Cats. LAODS, Lincoln Arts Centre. 12 - 21 June 2025.

Cats is the Andrew Lloyd Webber spectacular that is said to be responsible for the British invasion of Broadway some years ago. It was an unlikely success, based as it was on T S Elliot's Old Possum’s Book of Practical Cats and featuring actors and dancers who were dressed as Cats in highly stylised costumes occupying an oversized rubbish heap on the London stage, highlighting Gillian Lynne's exceptional choreography. Critics laughed the concept out of town and naysayers predicted it would wipe Andrew Lloyd Webber and producer Cameron Mackintosh off the theatrical landscape for good. They failed to take into account the fact that audiences decide what they enjoy watching, not critics, and the show become the hottest ticket on the West End and on Broadway.

So then, it is surprising, given the scale of the challenge that amateur groups would even seek to consider staging such demanding work, despite being packed with memorable songs and set pieces. LAODS are a special company determined to show that they are equal to the task of bringing this challenge to the stage. Their latest production opens at the LAC this week and is a lush, gorgeous interpretation of a beloved show, brimful of energy and excitement. The set is magnificent and the costumes and make up are a visual delight and a credit to all involved in the hard, unseen work of putting this show together.

Credit must go to the co-producers Nicola Calver, Stacey Carr and Tim Hodson and tech lead/dramaturg Andy Morris alongside the choreography team of Ruth Perry, Katie Cheetham and Rachel Dodson, musical director Simon Calver and orchestral musical director David Williams, together they make a mighty team. This team effort is noticeable too in the production itself, wherein it is the ensemble that creates the magnificent spectacle and though there are lead performers in key roles, the support provided by every member of the cast is crucial to the overall look of the show.

There are some absolutely outstanding solo performances within the show, including Dan Woodhall as Rum Tum Tugger, relishing every opportunity to grind his hips to the delight of all the lady cats and the furiously energetic performance of Matthew Frederick as Skimbleshanks, the Railway Cat. Helen Green as Jennyanydots led the ensemble in The Gumbie Cat and tapped danced energetically whilst hitting every note, not a simple feat.

Jordan Shiel is regal and imperious as Old Deuteronomy, whilst also doubling as the overly indulgent Bustopher Jones. Shiel's vocal dexterity provides a rich, warm and characterful performance. Bustpher Jones offered an excellent contrast in characters and Shiel played up to the outrageous character effortlessly.

As a duo Mungo Jerry and Rumpleteazer scamper and prance through their self-titled song, played with glee by Rachel Pick and Katy Vine and I especially enjoyed their chemistry as a duo.

Another enticing duo comes in the form of Bombalurina and Demeter, played with vivacity and verve by Nicola Calver and Stacey Carr. Their telling of the tale of Macavity the Mystery Cat played by Gemma Jones, was enticingly sexy as they shook their tales to the delight of the audience.

Simon Calver's Munkustrap looked comfortable and confident as a lycra-clad feline. Calver gives a strong vocal and has a commanding stage presence. Munkustrap acts as something of a narrator throughout and helps guide the audiences' understanding and Calver brings power and charisma to the role.

One of my favourite songs of the night was the tale of Gus the Theatre Cat performed by Jellylorum (Rosie Brown) and Gus (Simon Nicholson) along with Shiel's Old Deuteronomy. The trio injected humour and self effacing mockery into the tale of a terrible old luvvie of a moggie and Nicholson characterisation was absolutely on point with Brown really selling the song effectively.

Philly Macfarlane's Magical Mister Mistoffelees was an absolute joy to behold as her energy and enthusiasm came together to highlight her talents and her gymnastic ability in a really demanding dance routine. This provided some stunning standout moves that have to be seen to be believed.

The biggest song of the show, for which it is recognised as an international hit for Elaine Page, is Memory. The number is performed initially by Grizabella, the aged Glamour Cat, now down on her heels played beautifully and sensitively by Abigail Szulc-Nield. It is the song that closes Act One and is reprised in Act Two, sung between Szulc-Nield's Grizabella and Evie Nicholson's Jemima. The pathos and heartache was performed wonderfully and the vocal soared meeting every expectation.

The superlatives I wish to offer in reviewing this show seem insufficient. I would suggest that everyone tries to see this fabulous production, it is hauntingly beautiful and does the always excellent company proud. I really look forward to seeing their second iteration of Spamalot next year.

Andy Evans 12 June 2025

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