, wistful sadness infusing the piece. I’ve lost people I cared greatly about since I first saw it.

Or maybe I’m just more sensitive to “the mystical divinity of unashamed felinity.” See this beautiful show.

For tickets and information, visit atlantalyrictheatre.com.