Cats 2011

Critiqued by Holly Bartges

If I were allowed, today I would go directly to the humane society and adopt the oldest most raggle taggled cat available, naming her Grizabella after Shelly Cox-Robie's interpretation of the old cat shunned by the others until Old Deuteronomy chooses her to be the one cat at the annual Jellicle Ball destined for a new life.

But then I would want an old male to name Old Deuteronomy, so magnificently played and owned by Wayne Kennedy.

And I would want one named Jennyanydots played by Cindy Lawrence.

Tracy Warren and Brian Norber in Boulder's Dinner Theatre's Cats. Courtesy Boulder's Dinner Theatre.

And, of course, there would have to be the mischievous pair Mungojerrie and Rumpleteasr playfully stunning by Stephen Bertles and Joanie Brousseau.

My all-time favorite with Cats has been Mr. Mistoffelees beautifully brought to life by Jacob Taylor sliding down on a wire and performing some incredible ballet moves. He reminded me of a wondrous cat I once owned who choreographed his own Fly-Swatter Ballet. Obviously Taylor has had much more ballet training than did Harlequin.

How could I leave an animal shelter without finding a Rum Tum Tugger who always wants the opposite of what anyone has to offer. You let him out, he wants in. You let him in, and he wants out. You give him a mouse; he wants a rat. Once upon a time, I had one of those too. Scott Beyette knows this cat inside and out. He must have had one at some point because he certainly knows how to bring him purr-fectly alive,

However my two wondrous dogs who think cats are to chase and harass wouldn't allow one, much less that many. I have been told in so many words if I brought one home, they would leave, and I love that Morgan and Majeska too much to create unnecessary chaos.

There's magic between Boulders Dinner Theatre and CATS. It has been 7 years since they first produced it. I have seen it several times by different production companies, but the anticipation that sends chills down the spine unravels during the Overture at BDT. Something there is about that venue, those people, and that production that creates a magic all to itself. There are several new cast members and they are caught up in the magic. You can see it in their eyes; sense it in the tenderness of their paws, and the pride in their tails.

Directed and choreographed by Bertles, with Assistant Choreographer, Alicia Dunfee, the remarkable, loveable musical by Andrew Lloyd Webber comes alive on BDT's small stage.

Matthew D. Peters and Rae Leigh Klapperich in Boulder's Dinner Theatre's Cats. Courtesy Boulder's Dinner Theatre.

It's the annual Jellicle Ball when the various cats get together in the junkyard to have Old Dueteronomy chose the cat who will get a second life. Several vie for it. Several are well qualified, and, of course, after the first time its seen, you know who it's going to be. Doesn't matter. You fall in love with them all. You want them all to be chosen. Maybe next time.

Originally, T.S. Lewis wrote a collection of poems on the Jellicle cats, and it was Webber who allowed his imagination to carry him into the highly successful musical.

Tears sneak into the corners of the eyes when Cox-Robie gives herself to the soul of Grizabella with the song Memories. Cox-Robie owns this magnificent character. No matter how many times I have seen this production by other production companies, including the Broadway touring company, it is Cox-Robie's ownership of Grizabella I see overshadowing anyone else.

Although the BDT orchestra hides from view, it is their heart and soul flowing into the well-loved music. Neal Dunfee's Conductorial instincts as pianist, sets the tone for Nick Vocatura and April Johannsen on reeds; Rob Reynolds and John King on trumpet; Michael Hilton and Keith Larsen on trombone, Dave Demichelis on guitar and synthesizer; Carlton Bacon on bass; and Nick Gnojek and Mike Asheim on drums. They are the un-sung heroes who just once should be allowed out of their parapet to take well- deserved bows with the cast for the audience to identify them.

Amy Campion's scenic design allows the BDT stage to become the junkyard with an old car, a TV that's lost its zing, the shell of an old stove that once brought a family together, and tons of other items no longer useable except for these special cats in their once a year celebration.

Joanie Brosseau and Stephen Bertles in Boulder's Dinner Theatre's Cats. Courtesy Boulder's Dinner Theatre.

Linda Morkin's costumes capture the individual cats' personalities, and Rachel Dugan's lighting design floods the heart with warmth, persistence, mystery, and ingenious story telling by these every so delightful Jellicle Cats celebrating their yearly Ball.

I could only hope the high amount of cats looking for forever homes in shelters would decrease tremendously after seeing this particular production.

Someone out there is going to want Bustopher Jones, the rolly poly smug one, and Growltiger so deliciously energized by Brian Norber. Ah, and there's no one like Macavity as seen through the eyes of Michael Richman.

No, no, of course we can't forget Bob Hoppe's busy, and important railroad cat, Skimbleshanks, who definitely belongs in a railway yard.

Morgan and Majeska sit here glaring at me for the very thought of finding these cats and bringing them home. It is difficult, however, to imagine anyone seeing this particular production and not wanting to rush out to the nearest animal shelter. I can't, right now, but you can.

CATS opened at London's New London Theatre on May 11, 1981 and ran for 21 years. On Broadway, at Wintergarden Theatre, it ran for just over 18 years winning seven Tony Awards including Best Musical and Best Score, but no one cuts the catnip like the magic of BDT.

Playing through September 3, this is one production one does not want to miss out on. Trying to ignore Morgan's and Majeska's grueling stares, BDT's production of CATS is no less than the Cat's Meow.

My dogs, however, testily want to know when someone will write a collection of poems called BARK and have them sent to Webber.

By Andrew Lloyd Webber; Directed and Choreographed by Stephen Bertles