Todd McKenney steals show in CATS but true star is controversial: review
We're used to seeing him in musicals like the Boy from Oz or judging C-grade celebrities on their dancing skills, but Todd McKenney's hilarious portrayal of Asparagus (Gus) the old theatre cat, thankfully, only briefly involved tights.
First of all, the character just needed an old scruffy coat, and secondly, it would have been akin to seeing your uncle prance around in lycra. Sure, he looked great, but I don't need to see it.
Although playing two parts, his role of Bustopher Jones, the dapper, well-fed cat was also covered up in a smart, black coat. Phew.
Read more from The Senior:
His comedic timing in both roles was purfect, but as Gus he truly shone. His storytelling, singing and dancing skills enlivened the audience, gaining the biggest laughs of the night.
Forty years after CATS made its Sydney debut in the Theatre Royal, the musical returned to the same theatre in front of an appreciative crowd on June 19.
The stellar cast also included the operatic voice of Mark Vincent who, after winning Australia's Got Talent in 2009, has had a successful recording and theatre career.
Playing the cat leader Old Deuteronomy, Vincent commanded the stage, truly transfixing his audience with regal moves and his booming, baritone presence.
Kudos to him for sitting on the stage, almost lifeless, during the 20 minute intermission - delighting the audience.
But the true star of the show was much more controversial than all the reality stars in the constellation - the 1980s!
Andrew Lloyd Webber's smash hit is truly a product of its time, debuting in London's West End in 1981 - and it shows itself as an '80s child more than his other productions, such as Phantom of the Opera (1986).
And for this reason, many people detest it. But what's wrong with the '80s? Why not enjoy two hours of nostalgia?
And sure, while some of the synth music felt like it belonged in an episode of Miami Vice just before Crockett and Tubbs busted another drug ring - I loved it.
Prince once said to me, the reason he loves playing in Australia was "because we appreciated '80s music". Well, he said it to the audience at his concert in 2012, but I was there.
And why not appreciate the time when CATS had its first life and pounced onto the stage as a fresh faced kitten, to the delight of audience-goers the world over?
But I was still curious how a new generation would receive the once-contemporary musical, based on the book of poems Old Possum's Book of Practical Cats by TS Eliot, when they had no sentimental ties to the 80s.
I purposefully didn't tell my 11-year-old date, Joe, anything in the lead up to the show. My nephew's family were under strict instructions not to let the cat out of the bag and tell him any details. And the soundtrack was strictly off limits.
His first indication that CATS was wildly popular and maybe a bit different was when we arrived and saw old and young theatre-goers dressed as cats.
And although he found the first part a bit confusing and was not quite sure what a Jellical cat was (I didn't really know, either) - he soon perked up with the arrival of the Rum Tum Tugger, with his hilariously understated 'Meow'.
Expertly played by Des Flanagan, he added irreverent cheekiness and comic relief. He got all the kids in the audience on board - he was our favourite.
Equally as mesmerising was Mr Mistoffelees, played by Axel Alvarez, with impressive ballet moves and accompanied by super-bright pyrotechnics and a magic trick that had the audience gasping.
And although our performance saw understudy Aimee Jones replace Gabriyel Thomas in the role of Grizabella, the once glamorous cat, her rendition of the musical highlight Memory was emotional and powerful.
And it was then my 11-year-old date tapped my arm: "This is a good song".
The interaction of the cats going through the audience made everyone laugh, fascinated children and at times scared the crowd - especially when the bad cat Macavity made a sly appearance.
If you want your grandchildren or nieces and nephews to have the full CATS experience - book aisle seats in the stalls - and they'll be face to whiskers with many felines.
Just keep in mind CATS is two hours long plus a 20 minute intermission - so take them to a matinee in case they fall asleep in the slower first half.
Despite its criticism that CATS is stuck in the '80s, it still stands the test of time - at least with my nephew - who is normally very quick to tell me if something isn't Sigma and is Ohio or any of the words I do not understand.
Instead, in the cab ride on the way home, wearing his new yellow CATS hoodie, Joe declared "CATS is the best musical ever, better than Hamilton".
That's one win for the '80s, and a zero for the 1700 - 1800's.
CATS is on until September 6 at the Theatre Royal, Sydney before heading to Adelaide, Perth and Melbourne. It will be Brisbane's turn from February 2026.
Prices start from $69.90.
https://catsthemusical.com.au/
Share your thoughts in the comments below, or send a Letter to the Editor by CLICKING HERE.
We're used to seeing him in musicals like the Boy from Oz or judging C-grade celebrities on their dancing skills, but Todd McKenney's hilarious portrayal of Asparagus (Gus) the old theatre cat, thankfully, only briefly involved tights.
First of all, the character just needed an old scruffy coat, and secondly, it would have been akin to seeing your uncle prance around in lycra. Sure, he looked great, but I don't need to see it.
Although playing two parts, his role of Bustopher Jones, the dapper, well-fed cat was also covered up in a smart, black coat. Phew.
Read more from The Senior:
His comedic timing in both roles was purfect, but as Gus he truly shone. His storytelling, singing and dancing skills enlivened the audience, gaining the biggest laughs of the night.
Forty years after CATS made its Sydney debut in the Theatre Royal, the musical returned to the same theatre in front of an appreciative crowd on June 19.
The stellar cast also included the operatic voice of Mark Vincent who, after winning Australia's Got Talent in 2009, has had a successful recording and theatre career.
Playing the cat leader Old Deuteronomy, Vincent commanded the stage, truly transfixing his audience with regal moves and his booming, baritone presence.
Kudos to him for sitting on the stage, almost lifeless, during the 20 minute intermission - delighting the audience.
But the true star of the show was much more controversial than all the reality stars in the constellation - the 1980s!
Andrew Lloyd Webber's smash hit is truly a product of its time, debuting in London's West End in 1981 - and it shows itself as an '80s child more than his other productions, such as Phantom of the Opera (1986).
And for this reason, many people detest it. But what's wrong with the '80s? Why not enjoy two hours of nostalgia?
And sure, while some of the synth music felt like it belonged in an episode of Miami Vice just before Crockett and Tubbs busted another drug ring - I loved it.
Prince once said to me, the reason he loves playing in Australia was "because we appreciated '80s music". Well, he said it to the audience at his concert in 2012, but I was there.
And why not appreciate the time when CATS had its first life and pounced onto the stage as a fresh faced kitten, to the delight of audience-goers the world over?
But I was still curious how a new generation would receive the once-contemporary musical, based on the book of poems Old Possum's Book of Practical Cats by TS Eliot, when they had no sentimental ties to the 80s.
I purposefully didn't tell my 11-year-old date, Joe, anything in the lead up to the show. My nephew's family were under strict instructions not to let the cat out of the bag and tell him any details. And the soundtrack was strictly off limits.
His first indication that CATS was wildly popular and maybe a bit different was when we arrived and saw old and young theatre-goers dressed as cats.
And although he found the first part a bit confusing and was not quite sure what a Jellical cat was (I didn't really know, either) - he soon perked up with the arrival of the Rum Tum Tugger, with his hilariously understated 'Meow'.
Expertly played by Des Flanagan, he added irreverent cheekiness and comic relief. He got all the kids in the audience on board - he was our favourite.
Equally as mesmerising was Mr Mistoffelees, played by Axel Alvarez, with impressive ballet moves and accompanied by super-bright pyrotechnics and a magic trick that had the audience gasping.
And although our performance saw understudy Aimee Jones replace Gabriyel Thomas in the role of Grizabella, the once glamorous cat, her rendition of the musical highlight Memory was emotional and powerful.
And it was then my 11-year-old date tapped my arm: "This is a good song".
The interaction of the cats going through the audience made everyone laugh, fascinated children and at times scared the crowd - especially when the bad cat Macavity made a sly appearance.
If you want your grandchildren or nieces and nephews to have the full CATS experience - book aisle seats in the stalls - and they'll be face to whiskers with many felines.
Just keep in mind CATS is two hours long plus a 20 minute intermission - so take them to a matinee in case they fall asleep in the slower first half.
Despite its criticism that CATS is stuck in the '80s, it still stands the test of time - at least with my nephew - who is normally very quick to tell me if something isn't Sigma and is Ohio or any of the words I do not understand.
Instead, in the cab ride on the way home, wearing his new yellow CATS hoodie, Joe declared "CATS is the best musical ever, better than Hamilton".
That's one win for the '80s, and a zero for the 1700 - 1800's.
CATS is on until September 6 at the Theatre Royal, Sydney before heading to Adelaide, Perth and Melbourne. It will be Brisbane's turn from February 2026.
Prices start from $69.90.
https://catsthemusical.com.au/
Share your thoughts in the comments below, or send a Letter to the Editor by CLICKING HERE.
We're used to seeing him in musicals like the Boy from Oz or judging C-grade celebrities on their dancing skills, but Todd McKenney's hilarious portrayal of Asparagus (Gus) the old theatre cat, thankfully, only briefly involved tights.
First of all, the character just needed an old scruffy coat, and secondly, it would have been akin to seeing your uncle prance around in lycra. Sure, he looked great, but I don't need to see it.
Although playing two parts, his role of Bustopher Jones, the dapper, well-fed cat was also covered up in a smart, black coat. Phew.
Read more from The Senior:
His comedic timing in both roles was purfect, but as Gus he truly shone. His storytelling, singing and dancing skills enlivened the audience, gaining the biggest laughs of the night.
Forty years after CATS made its Sydney debut in the Theatre Royal, the musical returned to the same theatre in front of an appreciative crowd on June 19.
The stellar cast also included the operatic voice of Mark Vincent who, after winning Australia's Got Talent in 2009, has had a successful recording and theatre career.
Playing the cat leader Old Deuteronomy, Vincent commanded the stage, truly transfixing his audience with regal moves and his booming, baritone presence.
Kudos to him for sitting on the stage, almost lifeless, during the 20 minute intermission - delighting the audience.
But the true star of the show was much more controversial than all the reality stars in the constellation - the 1980s!
Andrew Lloyd Webber's smash hit is truly a product of its time, debuting in London's West End in 1981 - and it shows itself as an '80s child more than his other productions, such as Phantom of the Opera (1986).
And for this reason, many people detest it. But what's wrong with the '80s? Why not enjoy two hours of nostalgia?
And sure, while some of the synth music felt like it belonged in an episode of Miami Vice just before Crockett and Tubbs busted another drug ring - I loved it.
Prince once said to me, the reason he loves playing in Australia was "because we appreciated '80s music". Well, he said it to the audience at his concert in 2012, but I was there.
And why not appreciate the time when CATS had its first life and pounced onto the stage as a fresh faced kitten, to the delight of audience-goers the world over?
But I was still curious how a new generation would receive the once-contemporary musical, based on the book of poems Old Possum's Book of Practical Cats by TS Eliot, when they had no sentimental ties to the 80s.
I purposefully didn't tell my 11-year-old date, Joe, anything in the lead up to the show. My nephew's family were under strict instructions not to let the cat out of the bag and tell him any details. And the soundtrack was strictly off limits.
His first indication that CATS was wildly popular and maybe a bit different was when we arrived and saw old and young theatre-goers dressed as cats.
And although he found the first part a bit confusing and was not quite sure what a Jellical cat was (I didn't really know, either) - he soon perked up with the arrival of the Rum Tum Tugger, with his hilariously understated 'Meow'.
Expertly played by Des Flanagan, he added irreverent cheekiness and comic relief. He got all the kids in the audience on board - he was our favourite.
Equally as mesmerising was Mr Mistoffelees, played by Axel Alvarez, with impressive ballet moves and accompanied by super-bright pyrotechnics and a magic trick that had the audience gasping.
And although our performance saw understudy Aimee Jones replace Gabriyel Thomas in the role of Grizabella, the once glamorous cat, her rendition of the musical highlight Memory was emotional and powerful.
And it was then my 11-year-old date tapped my arm: "This is a good song".
The interaction of the cats going through the audience made everyone laugh, fascinated children and at times scared the crowd - especially when the bad cat Macavity made a sly appearance.
If you want your grandchildren or nieces and nephews to have the full CATS experience - book aisle seats in the stalls - and they'll be face to whiskers with many felines.
Just keep in mind CATS is two hours long plus a 20 minute intermission - so take them to a matinee in case they fall asleep in the slower first half.
Despite its criticism that CATS is stuck in the '80s, it still stands the test of time - at least with my nephew - who is normally very quick to tell me if something isn't Sigma and is Ohio or any of the words I do not understand.
Instead, in the cab ride on the way home, wearing his new yellow CATS hoodie, Joe declared "CATS is the best musical ever, better than Hamilton".
That's one win for the '80s, and a zero for the 1700 - 1800's.
CATS is on until September 6 at the Theatre Royal, Sydney before heading to Adelaide, Perth and Melbourne. It will be Brisbane's turn from February 2026.
Prices start from $69.90.
https://catsthemusical.com.au/
Share your thoughts in the comments below, or send a Letter to the Editor by CLICKING HERE.
We're used to seeing him in musicals like the Boy from Oz or judging C-grade celebrities on their dancing skills, but Todd McKenney's hilarious portrayal of Asparagus (Gus) the old theatre cat, thankfully, only briefly involved tights.
First of all, the character just needed an old scruffy coat, and secondly, it would have been akin to seeing your uncle prance around in lycra. Sure, he looked great, but I don't need to see it.
Although playing two parts, his role of Bustopher Jones, the dapper, well-fed cat was also covered up in a smart, black coat. Phew.
Read more from The Senior:
His comedic timing in both roles was purfect, but as Gus he truly shone. His storytelling, singing and dancing skills enlivened the audience, gaining the biggest laughs of the night.
Forty years after CATS made its Sydney debut in the Theatre Royal, the musical returned to the same theatre in front of an appreciative crowd on June 19.
The stellar cast also included the operatic voice of Mark Vincent who, after winning Australia's Got Talent in 2009, has had a successful recording and theatre career.
Playing the cat leader Old Deuteronomy, Vincent commanded the stage, truly transfixing his audience with regal moves and his booming, baritone presence.
Kudos to him for sitting on the stage, almost lifeless, during the 20 minute intermission - delighting the audience.
But the true star of the show was much more controversial than all the reality stars in the constellation - the 1980s!
Andrew Lloyd Webber's smash hit is truly a product of its time, debuting in London's West End in 1981 - and it shows itself as an '80s child more than his other productions, such as Phantom of the Opera (1986).
And for this reason, many people detest it. But what's wrong with the '80s? Why not enjoy two hours of nostalgia?
And sure, while some of the synth music felt like it belonged in an episode of Miami Vice just before Crockett and Tubbs busted another drug ring - I loved it.
Prince once said to me, the reason he loves playing in Australia was "because we appreciated '80s music". Well, he said it to the audience at his concert in 2012, but I was there.
And why not appreciate the time when CATS had its first life and pounced onto the stage as a fresh faced kitten, to the delight of audience-goers the world over?
But I was still curious how a new generation would receive the once-contemporary musical, based on the book of poems Old Possum's Book of Practical Cats by TS Eliot, when they had no sentimental ties to the 80s.
I purposefully didn't tell my 11-year-old date, Joe, anything in the lead up to the show. My nephew's family were under strict instructions not to let the cat out of the bag and tell him any details. And the soundtrack was strictly off limits.
His first indication that CATS was wildly popular and maybe a bit different was when we arrived and saw old and young theatre-goers dressed as cats.
And although he found the first part a bit confusing and was not quite sure what a Jellical cat was (I didn't really know, either) - he soon perked up with the arrival of the Rum Tum Tugger, with his hilariously understated 'Meow'.
Expertly played by Des Flanagan, he added irreverent cheekiness and comic relief. He got all the kids in the audience on board - he was our favourite.
Equally as mesmerising was Mr Mistoffelees, played by Axel Alvarez, with impressive ballet moves and accompanied by super-bright pyrotechnics and a magic trick that had the audience gasping.
And although our performance saw understudy Aimee Jones replace Gabriyel Thomas in the role of Grizabella, the once glamorous cat, her rendition of the musical highlight Memory was emotional and powerful.
And it was then my 11-year-old date tapped my arm: "This is a good song".
The interaction of the cats going through the audience made everyone laugh, fascinated children and at times scared the crowd - especially when the bad cat Macavity made a sly appearance.
If you want your grandchildren or nieces and nephews to have the full CATS experience - book aisle seats in the stalls - and they'll be face to whiskers with many felines.
Just keep in mind CATS is two hours long plus a 20 minute intermission - so take them to a matinee in case they fall asleep in the slower first half.
Despite its criticism that CATS is stuck in the '80s, it still stands the test of time - at least with my nephew - who is normally very quick to tell me if something isn't Sigma and is Ohio or any of the words I do not understand.
Instead, in the cab ride on the way home, wearing his new yellow CATS hoodie, Joe declared "CATS is the best musical ever, better than Hamilton".
That's one win for the '80s, and a zero for the 1700 - 1800's.
CATS is on until September 6 at the Theatre Royal, Sydney before heading to Adelaide, Perth and Melbourne. It will be Brisbane's turn from February 2026.
Prices start from $69.90.
https://catsthemusical.com.au/
Share your thoughts in the comments below, or send a Letter to the Editor by CLICKING HERE.
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Todd McKenney steals show in CATS but true star is controversial: review
We're used to seeing him in musicals like the Boy from Oz or judging C-grade celebrities on their dancing skills, but Todd McKenney's hilarious portrayal of Asparagus (Gus) the old theatre cat, thankfully, only briefly involved tights. First of all, the character just needed an old scruffy coat, and secondly, it would have been akin to seeing your uncle prance around in lycra. Sure, he looked great, but I don't need to see it. Although playing two parts, his role of Bustopher Jones, the dapper, well-fed cat was also covered up in a smart, black coat. Phew. Read more from The Senior: His comedic timing in both roles was purfect, but as Gus he truly shone. His storytelling, singing and dancing skills enlivened the audience, gaining the biggest laughs of the night. Forty years after CATS made its Sydney debut in the Theatre Royal, the musical returned to the same theatre in front of an appreciative crowd on June 19. The stellar cast also included the operatic voice of Mark Vincent who, after winning Australia's Got Talent in 2009, has had a successful recording and theatre career. Playing the cat leader Old Deuteronomy, Vincent commanded the stage, truly transfixing his audience with regal moves and his booming, baritone presence. Kudos to him for sitting on the stage, almost lifeless, during the 20 minute intermission - delighting the audience. But the true star of the show was much more controversial than all the reality stars in the constellation - the 1980s! Andrew Lloyd Webber's smash hit is truly a product of its time, debuting in London's West End in 1981 - and it shows itself as an '80s child more than his other productions, such as Phantom of the Opera (1986). And for this reason, many people detest it. But what's wrong with the '80s? Why not enjoy two hours of nostalgia? And sure, while some of the synth music felt like it belonged in an episode of Miami Vice just before Crockett and Tubbs busted another drug ring - I loved it. Prince once said to me, the reason he loves playing in Australia was "because we appreciated '80s music". Well, he said it to the audience at his concert in 2012, but I was there. And why not appreciate the time when CATS had its first life and pounced onto the stage as a fresh faced kitten, to the delight of audience-goers the world over? But I was still curious how a new generation would receive the once-contemporary musical, based on the book of poems Old Possum's Book of Practical Cats by TS Eliot, when they had no sentimental ties to the 80s. I purposefully didn't tell my 11-year-old date, Joe, anything in the lead up to the show. My nephew's family were under strict instructions not to let the cat out of the bag and tell him any details. And the soundtrack was strictly off limits. His first indication that CATS was wildly popular and maybe a bit different was when we arrived and saw old and young theatre-goers dressed as cats. And although he found the first part a bit confusing and was not quite sure what a Jellical cat was (I didn't really know, either) - he soon perked up with the arrival of the Rum Tum Tugger, with his hilariously understated 'Meow'. Expertly played by Des Flanagan, he added irreverent cheekiness and comic relief. He got all the kids in the audience on board - he was our favourite. Equally as mesmerising was Mr Mistoffelees, played by Axel Alvarez, with impressive ballet moves and accompanied by super-bright pyrotechnics and a magic trick that had the audience gasping. And although our performance saw understudy Aimee Jones replace Gabriyel Thomas in the role of Grizabella, the once glamorous cat, her rendition of the musical highlight Memory was emotional and powerful. And it was then my 11-year-old date tapped my arm: "This is a good song". The interaction of the cats going through the audience made everyone laugh, fascinated children and at times scared the crowd - especially when the bad cat Macavity made a sly appearance. If you want your grandchildren or nieces and nephews to have the full CATS experience - book aisle seats in the stalls - and they'll be face to whiskers with many felines. Just keep in mind CATS is two hours long plus a 20 minute intermission - so take them to a matinee in case they fall asleep in the slower first half. Despite its criticism that CATS is stuck in the '80s, it still stands the test of time - at least with my nephew - who is normally very quick to tell me if something isn't Sigma and is Ohio or any of the words I do not understand. Instead, in the cab ride on the way home, wearing his new yellow CATS hoodie, Joe declared "CATS is the best musical ever, better than Hamilton". That's one win for the '80s, and a zero for the 1700 - 1800's. CATS is on until September 6 at the Theatre Royal, Sydney before heading to Adelaide, Perth and Melbourne. It will be Brisbane's turn from February 2026. Prices start from $69.90. Share your thoughts in the comments below, or send a Letter to the Editor by CLICKING HERE. We're used to seeing him in musicals like the Boy from Oz or judging C-grade celebrities on their dancing skills, but Todd McKenney's hilarious portrayal of Asparagus (Gus) the old theatre cat, thankfully, only briefly involved tights. First of all, the character just needed an old scruffy coat, and secondly, it would have been akin to seeing your uncle prance around in lycra. Sure, he looked great, but I don't need to see it. Although playing two parts, his role of Bustopher Jones, the dapper, well-fed cat was also covered up in a smart, black coat. Phew. Read more from The Senior: His comedic timing in both roles was purfect, but as Gus he truly shone. His storytelling, singing and dancing skills enlivened the audience, gaining the biggest laughs of the night. Forty years after CATS made its Sydney debut in the Theatre Royal, the musical returned to the same theatre in front of an appreciative crowd on June 19. The stellar cast also included the operatic voice of Mark Vincent who, after winning Australia's Got Talent in 2009, has had a successful recording and theatre career. Playing the cat leader Old Deuteronomy, Vincent commanded the stage, truly transfixing his audience with regal moves and his booming, baritone presence. Kudos to him for sitting on the stage, almost lifeless, during the 20 minute intermission - delighting the audience. But the true star of the show was much more controversial than all the reality stars in the constellation - the 1980s! Andrew Lloyd Webber's smash hit is truly a product of its time, debuting in London's West End in 1981 - and it shows itself as an '80s child more than his other productions, such as Phantom of the Opera (1986). And for this reason, many people detest it. But what's wrong with the '80s? Why not enjoy two hours of nostalgia? And sure, while some of the synth music felt like it belonged in an episode of Miami Vice just before Crockett and Tubbs busted another drug ring - I loved it. Prince once said to me, the reason he loves playing in Australia was "because we appreciated '80s music". Well, he said it to the audience at his concert in 2012, but I was there. And why not appreciate the time when CATS had its first life and pounced onto the stage as a fresh faced kitten, to the delight of audience-goers the world over? But I was still curious how a new generation would receive the once-contemporary musical, based on the book of poems Old Possum's Book of Practical Cats by TS Eliot, when they had no sentimental ties to the 80s. I purposefully didn't tell my 11-year-old date, Joe, anything in the lead up to the show. My nephew's family were under strict instructions not to let the cat out of the bag and tell him any details. And the soundtrack was strictly off limits. His first indication that CATS was wildly popular and maybe a bit different was when we arrived and saw old and young theatre-goers dressed as cats. And although he found the first part a bit confusing and was not quite sure what a Jellical cat was (I didn't really know, either) - he soon perked up with the arrival of the Rum Tum Tugger, with his hilariously understated 'Meow'. Expertly played by Des Flanagan, he added irreverent cheekiness and comic relief. He got all the kids in the audience on board - he was our favourite. Equally as mesmerising was Mr Mistoffelees, played by Axel Alvarez, with impressive ballet moves and accompanied by super-bright pyrotechnics and a magic trick that had the audience gasping. And although our performance saw understudy Aimee Jones replace Gabriyel Thomas in the role of Grizabella, the once glamorous cat, her rendition of the musical highlight Memory was emotional and powerful. And it was then my 11-year-old date tapped my arm: "This is a good song". The interaction of the cats going through the audience made everyone laugh, fascinated children and at times scared the crowd - especially when the bad cat Macavity made a sly appearance. If you want your grandchildren or nieces and nephews to have the full CATS experience - book aisle seats in the stalls - and they'll be face to whiskers with many felines. Just keep in mind CATS is two hours long plus a 20 minute intermission - so take them to a matinee in case they fall asleep in the slower first half. Despite its criticism that CATS is stuck in the '80s, it still stands the test of time - at least with my nephew - who is normally very quick to tell me if something isn't Sigma and is Ohio or any of the words I do not understand. Instead, in the cab ride on the way home, wearing his new yellow CATS hoodie, Joe declared "CATS is the best musical ever, better than Hamilton". That's one win for the '80s, and a zero for the 1700 - 1800's. CATS is on until September 6 at the Theatre Royal, Sydney before heading to Adelaide, Perth and Melbourne. It will be Brisbane's turn from February 2026. Prices start from $69.90. Share your thoughts in the comments below, or send a Letter to the Editor by CLICKING HERE. We're used to seeing him in musicals like the Boy from Oz or judging C-grade celebrities on their dancing skills, but Todd McKenney's hilarious portrayal of Asparagus (Gus) the old theatre cat, thankfully, only briefly involved tights. First of all, the character just needed an old scruffy coat, and secondly, it would have been akin to seeing your uncle prance around in lycra. Sure, he looked great, but I don't need to see it. Although playing two parts, his role of Bustopher Jones, the dapper, well-fed cat was also covered up in a smart, black coat. Phew. Read more from The Senior: His comedic timing in both roles was purfect, but as Gus he truly shone. His storytelling, singing and dancing skills enlivened the audience, gaining the biggest laughs of the night. Forty years after CATS made its Sydney debut in the Theatre Royal, the musical returned to the same theatre in front of an appreciative crowd on June 19. The stellar cast also included the operatic voice of Mark Vincent who, after winning Australia's Got Talent in 2009, has had a successful recording and theatre career. Playing the cat leader Old Deuteronomy, Vincent commanded the stage, truly transfixing his audience with regal moves and his booming, baritone presence. Kudos to him for sitting on the stage, almost lifeless, during the 20 minute intermission - delighting the audience. But the true star of the show was much more controversial than all the reality stars in the constellation - the 1980s! Andrew Lloyd Webber's smash hit is truly a product of its time, debuting in London's West End in 1981 - and it shows itself as an '80s child more than his other productions, such as Phantom of the Opera (1986). And for this reason, many people detest it. But what's wrong with the '80s? Why not enjoy two hours of nostalgia? And sure, while some of the synth music felt like it belonged in an episode of Miami Vice just before Crockett and Tubbs busted another drug ring - I loved it. Prince once said to me, the reason he loves playing in Australia was "because we appreciated '80s music". Well, he said it to the audience at his concert in 2012, but I was there. And why not appreciate the time when CATS had its first life and pounced onto the stage as a fresh faced kitten, to the delight of audience-goers the world over? But I was still curious how a new generation would receive the once-contemporary musical, based on the book of poems Old Possum's Book of Practical Cats by TS Eliot, when they had no sentimental ties to the 80s. I purposefully didn't tell my 11-year-old date, Joe, anything in the lead up to the show. My nephew's family were under strict instructions not to let the cat out of the bag and tell him any details. And the soundtrack was strictly off limits. His first indication that CATS was wildly popular and maybe a bit different was when we arrived and saw old and young theatre-goers dressed as cats. And although he found the first part a bit confusing and was not quite sure what a Jellical cat was (I didn't really know, either) - he soon perked up with the arrival of the Rum Tum Tugger, with his hilariously understated 'Meow'. Expertly played by Des Flanagan, he added irreverent cheekiness and comic relief. He got all the kids in the audience on board - he was our favourite. Equally as mesmerising was Mr Mistoffelees, played by Axel Alvarez, with impressive ballet moves and accompanied by super-bright pyrotechnics and a magic trick that had the audience gasping. And although our performance saw understudy Aimee Jones replace Gabriyel Thomas in the role of Grizabella, the once glamorous cat, her rendition of the musical highlight Memory was emotional and powerful. And it was then my 11-year-old date tapped my arm: "This is a good song". The interaction of the cats going through the audience made everyone laugh, fascinated children and at times scared the crowd - especially when the bad cat Macavity made a sly appearance. If you want your grandchildren or nieces and nephews to have the full CATS experience - book aisle seats in the stalls - and they'll be face to whiskers with many felines. Just keep in mind CATS is two hours long plus a 20 minute intermission - so take them to a matinee in case they fall asleep in the slower first half. Despite its criticism that CATS is stuck in the '80s, it still stands the test of time - at least with my nephew - who is normally very quick to tell me if something isn't Sigma and is Ohio or any of the words I do not understand. Instead, in the cab ride on the way home, wearing his new yellow CATS hoodie, Joe declared "CATS is the best musical ever, better than Hamilton". That's one win for the '80s, and a zero for the 1700 - 1800's. CATS is on until September 6 at the Theatre Royal, Sydney before heading to Adelaide, Perth and Melbourne. It will be Brisbane's turn from February 2026. Prices start from $69.90. Share your thoughts in the comments below, or send a Letter to the Editor by CLICKING HERE. We're used to seeing him in musicals like the Boy from Oz or judging C-grade celebrities on their dancing skills, but Todd McKenney's hilarious portrayal of Asparagus (Gus) the old theatre cat, thankfully, only briefly involved tights. First of all, the character just needed an old scruffy coat, and secondly, it would have been akin to seeing your uncle prance around in lycra. Sure, he looked great, but I don't need to see it. Although playing two parts, his role of Bustopher Jones, the dapper, well-fed cat was also covered up in a smart, black coat. Phew. Read more from The Senior: His comedic timing in both roles was purfect, but as Gus he truly shone. His storytelling, singing and dancing skills enlivened the audience, gaining the biggest laughs of the night. Forty years after CATS made its Sydney debut in the Theatre Royal, the musical returned to the same theatre in front of an appreciative crowd on June 19. The stellar cast also included the operatic voice of Mark Vincent who, after winning Australia's Got Talent in 2009, has had a successful recording and theatre career. Playing the cat leader Old Deuteronomy, Vincent commanded the stage, truly transfixing his audience with regal moves and his booming, baritone presence. Kudos to him for sitting on the stage, almost lifeless, during the 20 minute intermission - delighting the audience. But the true star of the show was much more controversial than all the reality stars in the constellation - the 1980s! Andrew Lloyd Webber's smash hit is truly a product of its time, debuting in London's West End in 1981 - and it shows itself as an '80s child more than his other productions, such as Phantom of the Opera (1986). And for this reason, many people detest it. But what's wrong with the '80s? Why not enjoy two hours of nostalgia? And sure, while some of the synth music felt like it belonged in an episode of Miami Vice just before Crockett and Tubbs busted another drug ring - I loved it. Prince once said to me, the reason he loves playing in Australia was "because we appreciated '80s music". Well, he said it to the audience at his concert in 2012, but I was there. And why not appreciate the time when CATS had its first life and pounced onto the stage as a fresh faced kitten, to the delight of audience-goers the world over? But I was still curious how a new generation would receive the once-contemporary musical, based on the book of poems Old Possum's Book of Practical Cats by TS Eliot, when they had no sentimental ties to the 80s. I purposefully didn't tell my 11-year-old date, Joe, anything in the lead up to the show. My nephew's family were under strict instructions not to let the cat out of the bag and tell him any details. And the soundtrack was strictly off limits. His first indication that CATS was wildly popular and maybe a bit different was when we arrived and saw old and young theatre-goers dressed as cats. And although he found the first part a bit confusing and was not quite sure what a Jellical cat was (I didn't really know, either) - he soon perked up with the arrival of the Rum Tum Tugger, with his hilariously understated 'Meow'. Expertly played by Des Flanagan, he added irreverent cheekiness and comic relief. He got all the kids in the audience on board - he was our favourite. Equally as mesmerising was Mr Mistoffelees, played by Axel Alvarez, with impressive ballet moves and accompanied by super-bright pyrotechnics and a magic trick that had the audience gasping. And although our performance saw understudy Aimee Jones replace Gabriyel Thomas in the role of Grizabella, the once glamorous cat, her rendition of the musical highlight Memory was emotional and powerful. And it was then my 11-year-old date tapped my arm: "This is a good song". The interaction of the cats going through the audience made everyone laugh, fascinated children and at times scared the crowd - especially when the bad cat Macavity made a sly appearance. If you want your grandchildren or nieces and nephews to have the full CATS experience - book aisle seats in the stalls - and they'll be face to whiskers with many felines. Just keep in mind CATS is two hours long plus a 20 minute intermission - so take them to a matinee in case they fall asleep in the slower first half. Despite its criticism that CATS is stuck in the '80s, it still stands the test of time - at least with my nephew - who is normally very quick to tell me if something isn't Sigma and is Ohio or any of the words I do not understand. Instead, in the cab ride on the way home, wearing his new yellow CATS hoodie, Joe declared "CATS is the best musical ever, better than Hamilton". That's one win for the '80s, and a zero for the 1700 - 1800's. CATS is on until September 6 at the Theatre Royal, Sydney before heading to Adelaide, Perth and Melbourne. It will be Brisbane's turn from February 2026. Prices start from $69.90. Share your thoughts in the comments below, or send a Letter to the Editor by CLICKING HERE.
Sydney Morning Herald
6 days ago
- Sydney Morning Herald
With a plot thinner than a starving moggie, Cats is showing its age
With minimal plot, character development or conflict, the show is a series of party pieces in which various cat characters get a chance to shine. Some shine brightly. Todd McKenney was terrific as fatcat Bustopher Jones in a costume redolent of Aunty Jack. McKenney's dual role as Gus, the ageing performing cat, provided one of the night's rare affecting interludes as he recalled his glory days in a moving duet with Lucy Maunder (Jellylorum). This lifted the second act opening after a first act that became bogged down with the overlong Jellicle Ball dance section. A sexy Rum Tum Tugger (Des Flanagan) rose to his rock star moment. Mark Vincent as Old Deuteronomy brought sonorous gravitas to the role of the tribal elder – no mean feat given he looked like a Womble. Gabriyel Thomas was a strong presence in the key role of Grizabella, the former glamour puss, now more grizzled than bella, who has been rejected by the tribe. With her rich, powerful voice, Thomas invests with pathos the showstopper Memories. Jemima (Ella Fitzpatrick) delivered a couple of teasers of the show's best-known song earlier in the piece, but a lack of vocal strength and brittle tone did not serve well the sweeping melody. The energetic ensemble worked hard as they danced and pranced on and occasionally off the stage and into the auditorium. Yet much of the choreography and movement feels dated. Whether it was sound balance or delivery, the lyrics to the ensemble vocal numbers were difficult to determine. The off-stage orchestra, under musical director Paul White, was well paced and versatile in numbers that ranged across jazz, blues and pop to anthemic and operatic. Cats was ground-breaking when it premiered, an immersive spectacle that helped usher in an era of mega-musicals. Since then, the big-budget musicals it helped spawn have become increasingly sophisticated. There may be nostalgic appeal in revisiting a work that feels rooted in an '80s era and aesthetic. So thanks for the Memories. THEATRE KOREABOO Belvoir Downstairs Theatre, June 19 Until July 20 Reviewed by JOHN SHAND ★★★ Soon Hee never held her baby before she was taken away for adoption; she saw only her tiny pink feet retreating in the nurse's arms. She had become pregnant outside of wedlock, which, if discovered, would bring such shame on her family, and people would shun the little Seoul shop run by her mother. The pink feet belonged to a girl christened Hannah by her adoptive Australian parents. She was a young woman before she sought out her birth mother, and now she's back in Seoul a second time to – what? Heal a wound? Form a bond? Discover her inner Korean self? 'Koreaboo', Michelle Lim Davidson explains in a preface to her play (here having its world premiere), is a pejorative term describing someone (usually non-Korean) obsessed with Korean culture. The set-up to Davidson's play is autobiographical, and potentially implicit in any such forced separation is deep scar tissue. But rather than milking tears, the playwright is more intent upon teasing out the laughs as Hannah tries to find a place in Soon Hee's world. Jessica Arthur's Griffin Theatre Company production has Davidson, herself, playing Hannah, and Heather Jeong (best known as a TV chef) playing her mother. Mel Page's set realises Davidson's vision of a Seoul convenience store, complete with noodles, toilet paper and an imposing pyramid of Spam tins. This is Soon Hee's domain, and an Australian invasion is not especially welcome, not only because any scar in Soon Hee's heart has long been impenetrable, but because Hannah, keen to help, will just drive customers away with her hopeless command of Korean. Jeong excels as the brutally honest Soon Hee, telling Hannah they look more like sisters than mother and daughter. She is exceptional at making the shop her castle and at raising the drawbridge against her daughter – not cruelly, but in a brusque, pragmatic way. Nonetheless, she makes us like Soon Hee because we see through the act from the start and we admire her stoicism and even her goofy obsessions with gnomes, Sex and the City and K-pop – notably in its TV talent quest guise of Star Power. Davidson's performance is more problematic, and perhaps she shouldn't have been cast in her own play. As accomplished as we know she is as an actor, she can't locate the same truth in playing Hannah as she did in writing the role. The performance becomes one-dimensional – Hannah the anguished victim – and so wooden that her hands barely cease to dangle by her thighs. Writing the play should have been enough. It's good, quirky work that doesn't seek to dot the 'i' or cross the 't' in complexity, but lets it simmer in the background. An actor who was not partially playing herself might have stormed into the role, made Hannah her own and trusted the words rather than being shy of finding the character's core both vocally and physically. MUSIC Lang Lang and the Sydney Symphony. Opera House. June 18 Reviewed by PETER McCALLUM ★★★½ Lang Lang began the Bach-like improvisatory solo at the start of Saint-Saens' Piano Concerto No. 5 with ponderous spaciousness before accelerating to three declamatory chords held back as though announcing the day of judgment. To me, the spaciousness was overdone, taking the wind from the sails with a resulting loss of tension, but Lang Lang kept a hold over many in the sold-out hall through a faux-majestic bearing, swashbuckling velocity and thunderous volume. Lang Lang dominated the music throughout, pushing the tempo ahead at whim. Conductor Benjamin Northey faithfully stayed with him, even if, at times, the orchestra was left scurrying attentively to meet the needs of an overbearing general rather than participating as equals. When the second movement reached the second theme, which leaps with playful daring from the cellos, Lang Lang thumped out the vamping accompaniment with grotesquerie like a cartoon-like caricature so that the cello theme could barely be heard. He did, however, lower the volume to a lighter touch when it was the piano's turn to play it. The Presto finale was written with such virtuosic impetuosity in mind, and Lang Lang played the main theme with daredevil brilliance. When Saint-Saens quietens this for a chorale on the woodwind, the composer gives the piano shady trill motives marked 'always pianissimo' but in this performance they were never so and drowned out the chorale. Lang Lang remains a consummate showman but one didn't feel he was listening closely to the orchestra or focused on realising the composer's musical intentions. The first half was also devoted to French music and began with a delightful rarity, D'un Matin de printemps (Of a Spring Morning) by Lili Boulanger. Boulanger's spring morning dances with light energy and freshness, and Northey brought out small details of orchestration with care to produce a texture in a state of constant renewal. Boulanger, who died aged 24, had the rare ability to create a sense of magic, sparkle and frisson. Northey and the SSO followed this with a work of kindred sensibility, La Mer by Claude Debussy, who died in the same year, 1918, aged 55. The SSO's clarity and discipline and Northey's attention to detail were again welcome, although this occasionally inhibited the build-up of momentum and tension in the first two movements. The third was buffeted with surging gestures, closing with an energised blaze of magnificence.
