CATS

⭐⭐⭐⭐⭐

Artscape Theatre Opera House

10 December 2025 - 11 January 2026

Teatro Montecasino from 17 January 2026

When CATS was announced at Artscape under PTP Productions, scepticism felt natural. This is one of musical theatre’s most iconic titles, a show that could easily rely on reputation alone. The standing ovations at the end of the performance make it clear this production is not trading on name recognition. It earns every clap and cheer through craft, commitment and visceral performance.

The evening begins with an arresting visual gesture. Blue festoon lighting sweeps across the auditorium ceiling as if inviting the audience to follow it like a laser beam made for cats, drawing attention upward and outward before we are even aware that we are spectators. The moment sets an immediate sense of participation and curiosity. That priming pays off when the junkyard world opens before us, and we are invited into the annual Jellicle Ball, the night in which a tribe of cats gathers to decide which one will ascend to the Heaviside Layer and be reborn into a new life, a mystical afterlife that is central to the story. The plot of CATS is not linear in a traditional sense but unfolds as a series of introductions, dances and character arcs that revolve around belonging and transformation. What binds it all together is the anticipation of this choice and what it represents to each character.

Once we are on stage in the junkyard and the Jellicle Cats begin their introductions, the production immerses us fully in its world. Movement is feline and physical; each performer inhabits their character with precision and intent. In this section, there were moments when lighting cues lagged behind the action. These delays slightly disrupted the flow at the Jellicle Ball, a sequence that should feel effortless and continuous. Given how dependent CATS is on rhythm and pacing, the slipped timing was noticeable and highlighted a lapse in stage management. The performers carried on with complete focus, but this is exactly the moment where technical support should be seamless.

What rescues the show and makes it memorable is the remarkable vocal and character work. The score is demanding, calling for stamina, range, emotional control and the ability to sing while executing rigorous choreography. The cast meets these demands with discipline and flair. At the emotional centre is Cindy Ann Abrahams as Grizabella, whose performance is powerful and deeply affecting. Grizabella’s arc is the heart of the musical. Once a glamour cat, she returns to the junkyard as an outsider seeking acceptance. Only at the end, after listening to her plea and witnessing her vulnerability, do the other cats acknowledge her and offer her a place in the tribe. Abrahams inhabits this journey with tonal clarity and emotional weight that lingers long after her final scene.

King B as Old Deuteronomy, brings calm authority and warmth to the role of the revered leader. Dylan Janse van Rensburg as Rum Tum Tugger offers playful energy and swagger but with precision and control. Che-jean Jupp as Munkustrap provides clear narrative guidance, keeping the audience oriented without sacrificing character presence. Each principal demonstrates a deep understanding of character and vocal nuance.

Choreography throughout the show is exacting and relentless. Every movement is purposeful, every pause measured. The performers sustain character throughout, demonstrating discipline, physicality and complete awareness of the stage’s demands.

The ensemble itself is a marvel. Their coordination, energy, and attention to character are remarkable. Every group number is polished and intricate, from synchronised choreography to harmonised singing. They create a living, breathing world on stage, making the junkyard and the Jellicle Ball feel immersive and believable. Their dedication transforms scenes that could feel decorative into moments that are vivid, dynamic, and essential to the storytelling.

The production design is equally remarkable. The set is layered, detailed, and tactile, transforming the stage into a living, breathing world. Lighting, costumes, and stage mechanics work seamlessly with the performers, enhancing the immersive experience and making moments of spectacle genuinely breathtaking. The finale, in particular, is executed with elegance and precision, leaving the audience mesmerised. When Grizabella ascends to the Heaviside Layer, the effect is stunning and reminds the audience why live theatre can still take our breath away.

Under the guidance of Chrissie Cartwright and the musical leadership of Peter McCarthy, this production honours tradition while delivering a version of CATS that feels immediate and full of life. The creative team trusts the performers and the audience, and that confidence is rewarded.

Ultimately, this production of CATS proves that PTP Productions did far more than mount a commercial exercise. While it might have been easy to assume the company was relying on the brand name for financial gain, the standing ovations demonstrate that artistic integrity is very much alive. The show prioritises performance quality, ensemble discipline, and audience engagement over taking the easy route. Minor issues, such as the lighting at the Jellicle Ball, do not diminish the fact that the production as a whole is immersive, vocally strong, and emotionally satisfying.

This CATS does not coast on reputation. It earns its applause through artistry, precision, and the sheer spectacle of live theatre. From the opening festoons above the auditorium to the breathtaking finale, the production captures the magic that has made CATS a beloved musical for generations.