Cats The Musical: Hamilton Operatic Society stages Andrew Lloyd Webber classic

The Cats ensemble from Hamilton Operatic Society. Photo / Mark Hamilton

What: Cats - The Musical

Music by: Andrew Lloyd Webber

Presented by: Hamilton Operatic Society

When: now until August 9

Where: Clarence Street Theatre, Hamilton

Tickets: online via Ticketek

Reviewed by Cate Prestidge

If you’re looking for an appropriate outing for your vintage fur jacket, then a ticket to Cats is the perfect opportunity.

Opening night was positively purring with feline fashion as the Hamilton Operatic team welcomed the at capacity audience.

Once seated, cats prowled up and down the aisles giving a close-up view of the incredible makeup and costumes.

It’s something Cats is famous for, and the design team of Rose Sidwell and Claire Field (costume) and Cat Dwyer (hair, makeup) deserve a huge accolade for.

Gaby Jackson plays Electra, one of the Jellicle Cats. Photo / Mark Hamilton

Supported by a massive team of 16 dressers and make-up artists, I can only imagine the excitement of the cast when they first saw their characters emerge.

Many people know Cats, one of the world’s most successful musicals.

But if you’re unfamiliar with the show (like my ‘plus one’), it’s helpful to know it doesn’t follow a traditional narrative.

Based on T.S Eliot’s “practical cats” poems, it’s a character-driven spectacle full of diverse set pieces and choreography.

Sonja McGirr-Garrett and Cassidy Garrett have done a phenomenal job as co-choreographers.

The cast are more than simply well-honed, they are focused, energetic, full of character, and frankly, exhausting!

Noelle Savill as Munkustrap. Photo / Mark Hamilton

While cat-like gestures consistently reinforce their “Jellicleness”, individual characters are expressed and sustained emphatically by every single performer and every cast member deserves a jolly good scratch on the head and a bowl of cream.

I particularly liked Noelle Savill’s Munkustrap, a major role which links together many of the scenes and which showcased her movement and fine voice.

Aroha Whaanga impressed as a captivating Bombalurina, while River Park and Lily Burgess-Munro were excellent as the naughty Mungojerrie and Rumpleteazer.

Cassidy Garret in the role of Sillabub was outstanding in both movement and voice, particularly in Memory, where her fine soprano contrasts with the rich tones of Julia Booth’s Grizabella.

The performance of Memory in Cats is an emotional interplay, and Booth conveys this with strength.

I was delighted by Mike Scanlon as Gus the theatre cat and his quieter scene with Christy Park (Jellylorum) was a favourite, while Felix Rowe was suitably outrageous as Rum Tum Tugger.

I enjoyed hearing his voice more clearly in Mr Mistoffelees and Old Deuteronomy, the latter song was a highlight for the strength of the entire ensemble, supported by the backstage singers.

Dancer Laeticia Austin (Victoria) showed astounding control and flexibility, and Oliver Johnson (Mr Mistoffolees) was lithe and polished.

Some lovely partner scenes were supported by Dean Watson (Plato).

Laeticia Austin (Victoria) and Cassidy Garrett (Sillabub). Photo / Mark Hamilton

Jack Turner (Skimblehsnaks), Sean Hapi (Macavity), Eva Orton (Demeter) showed great control and confidence, and Cam Strother was in fine voice as Old Deuteronomy.

Comedic styling from K-M Adams (Jennanydots) and Simon Brew as the ‘gentlemanly’ Bustopher Jones rounded out the main characters.

The 19-piece band under the direction of Nick Braae were excellent and the overture transported me immediately into the show.

The music is complex, performed by three pianists led by Alex Wiltshire, three trumpets and other multiples of drums, brass and woodwind alongside guitar, oboe and percussion – do check out the programme for these musicians.

Lighting goes hand in hand with atmosphere and the designs by Aaron Chesham didn’t disappoint adding drama, mood and character.

A glance at the programme photos also shows how effective this is when captured in still form.

Director David Sidwell brings huge experience to the show, pulling all the cast and production elements together confidently, creating some magical set pieces (the train is wonderful) and working with a new set by John Harding.

This represented the backstage of a theatre rather than the usual junkyard setting and had some fun props and found objects.

Some minor quibbles were some scale issues on the coat rack garments, and a couple of flatter moments in transitions where the audience didn’t know quite how to react.

But overall, an entertaining, focused, comprehensive performance and a fun night out.

Cate Prestidge is a principal academic and co-ordinator of journalism and communication programmes at Wintec. She has been writing theatre reviews for NZME since 2021.