no longer a CATS virgin

[SuperSchubert]

Posted: 7/8/04 at 2:14am

Tonight I crawled out from under a rock and witnessed live, and for the first time, a phenomenon that started in London way back in the year I was born: CATS. You might ask “What sort of cave have you been living in?” or “What kind of musical theatre nerd are you?!?” You have that right. Technically, I had seen CATS by way of the video released back in ’98, but all good theatre loving freaks know that few things can supplant the live experience of a show.

CATS isn’t the greatest show. Sometimes I even wonder how it lasted so damn long on Broadway and in London. But then, I realized that it’s not plot or high drama that kept this show running…it’s pure theatrics. (well duh, phil!) Once I got that, it was easy to just sit back and enjoy the dancing, costumes and, at times, even the music.

This production at the MUNY was not a national tour associated with Cameron Mackintosh, though exec-producer Paul Blake made the right moves to make sure this CATS had the quality and excellence of the New York production. Director Susanne Viverito [also a swing in this production—she went on as “Sillabub” at this performance] worked with a cast of several CATS alumni to pull off a well-danced and sung production.

As if it wasn’t enough to hire competent actors so familiar with their roles, Blake outdid himself by casting St. Louisan (and Muny regular) Ken Page in the role of Old Deuteronomy—the role Page originated in the Broadway production back in 1982. Another treat was to hear the divine Judy McLane featured in the brief but memorable role of Grizabella. Her rendition of the oft-sung, oft-recorded “Memory” was the high point of the evening, though I didn’t like how the sound engineers upped the volume on that climactic D-flat. McLane has a powerful belt in that range; the extra volume seemed unnecessary.

The unit set by Steve Gilliam was a definite departure. This CATS was not set in a junkyard. Rather, it was the back alley of a Theatre, Salvation Army Thrift Store and Appliance Store (aptly named TS Appliances) near a highway with an “Eliot” exit. The levitating tire/arm-from-heavyside-layer for Griz at the end was nice, but would it have killed the painters (or Gilliam) to make the staircase to heaven look like a cat’s arm instead of a black monstrosity? Costumes, designed by a local designer, looked at least somewhat faithful to the original designs. Though, I was sitting about a mile from the stage, so who knows, really?

Afterwards, I stopped by the stage door to meet Ken Page. I didn’t need an autograph. Just wanted a chance to tell him how much I appreciate his performances and his willingness to work in his hometown so often. But, alas, a group of high-school age CATS fanatics from boondocks Missouri took a while getting autographs/photos until Ken had to politely wave goodbye to the crowd and get in his escort to the hotel. Kudos to him for knowing when to say when and not come off as haughty or unkind. Gotta appreciate someone like that.

On further reflection… During intermission, I wondered how far some of these actors in CATS go to “research” their roles as cats. Do you think that some go through a sort of “method-acting” for their preparation? I can just see the method actors using litter boxes instead of toilets…scratching their enemies instead of using back-handed compliments…using scratching posts instead of their own hands…eating cat chow…

Maybe they just study cats…who knows? Updated On: 7/8/04 at 02:14 AM

[J.]

Posted: 7/8/04 at 2:46am

SuperShubert, I am in STL tonight and was at this performance of CATS(Wed. 7/7) and thought it was horrible on many levels. First of all, this production along with Paul Blake is a fraud because all the staging and choreography was STOLEN from the original Trevor Nunn/Gillian Lynne version WITHOUT crediting them at all. This "Suzane" person I saw creditied in the program as the Director and Coreogaphy is a phony. These people do not understand that the director/choreographer is NOT the person who teaches the staging but the person who DESIGNS, CREATES, and INVENTS the staging. The real choreographer can videotape themselves dancing the show and give to someone else to spend hours and hours teaching it to the actors and they are STILL the choreographer because it is THEIR MOVES. Aside from that, the performances I though were not good. Munkustrap definitely had a vocal problem. The set, lighting, and orchestra were also poor as well I thought. CATS is a very colorful show and there was no contrasting color throughout this show at all. It all comes down to this: CATS has a very mixed reputation around the country because a lot of people who judge it have not seen the real thing. CATS at the STL Muny or on a national tour is not the REAL show. CATS ONLY works in a small theatre as a resident production with the higher budget and intimacy with the actors. CATS as a one-dimentional show is boring. Being at the STL Muny 200 rows back and not being able to see **** is boring. I take no shame in the tone of this post because I think this is a serious problem these days with people STEALING staging and choreography and calling it their own just because they put the man hours in. It's not the first time I have seen it happen either.

[insomniak]

Posted: 7/8/04 at 2:57am

Cats came around on tour. I went. I saw. I listened. I left.

Didn't for much for me, honestly. I'm not sure why it's so great.

[J.]

Posted: 7/8/04 at 3:11am

insomniak, your case it easy. You didn't see the fun, theatrical, CATS that won 7 Tonys. You saw a one-dimentional 'show' rather than being "inside" a multi-dimentional show. The CATS didn't come purr on your foot did they?

[CATSNYrevival]

Posted: 7/8/04 at 3:25am

CATS needs to be done in a small intimate theatre like it was at the New London Theatre. If you didn't see it there then you've never seen CATS. So don't complain about not liking something you have not experienced...

[broadwayguy2]

Posted: 7/8/04 at 3:26am

The design for this production is HIDEOUS.

[CATSNYrevival]

Posted: 7/8/04 at 3:31am

I agree. We need some kind of ban on horrid designs for CATS. Don't try to mess with something that works fine the way it is... Next we're gonna see CATS in an abandoned amusement park. Hello! It's a WASTELAND for a REASON! Updated On: 7/8/04 at 03:31 AM

[SuperSchubert]

Posted: 7/8/04 at 3:32am

J.,

I almost didn't reply to your post, but I'm afraid that I have to. Here are some of my thoughts about your thoughts....

this production along with Paul Blake is a fraud because all the staging and choreography was STOLEN from the original Trevor Nunn/Gillian Lynne version WITHOUT crediting them at all.

You are incorrect about the crediting. Take a look at what is printed in the program (if you even have one) from the production, and you will see that they WERE credited as follows:

Original Broadway Production
Directed by Trevor Nunn
Associate Directed and Choreographed by Gillian Lynne

Also, in the program, underneath "Directed and Choreographed by SUZANNE VIVERITO" the following is stated as such: "Based on the Original Broadway Production" So, with the information provided, it can be inferred that Suzanne Viverito wasn't the originator. She's just re-creating it.

The set, lighting, and orchestra were also poor as well I thought.

Can you give me examples of how "poor" the orchestra was? or the set and lighting for that matter? It would make your arguments more credible.

CATS at the STL Muny or on a national tour is not the REAL show.

In your opinion, maybe.

CATS ONLY works in a small theatre as a resident production with the higher budget and intimacy with the actors. CATS as a one-dimentional show is boring.

How was this production a one-dimensional CATS? Back your points up, please.

Being at the STL Muny 200 rows back and not being able to see **** is boring.

Then go see it in a tiny venue. I myself wished that I could see it sitting closer to the stage, but if it's a matter of seeing it in an 11,000-seater, or not at all, I choose the former option. It might take you by surprise, J., but not everyone has the luxury of seeing the residential production of popular musical theatre shows in New York, London or wherever.

I take no shame in the tone of this post because I think this is a serious problem these days with people STEALING staging and choreography and calling it their own just because they put the man hours in. It's not the first time I have seen it happen either.

How is it "STEALING" if they mention rather explicitly that it is based on the Broadway production? Viverito probably wanted to re-create the show as she thinks it should be recreated (which I think is close to what I saw on the video, which is presumably what was seen on Broadway as well). Take it this way...West Side Story has been continually "re-created" by other choreographers in regional theatre and summer stock for years. Are you going to say the same about those people as well? Their choreographic efforts are specifically described as "re-creations" of the original. I, for one, feel blessed that I have seen WSS in a re-creation of its original choreography. It's like seeing something legend is made of...and one day, these talented people won't be around to do this, except for if they pass it on.

I didn't reply to this message because I feel any obligation to defend CATS or its creators. Rather, I replied because your post came off as very emotional and somewhat unsubstantiated.

-SuperSchubert

p.s. did you really see this show? are you from the area? judging from your posts, you never seem to talk about St. Louis or its theatres.

p.p.s. I do think that Paul Blake often misses the mark on some shows, but I think he might have done this one right...by sticking to most of what makes it work (save for the intimacy factor...sorry you're not gonna get it at the MUNY) and finding ways of putting it into a very unique theatrical space. Updated On: 7/8/04 at 03:32 AM

[CATSNYrevival]

Posted: 7/8/04 at 3:44am

J.'s posts are often emotional and unsubstantiated. Don't worry about it. But, I do think he, along with many of us, is worried about CATS going into regional and not given a proper staging. Especially in the design elements. That is a huge part of the show, and if you can't do it right please, PLEASE don't do it. It's not fair to whatever integrity the show has left after all these years of slander and abuse from the media and the self proclaimed CAT-Haters. Updated On: 7/8/04 at 03:44 AM

[J.]

Posted: 7/8/04 at 4:12am

I live in NY bu I'm in STL some summers to visit family and have seen muny shows before. CATSnyrevival is right. The London production is the ultimate production and if you supershubert have not seen it there, then I don't beieve you know what CATS really is. Broadway is also what CATS really is though the London production is superior. I am aware that anytime a production is redone by someone else you ALWAYS credit the original director in small print. But the problem is this wasn't recreated. It was the ORIGINAL direction and choreography identical which means that Trevor Nunn and Gillian Lynne are the primary stagers not Suzane such'n'such. I'm not even going to explain my points about the lights and set because 1) It would take forever and 2)you havn't seen and know the CATS that is meant to be so you have nothing to compare it to and you'll still just think tonight's show was wonderful. All I can tell you is this production was horrifying and not what CATS is supposed to be and any other person on this board will tell you that if they've seen the B'way or London show and this production at the Muny. Updated On: 7/8/04 at 04:12 AM

[sean martin]

Posted: 7/8/04 at 10:11am

>> We need some kind of ban on horrid designs for CATS. Don't try to mess with something that works fine the way it is... Next we're gonna see CATS in an abandoned amusement park. Hello! It's a WASTELAND for a REASON!

You could change the concept of the junkyard to something else (like an abandoned amusement park, which isn't a half bad idea, come to think of it), but the issue is that it has to be a cohesive, well-thought-out change. Heck, you can do King Lear on Mars in the 35th century if you make solid enough case for it -- at least that's what I teach my students.

I haven't seen the MUNY, just the design sketches on Gilliam's site, and what bothers me is that you have this back alley (which is fine) and then a Heavy Side that moves the concept in a sudden, very different direction. The audience isn't prepared for this giant arm thing, and my bet is that it comes off looking, well, a little strange and even a bit silly. I could be wrong, but that's what it feels like.

[insomniak]

Posted: 7/8/04 at 10:31am

Maybe it was the theater, but I didn't actually like anything about it, no plot, dull music, didn't care much for the dancing. 'Memory' was beautiful, that's it. Anyway, I'm not trying to slam Cats, just saying that I didn't think it was as special as it had been built up to be.

[J.]

Posted: 7/8/04 at 12:39pm

insomniak, if you're still talking about the US national tour, the point of these posts is about the elements that make CATS what it is not being there in the regional and touring productions. Once again, you have not seen the real show if this is the case and you cannot comment on what you have not seen. Sean and CATSNY, we're totally eye to eye and if any other person out there who has seen the London or B'way show regarless of what your opinion of the show is, you have an understanding of what it is and if you saw this tragic production in STL last night you would be in horror. When a show goes from B'way to regional, it takes a step down in budget and quality i understand and it's fine. We expect it. The point is though that CATS is a special case and when you take away it's large scale, theatrics, and intimacy, not enough is left. Same for STARLIGHT. It just isn't going to work on tour or regional ever probably. Updated On: 7/8/04 at 12:39 PM

[sean martin]

Posted: 7/8/04 at 12:45pm

>> When a show goes from B'way to regional, it takes a step down in bidget and quality

Not always, J. I mean, sure, out here in the hinterlands, we dont have the multimillion dollar budgets that they do in New York. The runs are shorter and closed-end, so you have to plan accordingly. But what smaller theatres may not have for budget, they make up for with resourceful imagination. We did a CABARET this past spring at TCR that would have beat the be-jezuz out of the Studio 54 production -- I sat there in the audience amazed that this was a community theatre group performing; I mean, these guys were good. And I've seen pocket productions of BEST LITTLE WHOREHOUSE and ROCKY HORROR that would make the B'way productions look like overdressed 9th Avenue hookers.

But you have to have the imagination to think beyond the usual, and that's where a lot of companies come up short. It's just easier and more expedient to do a rough approximation of what someone did in NY or else toss together a concept that may or may not work and who cares because it's gonna close in two weeks anyway. :)

[J.]

Posted: 7/8/04 at 12:54pm

I'm very open to believing that regional theatres out there can out-do B'way in creative or even design ways such as the way it's directed or changing the setting. But, I think, as long as the budget is significantly less, some things are going to be lost. Again, I think it's just CATS being an unusual case like STARLIGHT. If anybody else out there was at this horrifying production in STL please say something. I can't believe Ken Page was a part of it. He's definitely doing a favor for his home town. If Trevor Nunn, Lloyd Webber, Sarah Brightman or any of those people who were with this show from the start saw this show last night, I think they would say in a minute that the show doesn't work very well in this form.

[Rose_MacShane]

Posted: 7/8/04 at 2:00pm

Which version is playing at the MUNY? I saw a version on tour last year (according to my program it was presented by CAT'S-EYE LLC. Is that the version playing now?) and I really liked it. Granted, it's not as good as the Broadway or London versions were (when it plays big venues, something really is taken away from it, especially the interaction with the cast), but I still enjoyed it.
Just recently, I saw a dinner theater production that was also pretty good. Actually, *very* good, for what it was. They changed the setting to an alley and they had to simplify some of the dancing, but it still worked.

[J.]

Posted: 7/8/04 at 2:27pm

I think the Muny's version i'm pretty sure was done on its own and is not part of any tour or other version.

[sean martin]

Posted: 7/8/04 at 2:28pm

Yep, it's their own, not a tour.

[J.]

Posted: 7/8/04 at 2:32pm

Thank god. Now they won't continue the production somewhere else and corrupt other theater companies!

[CATSNYrevival]

Posted: 7/8/04 at 4:14pm

So.... any production photos???

[sean martin]

Posted: 7/8/04 at 4:26pm

Gilliam will probably put some on his web site, but the MUNY rarely does.

[J.]

Posted: 7/8/04 at 4:33pm

I just wanna get something straight here. Sean, were you at this show? Who here besides me and supershubert has seen this Muny production. Also, if anyone doesn't know, The Munu is a regional outdoor theatre in St. Louis that does a mostly the olf-fashioned musicals but their shows are usually mediocre and they have a wacky producer who occasionally directs and like to "break the wall" a lot and do gimicks and throw jokes in that have to do with St. Louis. It's very silly and tacky.

[sean martin]

Posted: 7/8/04 at 4:36pm

>> Sean, were you at this show?

Nope, just know it by what I've seen on Steve Gilliam's web page.

[J.]

Posted: 7/8/04 at 4:40pm

can i see that webpage?

[broadwayguy2]

Posted: 7/8/04 at 4:41pm

http://www.trinity.edu/sgilliam/showlinks.htmlhttp://www.trinity.edu/sgilliam/showlinks.html>http://www.trinity.edu/sgilliam/showlinks.html