UFOMT’s CATS is an ineffable delight

LOGAN — Back in 1980, the Buggles warned us that “Video Killed the Radio Star”, only a few months later, Andrew Lloyd Webber’s musical Cats opened on Broadway. Today, some fear that videos will kill live theatre, but I no longer share that fear after seeing Cats performed live. Tainted by the infamous film adaptation I watched with horror during the malaise of COVID-19, my expectations were admittedly low,. However, the Utah Festival Opera and Musical Theatre’s rendition of Cats completely changed my perspective. This production showcased the true magic of live theatre, with the performer’s palpable energy radiating off the stage as they delivered stunning vocal performances and executed breathtaking choreography.

The show’s plot is still as deep as The Cat in the Hat. It centers around the Jellicle cats who are gathering for their Jellicle Ball. Leader Old Deuteronomy must choose one cat to receive the honor of ascending to the Heaviside Layer and be reborn into a new life.  For a play based on the poetry of T.S. Eliot, I found most of the lyrics simple and wanting. For example, the closing song “Ad-Dressing of Cats” reminds the audience, “So first, your memory I’ll jog/ And say: a cat is not a dog.” These “profound” lyrics build to a climax until the final lines explain: “So this is this, and that is that: And there’s how you address a cat!”. Knowing that the play has been out for over 40 years, I emphasize that Andrew Lloyd Weber’s lyrics, inane and silly they may be, are not what makes this a great show. It was always meant to be a spectacle show focusing on providing a feast for your eyes and ears, and it is enormously successful. Conductor Andreas Mitisek commands the music direction and orchestra with precision. The artist’s live performances of the melodies and harmonies are delightful to listen to and make this show great. The orchestra resonates through the auditorium and delivers meaning through musical methods and modulations, much more than lyrics.

The direction and choreography by Lauren Haughton Gillis was brilliant. Intricate choreography is dynamic throughout the show and Gillis uses the dancers like Bob Ross uses paint on his canvas. Quick, bold strokes and confident placement blend into a harmonious picture. The performer’s movements add color to a great deal of the story.

The technical elements of the UFO&MT production are masterfully executed, creating an immersive atmosphere. Reuben Lucas‘s set design transforms the stage into an oversized junkyard that serves as the playground for the Jellicle cats, complete with a slide. The multi-level design provided ample space for the elaborate dance numbers and gave levels for the actors to play on.

Thank heavens live theatre doesn’t have the furry CGI atrocity that was represented in the film. Yao Chen’s costumes are spectacular. Each cat’s costume is a unique blend of textures, colors, and patterns, perfectly capturing the essence of their character. The attention to detail is evident in every piece, from the luxurious fur of Bustopher Jones to the sparkles of Mr. Mistoffelees. The costumes not only help define the personalities of each cat but also allow for the fluidity of movement required for the intricate choreography.

Melyssa Swensen’s wig and makeup design is exceptional, adding the final layer of transformation for the performers. The attention to detail in the makeup, with each cat’s facial features and markings carefully crafted, helps bring the characters to life. Skimbleshanks’ makeup is interesting because it makes his eyes read as enormous and his grin reminded me of the Cheshire Cat. Overall, the wigs are fantastic and help transform the dancers into their feline alter-egos. I enjoyed Mr. Mistoffelees’ wig with its breadth and shape giving a unique look as he dances across the stage. The exception is Macavity’s wig because the volume of that particular mane was so big it covered his face during his dance fight.

Cats is an ensemble show requiring the actors to sing and dance with commendable precision while bringing their particular cat personality to life. Also, there are excellent solo performances throughout the production. Michael Nansel’s Old Deuteronomy is a commanding and heartfelt presence. Nansel’s deep, resonant voice and dignified demeanor suit the wise and benevolent leader of the Jellicle cats. Nansel’s portrayal brings a sense of gravitas and heart to the production. Rum Tum Tugger performed by Ian Saverin prowls the stage and oozes with charisma as the mercurial tom cat. Tony Mowatt portrays Asparagus, the old theatre cat with great comedic timing. Mowatt’s powerful tenor captures the nostalgia and melancholy of an aging performer reminiscing about the glory days.

Maryn Tueller brought warmth and exuberance to the role of Jennyanydots. Tueller’s rendition of “The Old Gumbie Cat” was energetic and fun, especially during the call-and-answer tap dance section. Luke Swaller’s Mr. Mistoffelees was nothing short of magical. Swaller’s athleticism and grace were evident during mesmerizing dance sequences. Swaller as Mr. Mistoffelees was a perfect blend of showmanship and finesse as he pirouetted across the stage summoning pyrotechnics. Brian Craig Nelson and Allison Lian are an electrifying duo as Mungojerrie and Rumpleteazer and are my favorite cats of the night. Their chemistry is exciting, and their synchronized dance routines are executed with incredible precision and energy. Nelson is also the dance/lift captain for the production and displayed those skills fully during their pas de deux. Nelson lifts Lian onto his shoulders and flings her about easily while both sing beautifully. Their team cartwheels across the stage had the audience cheering.

Last, I must praise the only cat with an emotional story arc, Grizabella. Adrien Swenson’s portrayal of Grizabella is nothing short of extraordinary. Swenson’s rendition of “Memory”, the show’s most iconic number, is breathtaking and emotionally charged. Swenson’s powerful voice and heartfelt performance captured Grizabella’s pain and longing, offering the best vocal performance of the evening.

While the logic of the show is as elusive as a laser pointer dot, the UFO&MT’s production of Cats is enchanting and a perfect example of why live theatre is unique and relevant in the age where one can stream almost anything onto a TV or phone at any time. Local live performances of Cats are rarely seen due to the challenging nature of obtaining the rights for the show. The value of live performance is in hearing the way the percussion bounces off the walls, listening as the keyboard switches the synthesizer in a very 1980s way based on the mood of the number, marveling as the vocals blend in intricate harmonies, and seeing the dancers physically tell the tale with a waggle of a belt-attached tail. These elements cannot be pressed into 1s and 0s and distributed en mass. The show is a strange theatrical equivalent of herding cats, and its ineffable quality must be witnessed in person to feel it and understand its longstanding appeal.