Stunning Production of CATS: Not To Be Missed!

Cats The Musical

Cats The Musical Rating

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Andrew Lloyd Webber’s “CATS” is a stunningly colourful and athletic musical that audiences, young and old, thoroughly enjoyed on Sunday evening’s performance.

Upon walking into the theatre, we were greeted by the backdrop of an alley, scattered with fantastical depictions of trash or lost items. Festoon lights were hung around the stage and across one of the bannisters above the audience. Many platforms and footholds were around the stage, which gave the cats many places to enter scenes, hide, and leap from.

While a good portion of the show included basic white wash lighting, flashing lights/strobe, pyrotechnics, and different coloured lighting created the desired effects and were appropriately timed. Costumes and Makeup were stunning and thoughtfully crafted, and I could hardly take my eyes away from the intricate details and grungy aesthetics.

As someone who had not seen CATS in person before, I was unaware of the more interactive aspects of the show. Occasionally, some of the cats would enter the audience via the front two rows. They would play with the strap of someone’s purse, bump paws with audience members or serenade them. It was an interesting way to break the fourth wall and keep people engaged. Those who book their seats close to the stage should be made aware of this ahead of time.

 

 

All dance routines were highly polished and were done to seem effortless. In between routines, each cast member maintained their character by including feline mannerisms in their recline. Dance intervals featuring the White Cat (Claudia Hastings) and Mr Mistoffelees (Tim Haskayne) were especially memorable and very impressive. As well as their poise, apparent professionalism and acrobatics, support from the remainder of the cast really brought each of the performances together seamlessly.

The audience thoroughly enjoyed songs such as “Mr Mistoffelees,” “The Rum Tum Tugger,” “Gus: The Theatre Cat,” “Skimbleshanks, the Railway Cat,” and of course, the much beloved “Memory,” and its reprises. All vocals were fantastic and blended well, with notable mentions to Des Flanagan (Rum Tum Tugger), Jarrod Draper (Munkustrap), Mark Vincent (Old Deuteronomy) and Gabriyel Thomas (Grizabella). It is a highly enjoyable experience to see cast members have fun doing what they do best, committing to their roles in such a way that seems effortless.

From the costumes to the effects, everyone who plays a role in making CATS what it is did a fantastic job, and I highly recommend this production.

To book tickets to Cats The Musical, please visit https://catsthemusical.com.au/.

Photographer: Daniel Boud

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Cats

Cats The Musical

Cats The Musical Rating

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The opening night of Andrew Lloyd Webber’s Cats at the Crown Theatre, Perth, delivered a polished, high-energy revival that showcased the production’s enduring strengths of choreography and crystalline vocals.

The long-running musical has been entertaining audiences since 1981 but for prospective patrons unfamiliar with Cats, don’t attend the show expecting a plot or even any dialogue. You will have a much better appreciation for it if you go for the exquisite dancing, singing and overall visual extravaganza. Cats is more a sequence of character portraits of the feline characters stitched together by a very thin storyline about a Jellicle Ball for all the Jellicle cats.

The show made more sense when I discovered that it was based on a series of poems from TS Eliot’s “Old Possum’s Book of Practical Cats” dating back to the 1930s. It is these poems that inspired the legendary Mr Webber to convert them into a musical.

I cannot fault any of the dancing or singing. The cast performed with remarkable precision and athleticism, sustaining demanding choreography. The unison work in the larger ensemble numbers was exceptionally tight. It is evident that the dancers are professional ballet and classical jazz dancers. The production’s success lies in the cumulative power of its choreography and vocal pieces rather than narrative complexity.

Bringing the cats to life are the dazzling costumes and richly detailed makeup which I was fortunate enough to see up close. Throughout the show, the performers would integrate themselves within the audience, purring, stretching and leaping up and down the aisles of the theatre.

 

 

The production’s scenic design embraces the junkyard setting, transforming the stage into an immersive, feline-sized world. An old oven, a rumpled shirt, car tires, these are rendered at magnified proportions so that the performers read unmistakably as cats in an oversized human environment.

The integration of car engine and police sirens sound effects and a sweeping “torch” effect as the cat ensemble scatter in hidden spots, transforms the junkyard into a living, reactive environment without relying on dialogue.

Gabriyel Thomas delivered a standout solo performance as the weary Grizabella The Glamour Cat, belting out the iconic Memory song.

Tim Haskayne was outstanding in his jazz ballet routine as the Magical Mr Mistoffelees who delivered a mesmerizing performance with impeccable control and grace.

I found it especially amusing and admire the dedication of one of the performers who remained on stage in character for the duration of the interval.

This staging of Andrew Lloyd Webber’s Cats operates with a first-class polish that flows with effortless precision. It is more a mixture of a ballet performance and a musical rather than a conventional musical and in its entirety a form of art to enjoy.

To book tickets to Cats The Musical, please visit https://catsthemusical.com.au/tickets/perth/.

Photographer: Daniel Boud

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Jesus Christ Superstar: A Modern, Mesmerizing and Immersive Experience

Jesus Christ Superstar

Jesus Christ Superstar Rating

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It’s opening night in Brisbane after a successful Australian tour, and there is no denying that Jesus Christ Superstar rises again. For those uninitiated, the action focuses on the final days of the man himself, culminating in his crucifixion. However, this is no ordinary bible story – nor ordinary musical; Jesus Christ Superstar is conceptual rock n roll, and this production brings the classic firmly into 2025, with the help of eminent Australian pop, rock and soul musicians, inspired choreography, and exemplary calibre of cast. This is a show even for people who don’t typically enjoy music theatre, while still delighting those of us who do.

I’ve seen Jesus Christ before, both the fantastic 1973 movie and an enjoyable high school production many years ago, which featured my sister in the orchestra. However, it has been long enough for me that events unfolding seem surprising and fresh, while I realize the master plan toward which they culminate. This interpretation feels right now but retains the campy strut and sensibility of early iterations; A feature of Jesus Christ Superstar is how well it translates into different eras, being so beautifully open to experimentation.

As Jesus, Michael Paynter’s singing is exceptional, with clarity, control and conviction. An experienced professional musician with success in the pop charts, this show is Paynter’s first foray into the musicals; While I consider that he grows in stature throughout the performance (he is firing on every cylinder in the second act), the more I think about it, his calm, innocent, nearly boy-like portrayal in the first act is an appropriate and effective character choice.

Mahalia Barnes as Mary is also new to musical theatre; However, JCSS can be fairly considered part of the rock realm, so more her world than most musical theatre. Like Paynter, she is a music industry veteran, and a beautiful interpreter of song; She gets to sing some of my personal favourites in this show, giving soulful tone and connection, while radiating wholesome beauty. Her duet with Peter (Tana Laga’aia) is notable, bringing some gentler reflection into the strident second act.

As the flamboyant Herod, Reuben Kaye’s beauty is somewhat less wholesome than Barnes’s, but nonetheless riotously evident. Kaye is a force of nature, and while his stage time is shorter than the other cast, his presence is indelible, eating up the stage with electric energy, sinister sexuality and some impressive vocal histrionics – spanning from gargle to whistle and back again. No stranger to controversy himself, and certainly willing to ‘go there’ (watch his 2023 interview on The Project re: his love of Jesus, if you’re unfamiliar/not easily offended), Kaye goes all out as Herod, his courage and charisma perfectly cast in the role.

Javon King as the maligned but misunderstood Judas blends exuberance and anguish into a very memorable portrayal. Judas gets some of the show’s absolute banger musical numbers, and King handles them royally, with soulful elevation and powerful falsetto. While remembered for his betrayal, Judas is a complex character with arguably noble intentions, who errs, then cannot bear the burden of his own conscience. King captures these contrasts with phenomenal energy, nuance and commitment.

Other especially memorable performances are given by Elliot Baker, oozing machismo as Caiaphas, and Graeme Isaako, giving grit and sincerity as Simon. The standard of the whole cast is superb, and the production feels alive and in the moment. This show is not about main members singing stationarily in the spotlight, but rather the entire cast exploding throughout the stage, creating texture and dynamism both visually and narratively.

Special mention must be given to Choreographer Bree Tipoki, for her input behind such a captivating feature of the show; The dance and movement bring fascinating life and shape to the stage, and to the story. The live band, costuming, stage design and lighting are all dialled into the highest professional standard. As a whole, Jesus Christ Superstar gives life, as the plot takes one away. Yet, there are no sins to speak of; The shows deeper commentary on society’s casual detachment, desensitization and perverse voyeurism toward the suffering of one we raise up only to smack down – is thought provoking. Each distinct element blends vibrantly to create a modern, mesmerizing and immersive experience, that should not be missed.

To book tickets to Jesus Christ Superstar, please visit https://www.qpac.com.au/whats-on/2025/jesus-christ-superstar.

Photographer: Jeff Busby

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A Melange of Glamour, Tragedy, and Timeless Resonance!

Sunset Boulevard

Sunset Boulevard Rating

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3

The Princess Theatre was packed to the brim for the grand opening of Andrew Lloyd Webber’s Sunset Boulevard Musical. After nearly three decades, this reimagined production, presented by Opera Australia and GWB Entertainment made a triumphant return to Australia.

The musical premiered in 1993 at London’s West End and later that year in Los Angeles, receiving solid ticket sales. The Musical won an astounding 7 Tony awards in 1995 including best book, music, and lyrics awarded to Don Black, Christopher Hampton, and Andrew Lloyd Webber.

Sunset Boulevard is a captivating exploration of the darker side of dreams and the consequences of chasing them in the brutality and glamour of Hollywood. Taking the essence from the original 1950s Billy Wilder film and under the astute direction of Paul Warwick Griffin, this classic Noir musical weaves together satire, melodrama, and comedy into a mesmerising visual and auditory feast.

Narrated posthumously by the main protagonist, Joe Gillis, we are immersed in his sardonic flashback on the price he pays for a lavish lifestyle and fame. Through his eyes, we witness the tragic demise of a man drawn into the twisted delusions of Norma Desmond, a once-glamorous silent film star whose obsession with youth, stardom, and unrequited love leads her down a path of insanity.

The stage design in Sunset Boulevard captures both the allure and the shadows of this story. The incorporation of technology is truly ingenious, like at the start of Act 1 when the stage is completely engulfed by a lifeless body floating in a pool. The set centers around a magnificent gothic Hollywood mansion, featuring rich, dark embellishments illuminated by flickering candles, creating an atmosphere of opulence, drama, and tension.

The messages and themes in the musical are beautifully supported by the well-thought-out dramatic lighting that intentionally guides the audience’s attention. The standout closing scene, when Norma plays out Salome’s wild dance and finally receives the desperately-desired attention on “stage” is made powerful with the use of projections and handheld cameras as she stares directly into the the lens.

Likewise, the contrast in costume design between the vibrant, aspiring Hollywood stars and the lavish, nostalgic outfits worn by Norma beautifully reinforced the underlying message of Sunset Boulevard. It symbolized the industry’s tendency to discard old stars while embracing the new.

Returning to the theatre for the first time in 30 years, Sarah Brightman stars as the larger-than-life diva role of Norma Desmond. As she graces the stage, the audience seems enthralled by her almost regal aura. Brightman has an impressive history in theatre and is famously remembered for her portrayal of Christine Daaé, in Andrew Lloyd Webber’s “Phantom of the Opera”, a score that was originally written for Brightman. However, whilst she looks the part of Norma, her delivery feels somewhat subdued, and her articulation, at times, unclear.

Joining Sarah is Australian actor Tim Draxl who plays Joe Gillis. He has an engaging presence and a voice that effectively communicates his character’s emotional journey. He morphs from an ambitious and frustrated screenwriter to a man with conflicted feelings towards Norma, a man in love with Betty Schaefer, and then an observing narrator. Norma’s loyal butler and former husband, Max Von Mayerling, is portrayed by Robert Grubb, a well-known name in Australian theatre. His stage presence gives a sense of authority, sophistication, and loyalty, mirroring his years of service and mysterious relationship with Norma. The young ambitious screenwriter who became Joe’s love interest, Betty Schaefer, is played by Asheligh Rubenach. She is delightful in the role, effervescent and sweet, demonstrating a fine contrast to the fading star, Norma. The overall theatrical experience is richly enhanced by the combination of Lloyd Webber’s brilliant score and a live orchestra under the masterful direction of Paul Christ.

The cast of Sunset Boulevard is rich with an abundance of talent. Theatrical performer Jarrod Draper playes the role of Artie Green, Betty’s fiancée. Paul Hanlon and Troy Sussman respectively play Cecil B DeMille and Sheldrake. The brilliant ensemble cast also includes Regan Barber, Amy Berrisford, Billy Bourchier, Campbell Braithwaite, Benjamin Colley, Grace Driscoll, Madison Green, Peter Ho, Leah Lim, Mary McCorry, Charlotte Page, Morgan Palmer, Caity Plummer, Taylor Scanlan, Tom Sharah, Lisa Sontag, Riley Sutton and Dean Vince. Set and Costume Design by Morgan Large. Choreography by Ashley Wallen and Musical Supervision by Kristen Blodgette.

Sunset Boulevard remains relevant today where people are obsessed with celebrity culture, the pursuit of success, the price of living in a world driven by illusion, and the desire for validation. Other themes include aging, loneliness, and the loss of relevance, they each speak universally to the human experience.

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