It may be time to reconsider "Cats," Andrew Lloyd Webber's long-running (1981-2003 in London, 1982-2000 in New York) but much defiled musical. Yes, the music is derivative, a pastiche of styles from serious to British Music Hall, and yes, as usual Mr. Lloyd Webber draws on Puccini whenever he tries to portray any deep emotion (or is stuck for a melody). But, on the other hand, check out the source material. It's not a Marvel comic book nor a schlocky Hollywood comedy that needed star performances to succeed. It's the great British poet T. S. Eliot, the one who's quoted in the Pulitzer Prize winning "August: Osage County." Well, actually, it's a somewhat different T. S. Eliot, one who went by the pen name of Old Possum and wrote a collection of children's poems about cats that was illustrated by the magnificent Edward Gorey. But even so, "Cats" has a pretty decent pedigree.

The cast of "Cats"

Photo: Ken Jacques

And Moonlight Stage is giving "Cats" a production worthy of its pedigree, now through September 26 in the beautifully reconstructed Moonlight Amphitheater in Vista.

According to the program notes, Mr. Lloyd Webber had set poems from "Cats" first as a song cycle and only later converted it into a musical with the help director Trevor Nunn and choreographer Gillian Lynne. It was Mr. Nunn and Ms. Lynne who came up with the idea of a junkyard confab of cats that would stay in "cat" character throughout. And, they also thought up the idea that the cats should be gathered to celebrate the rebirth of one of their own, though ultimately this storyline hardly matters, just as its outcome is telegraphed rather thoroughly.

Moonlight's director Steven Glaudini and choreographer Carlos Mendoza have rethought this idea, to good effect. The junkyard is still there (courtesy of the Fullerton Civic Light Opera), but the ubiquitous cat movements have been softened to suggestions. In their place are spectacularly good dance numbers that draw on both classical and jazz movement vocabularies for their effectiveness. In fact, I'd venture to say that the first act of Moonlight's "Cats" has in it some of the best theatre dancing that San Diego has seen in a long time. Mr. Mendoza's choreography is beautifully shaped, and his dancers execute it with both precision and verve.

But, then there is the second act, and here the performances became more mixed, especially when the focus was on the singing and acting, as opposed to the dancing. Michael Skidgel as Old Deuteronomy displayed power, resonant tone and quiet dignity in his numbers. But, Debbie Prutsman as Grizabella tried to act her way through "Memory," the show's big song, while the force-of-nature "diva" approach used by Betty Buckley in the Broadway production would probably have proved to be a better approach. And David Beaver's acting in "Gus The Theatre Cat" was close to embarrassing. But, the dancers saved the day again when the spectacular Aaron Lloyd Pomeroy, abetted by Elijah Reyes, deservedly brought down the house in "Magical Mr. Mistoffelees."

The Moonlight Amphitheater has been equipped with the latest in lighting and sound equipment (though, they are not finished raising money to pay for it--send your contribution to Moonlight Cultural Foundation, 1400 Vale Terrace Dr., Vista, CA 92084-5304). Unfortunately, the crew is still trying to figure out how to mix the sound appropriately for a cast of 27 and an orchestra of 16. Things started off mushy (Peter Hashagen did the sound design), but improved substantially as the performance progressed. Even with these glitches, it is a marvelous outdoor space to see a show (and, no planes flying directly over the audience during the performance).

I have to admit it. I was skeptical that "Cats" could be done well, but I was wrong. It can be done well. Moonlight Stage Productions has done it. See it while you still can.

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