Feline Frenzy What Is It About ‘Cats’ That Has Audiences Coming Back For More? Jim Kershner Enlightens Us

“Cats” Friday, Aug. 29, Opera House

At this point in the history of “Cats,” there’s not much point in a critic carping about the thing. It is now the longest-running Broadway show ever, and the most-seen touring show ever. It would be like analyzing the narrative weaknesses in “The Sound of Music.”

So I spent most of my evening at “Cats” trying to figure out exactly what got this Andrew Lloyd Webber show where it is today:

It is a great show for families. In fact, on this viewing I was struck by the fact that “Cats” is essentially a children’s story, one of those whimsical bits of childhood magic that the British are so good at. The world of Jellicle cats, Pekes and Pollicles isn’t too far removed from the world of Pooh bear or Mr. Toad.

This is a phenomenal dancing show, featuring not only traditional chorus line dancing but also spectacular feats of gymnastics. In this tour, one “cat” tumbles the length of the stage in what amounts to almost an Olympic-style floor exercise.

Never underestimate the appeal of a cat. A huge part of the entertainment value of “Cats” comes from seeing the actors preening, clawing, stretching and otherwise doing what cat-lovers can spend hours at home watching.

The show is consistently funny. Although it has its poignant moments, “Cats” never forgets that its primary purpose: to make people laugh. During the Elvis-like number by Rum Tum Tugger, the people behind me never stopped laughing, barely even for a breath, from the first note to the last. This is one show that has remembered its music-hall antecedents.

It has one beautiful song, “Memory,” and it showcases it brilliantly. Lloyd Webber teases us with this haunting melody at the close of the first song, just enough to make us want more. Then he gives it to us full bore at the end of the second act.

Put it all together and you’ve got something that an astonishingly large number of people agree is two hours of pure pleasure. Rarely can you find a theater crowd that is buzzing with such pure happiness at the end of a show.

As for this touring company, the quality control appears to be good even after hundreds of performances. The talent level is of course very high (even though four key roles were performed by understudies at this performance), but more importantly, the energy level and commitment couldn’t be faulted. Natalie Toro, who delivered a version of “Memory” that was at times wistful and at times ferocious, deserves special recognition.

But, of course, as a critic I can’t help carping a little. A few things still baffle me about its success, such as: Shouldn’t a musical have a story?

Also, the more I look at some of those cat costumes, the more they look like rejects from David Bowie’s Ziggy Stardust era. As for Old Deuteronomy, he looks far more like the Abominable Snowman than a cat.

And yes, by the way, “The Sound of Music” did have some narrative weaknesses.

, DataTimes