The following is an edition of Mac’s Tracks, The Mirror’s music column. All views, thoughts and opinions belong solely to the author and do not necessarily represent those of the Drury Mirror. 

With the embarrassing amount of times I have gone up to theatre majors on campus and jokingly made a comment about putting “Cats” in the next season, I’ve been met with two replies:

“We don’t have the department size for that,” and most scathingly (and equally teasing), “or we could do a GOOD musical.”

Polarizing opinions

There is no such thing as a neutral opinion on “Cats;” it exists at a nuclear level between those who don the makeup and dream of starring as Mr. Mistoffelees and those who would burn every script if given the opportunity. What makes it so polarizing?

It’s weird. But if anyone ever tells you it doesn’t have a plot, they weren’t paying attention.

With music by Andrew Lloyd Webber and lyrics adapted from T.S. Eliot’s “The Old Possum’s Book of Practical Cats,” the show introduces a field of felines all attending the Jellicle Ball. One
of the main premises of the show, apart from each of them having bizarre names that set them apart from the regular housecat, is that one lucky soul is selected at the Ball to come back in another life.

It’s a show steeped in spectacle with some incredible choreography. Some of the magic is found in its off-shoot tales of cats’ personalities and history, imaginary battles between breeds of dogs and the odd spiritual undertones of the whole thing. It can be hated for all the same things, of course.

And honestly, plenty of hatred comes from the never-ending love/hate relationship with Andrew Lloyd Webber in the musical theatre world. “Cats” held the title for longest-running Broadway show until “Phantom of the Opera” surpassed it – both Webber productions.

He’s the gateway drug to show tunes and is heavily criticized for his apparent bastardization of the genre with most of his music rooted in old-school operetta, lacking variation across his long list of hits. However, he’s also credited with saving the musical and his 2018 autobiography, “Unmasked,” made some regret their harsh comments.

More than just a musical

“Cats” delivers on the signature Webberian show-stopper that is “Memory,” iconically performed by Elaine Paige. The characters are wonderfully memorable and the storytelling style is all music, no spoken word (save Munkustrap’s snide comment after Rumpus Cat’s entrance).

It’s at times hilarious, mystical, philosophical and dark, reflecting the gorgeous poetry of Eliot that provides the musical’s foundation.

“Cats” was the first musical I was ever exposed to as a child. In hindsight, that probably says a lot about me. I vividly remember bringing in our family VHS copy (which has since been replaced by a DVD because I watched the original to the point of decay) to my middle school choir class after asking the teacher if we could watch it for our movie day.

You can imagine the heartbreak I experienced as none of my classmates caught on to the magic and instead made constant noises and expressions of confusion and judgment.

It was the worst when Rum Tum Tugger’s number came on screen. My best friend at the time turned to me and asked why my
parents let me watch this so young. I was devastated. Despite this public shame, it remains my favorite musical.

Is it for everyone? No. It is worth at least one watch to decipher why it swept the nation and England’s West End? Yes.

It is a musical meant to be experienced rather than just listened to, although the soundtrack is available on Spotify (and is an absolute banger). Before you take the word of your friend who self-labels themselves as a theatre aficionado, give “Cats” a chance.

Article by Maclen Johnson.