User Reviews

Although Jesus Christ Superstar is my favorite Andrew Lloyd Webber show (I also enjoyed Joseph and the Amazing Technicolor Dreamcoat), Cats can be a fun show, particularly if you know and like T.S. Eliot's work, upon which all the material is based. I, like Lloyd Webber, count Old Possum's Book of Practical Cats as a childhood favorite. In the car with my parents, we used to play an audiocassette version of the poems read by Sir John Gielgud and Irene Worth. I loved the poems before I knew the name of Eliot. Nowadays, I count Prufrock amongst my favorites and it's lovely to note that all of the characters songs in this show are based on various poems of Eliot's (some of them unpublished in his lifetime). It seems to me that Cats might be a bit more confusing to one who is unfamiliar with Old Possum's Book, but the numbers are loosely bound together as it is, so it may not matter much. But I do think it will make more sense and possibly be more fun if you've read the Eliot first.

Cats is a pretty light, whimsical show not to be taken too seriously--which, to my mind, is no bad thing. We need whimsy, too! It's based on what is actually a rather interesting, cool idea of plunging into the world of the mystical Jellicle Cats, as they meet at the annual Jellicle Ball. Much of the play is spent simply meeting the cat characters at the ball. With the exception of Grizabella, each of the characters introduced comes directly from Old Possum's Book and the songs are mainly the poems set to music. And it is important to remember that this is a musical based on a series of poems--hence the vignette format it often takes. Lloyd Webber is a composer of music, not a storyteller or writer literary sense. And there's nothing wrong with that. Dating back the operas of Wagner, Puccini, and so on, there has been a rich tradition in musical theatre and of adapting and reinterpreting previous stories, legends, etc. One thing theatre offers is the opportunity for many artistic interpretations of one story or piece, but I digress.

The music and dancing here are exciting and often fabulous. The opening number, Jellicle Songs for Jellicle Cats, is simply a knockout and other highlights, for me, including the Battle of the reenactments Peaks and the Pollicles featuring the Great Rumpus Cat, as well as Mungojerrie and Rumpleteezer. Good comedy abounds in these numbers. Old Deuteronomy is one of the most gracefully translated numbers. The Gumbie Cat (Jennyanydots) and The Rum Tum Tugger are also staged well, in fresh and original ways (I especially like Jenny) and Bustopher Jones is delightful. As a side note, this video version also features Sir John Mills in a brief but apropos role as Gus the Theatre Cat (unfortunately, this version loses the Growl Tiger number that is supposed to be a tangent to Gus' song). The late Mills was always reliable and his cameo is surprisingly touching despite its brevity. In some ways, I'd have liked a more flamboyant, upbeat portrayal of Gus, but Mills' cameo is a highlight.

The dancing of the Jellicle Ball, of which there is plenty, is fantastic to watch. I dare say that these dancers, with their wonderful agility, energy, and flexibility, have to be keep in top physical condition and work at least as hard as any football player. It looks to be every bit as much a work-out, every bit as much a form of athletics, as any contact sport. And those who don't appreciate the athleticism, the endurance, and the physical excellence good dancing requires--as well as the beauty it can produce--can kiss those shiny jazz shoes. But I, again, digress. Suffice it to say there is plenty of dancing in this show. That said, filming choreography can be tricky, and I get the feeling it would more be exciting and spectacular to see it on stage, as it was intended--and making that point may have been part of the purpose of this home video edition. After all, a theatre ticket costs more than a DVD.

Although the story is loose, they've actually managed to mind some of the characters from the poems together pretty well. Old Deuteronomy, a venerated senior cat in one of Eliot's poems, because the wise leader or guru of the Jellicles here, presiding over the Ball. And Macavity, the Professor Moriarty of the Jellicle world, shows up to disrupt the ball with criminal mischief. Then Mr. Mistofolees, the conjuring cat, plays a pivotal role in the plot with his magic, which is another number that I really enjoyed. The other key character is Grizabella, whom I believe comes from one of Eliot's unpublished poems, and is portrayed mainly through the famous ballad Memory, which is lovely and poignant. The lyrics are also some of the best of the show and in the context of the show, the emotional aspect of the song is somewhat surprisingly raw and intense. It's beautifully sung and sticks in your head without doubt.

Although the story is loose, it does all come together in the end. I won't say it isn't predictable but it does end up being pretty satisfying for me. Overall, Cats is a fun show, particularly if you like T.S. Eliot's poems. Eliot's widow, Valerie, who was alive when Webber conceived the show, approved wholeheartedly. Let it be what is and let your pretensions take flight. It can be fun if you appreciate musical theatre, T.S. Eliot, and our feline fellows.

I am a fan of real cats, I enjoy musicals, and the musical "CATS" has been a favorite of mine for years. In the theater you are far enough away that you don't see a lot of what is going on, especially details of the make-up and expressions on the characters.

This 1998 film production was made especially to create a version on film. It is simply the stage musical masterfully performed, but with cameras set up from various points to get both full, wide shots and very intimate close-up shots. There is no audience applause at all, so it was probably filmed only with the cast and crew present.

It runs 2 hours and all the performances are outstanding. If you could say any two are featured it would be Ken Page with his wonderful, full bass voice that goes all the way up into the lower part of the tenor range, as Old Deuteronomy, who gets to choose which cat goes up to the "heaviside layer" to be reincarnated. And Elaine Paige as Grizabella the Glamour Cat, no longer young but aged and tattered. Both of them render their songs wonderfully and with the right emotion.

I found it at my public library on DVD in Widescreen and with Dolby 5.1 sound. I first saw this film version several years ago and again today.

Note: The "heaviside layer" is is a layer of ionized gas occurring between roughly 90–150 km (56–93 mi) above the ground — one of several layers in the Earth's ionosphere. The "Heaviside layer" is used as a symbol for heaven (in the afterlife sense) in the musical "Cats."

I've been embracing my musical theatre voyage through films and to be honest, I had completely forgot about this 1998 version of Cats since word came out of the upcoming supposed nightmare that is the 2019 version. I have never seen the stage musical and probably nor will I ever. Cats is truly a tale like no other. I knew very few songs going into this film; the ever iconic "Memory" as well as parts of "Jellicle Songs For Jellicle Cats", "Mr Mistoffelees", and "Macavity: The Mystery Cat". Cats is a very odd musical, but it is nothing short of fun.

The film opens to a junkyard set, which is not changed throughout the entire show. Some cats crawl around the stage to their little nooks and crannies. The cats, led by a black and white cat, named Munkustrap, explain the attributes that correspond with being part of the Jellicle Family ("Jellicle Songs For Jellicle Cats"). As the cats tone down, a cat named Skimbleshanks notices a man inquiring on what a Jellicle Cat is and how their names come to be. The cats describe how the naming of cats works ("The Naming Of Cats").

The cats head home as the only cat with a proper English name, Victoria the white cat, showcases her unique ballet abilities as well as her extreme flexibility ("Victoria the White Cat"). Munkustrap invites all of the cats to come out of hiding and attend the Jellicle Ball that following evening, which is where their leader would choose one of them to be reborn into a new jellicle life. This event only occurs once a year ("The Invitation To The Jellicle Ball"). The cats discuss who the nominations should be and Munkustrap puts forward Jennyanydots, a tabby cat who worries too much about the other animals that roam around the junkyard ("The Old Gumbie Cat").

They are rudely interrupted by another cat, named the Rum Tum Tugger, who explains that he is indecisive and has too big of an ego for the junkyard that they live in ("The Rum Tum Tugger"). An elderly cat walks in, as the rest of the population exiles her. Bombalurina and Demeter, the two leading female cats, explain how she is Grizabella, a cat who lived life to the fullest and flirted with all of the male cats ("Grizabella: The Glamour Cat"). Bombalurina then puts forward Bustopher Jones, a cat who is rather large and the mayor of the town they live in. ("Bustopher Jones").

The cats leave to get ready for the Jellicle Ball in the upcoming evening. Two twin cats named Mungojerrie and Rumpleteazer stay onstage, explaining that they are the tricksters of the town and tend to steal items from other cats ("Mungojerrie and Rumpleteazer"). A loud crash is heard as the Jellicle reconvene, noticing that Bustopher and Jennyanydots have gone missing. However, in that moment, the cats' leader, Old Deuteronomy steps in and commences the Jellicle Ball ("Old Deuteronomy/The Jellicle Ball"). On the outskirts of the premises, Grizabella attempts to repeat the dance moves from previous balls, but fails due to her failing bones. She sits outside and attempts to remember the good times when she was welcomed by the other cats ("Grizabella The Glamour Cat Reprise/Memory 1").

Old Deuteronomy watches Grizabella from afar and notices that all of the cats are living well, and that she truly deserves a second chance ("The Moments of Happiness"). In the meantime, Jellyrolum, another cat, puts forward Gus to be reborn. Gus is a elder cat who lived outside the stage doors of theatres and went onstage for some performances ("Gus: The Theatre Cat"). Skimbleshanks puts his name forward so he can be reunited with the train station ("Skimbleshanks: The Railway Cat"). In this moment, a third crash is heard as Old Deuteronomy is mysteriously kidnapped.

The cats go in a panic as the two leading female felines explain the situation. They explain that the gang is slowly being kidnapped by Macavity, a mystery cat. His crimes and plans are unknown and he is quite seducive ("Macavity: The Mystery Cat"). The Rum Tum Tugger puts forward Mr Mistofelees, the magical cat, who successfully brings Old Deuteronomy back to the junkyard ("Mr Mistofelees"). As Old Deuteronomy is about to make his decision, Grizabella walks in and sings, once again, of being outed and not accepted by her breed, and longs for a better life ("Memory"). The cats finally accept Grizabella as Old Deuteronomy chooses Grizabella to be the cat that could be sent to the Heaviside Layer ("Journey To The Heaviside Layer"). The night ends with Mr Mistofelees explaining to the world to accept one and other and perfectly explains the definition for serendipity ("The Addressing Of The Cats").

Now, I know what you are thinking: "Cats is supposed to have little to no plot, why is this review so elongated." To me, cats has no plot, but is a metaphor for the different stages of life one goes through as well as the people you meet. You start out as a child, alike to Victoria, the youngest cat and the dreams and aspirations that children want, meanwhile rejecting the elders. Next the cats meet young adulthood, with Bustopher and the twin cats, where you can mess around. The ball is a metaphor for the worklife and Grizabella showcases her fear of going inside. Next, we enter the workforce with Skimbleshanks and Gus, while we finally grow old and reconvene of the wonderful life we lived with Memory. Cats is whatever you want it to be, a blank plot with so much symbolism to fill.

Cats gets a 7.

"We liked it a lot. It was better than 'Cats'", theater audiences on a TV comedy sketch show proclaimed in a monotone voice after seeing the latest theatrical spectacular. Certainly, "Cats" has gone onto become one of the most financially successful musicals ever, but does that make it good? According to the billions who have seen it, yes, but to a small majority of those involved in the theater, it is a joke, the type of show one would sneak into like an alcoholic sneaking a drink. The music is mediocre (with the exception of one Broadway standard that everybody has probably heard, even those who hate musical theater), the story non-existent, and the premise manipulative. It's like the movies of today, all style-no substance, and after seeing the TV version and the new Broadway revival, I concur that indeed, this show has given me "Cat Scratch Fever".

T.S. Elliott's book of poems was just that, poetry, and when put into the premise of a big spectacular musical, is a two hour pretentious ball of fur. It's mesmerizing to watch, and I feel for the talented performers who get put into all sorts of twisted positions, much like Julie Taymor did with her dancers in the stage version of "The Lion King". But unlike the king of the jungle, this kitty is about as emotionally involved as commercial cat Morris and cartoon cat Garfield. At least with those two, you could count on the commercial being over in less than a minute (and usually laughed at his cynical commentary) and the comic strip had wry comments on life, pet and human relations and with a 10 second reading, much more to give to the world than this has done in the past 35+ years.

The premise of this show is simple: It's the jellicle ball for jellicle cats, and a song indicating what a jellicle cat is really gives no complete definition. Old Deuteronomy is sort of the great God like old cat who must choose which one of the jellicle cats will go on to start another life, and within the span of two hours, various cats of no varying personalities (with the exception of a few) audition for that honor. Ken Page is one of the great character performers of the theater, and makes a lovable and commanding Deuteronomy. The problem, then, is not in the performances, but within the show itself. Elaine Page repeats her London role as the aging glamour cat Grizabella who sings the poignant anthem "Memory" at the climax of act one, then repeated throughout act two, and she provides the only poignant moment for me that rendered any kind of emotion.

There's a show-stopping John Mills as the "theater cat" who claims to have performed for Queen Victoria, giving one analogist the idea that "Cats" was a metaphor for the relationship between Queen Victoria and Disraeli. Original director Harold Prince summed it up best when he replied to that inquiry, "It's about cats." So even the director knows that it's pointless entertainment, manipulating theater goers for decades and certainly packing in the tourist trade in both London and on Broadway. Of course, everybody who has seen this show or knows about it knows "Memory" and characters like Rum Tum Tugger and Jenny Any-Dots (who would name their cat that?), and after seeing this, I needed a double shot of Rum Tum Tugger.

The staging is impressive, but after a while, the dance numbers do nothing but take away the notion of any plot, and one number in particular reminded me of the 2002 disaster "Dance of the Vampires" where the living dead danced at the vampire ball in front of a mirror, with no reflection. The staging is corny, sometimes tacky, and when I saw this on Broadway, I realized that everybody around me with the exception of me had drunk the "Cats" kool-aide. I was happy to get this off my bucket list, but I certainly will laugh more every time I see a comic jab at this show, like Woody Allen did in "New York Stories" and what Marc Cherry did on the short-lived "The Five Mrs. Buchannans" when Eileen Heckart rushed her daughter-in-law Harriet Harris out of a store, claiming, "I'm not going to be late for Rum Tum Tugger just because of you." Like those two great theatrical ladies who obviously got the joke (Harris's character referred to it as technically amazing but artistically empty), I too am not taken in by over-stuffed smelly costumes and junk yard modern art when there is no point to the show in the first place.