Cats Comes to Mumbai: Inside the Magic of a Global Classic

Among the tribe are the mischievous Rum Tum Tugger, the conjuring Mr Mistoffelees, the scheming Macavity, and Grizabella, the once-glamorous cat who longs for acceptance.

For Krzan, the current production of Cats is deeply personal. Over the last two decades, the London-based theatre artiste has performed in 10 different contracts of Cats around the world. Krzan, whose first job after he left college 22 years ago was with the production of Cats, recalls, “I was originally a swing, which means you cover many parts and go on stage when people are sick or injured. I played Macavity during the Italian tour and Munkustrap at the London Palladium. Then, I became dance captain on the UK and international tour and resident director on the South Korean tour.”

Resident director Matt Krzan

Similarly, McCarthy’s association with Cats started long ago when he worked on the original London production at what was then the New London Theatre. In 2018, it was renamed as the Gillian Lynne Theatre in honour of Lynne, who choreographed Cats and many other
global hits.

The current responsibility gives Krzan an opportunity to pass on his knowledge and experience to a brand-new cast of Cats. “The musical is so popular across generations. The immersive nature of the show and the transportation into a new world is appealing to children. The athleticism of the choreography and the incredible singing throughout the show makes it very popular with all ages. The overall message of the show of acceptance and forgiveness is universal,” he says.

As the show’s musical supervisor, McCarthy’s job is to ensure the highest musical standards and safeguard Webber’s score. “We are never trying to merely create a carbon copy of what has gone before. Each new cast brings something of themselves to the show, and styles and tastes change over the years. So, as a creative team we are trying to bring out the best in our current cast while honouring what the original creators of the show wanted. Even as the show evolves, we retain its original magic,” he says.

Talking about how Krzan has worked with the cast and choreographer, he says, “We worked really hard to teach the cast the entire show. This means teaching the intricate choreography, with every single step having a meaning. We did a lot of work on finding the cat within the performers.”

Musical supervisor Peter McCarthy

Krzan is fascinated with the show’s ability to transport the audience into a different world, to make then believe that the performers are cats. “The Jellicle ball is 14 minutes of pure dance. The opening number of the show, Jellicle Songs for Jellicle Cats, is the best opening number in a musical ever and the hardest for an actor to perform.”

McCarthy, too, finds Jellicle Songs for Jellicle Cats, where the audience is introduced to all the members of the cast, most fascinating. “It’s demanding on every possible level -—musically, it’s difficult to sing with a lot of complicated harmonies. That part, its amazing choreography demands stamina. Yet, the whole thing must also look effortless. When stamina builds and harmonies soar, it’s also enormously exciting,” McCarthy says.

The biggest challenge with a show that has such a long history and is so loved, believes McCarthy, is to find a way of keeping the new production fresh while still being the show that was created 45 years ago. “While we have an energetic and talented cast, it’s a real joy to find that new fresh version of the show,” he says.