Review: Cats – Drew McOnie’s new production is the epitome of passion and collective power, a huge hit!
Matthew Paluch sees Drew McOnie’s production of Cats, reaffirming his place as one of dance’s most important creatives.
| Title | Cats |
| Company | Regent’s Park Open Air Theatre / Lloyd Webber Harrison Musicals |
| Venue | Regent’s Park Open Air Theatre |
| Date | 6 August 2026 |
| Reviewer | Matthew Paluch |
In folklore, cats have nine lives; in musical theatre, Cats has how many versions, I wonder…? Unofficial? Probably somewhere in the hundreds; official, as in relation to Andrew Lloyd Webber, I believe we’re on incarnation number four – but don’t officially quote me!
2026 sees Cats return again. This time in a production directed and choreographed by Drew McOnie. McOnie is the current artistic director of the Regent’s Park Open Air Theatre, so this is where we find ourselves. The run continues until 19 September before embarking on a national tour in October. So yes, Cats is definitely back.
Cats is a bizarre experience. In theory I love the show, but in practice I found myself doubting the concept – “adults running around as cats?” – yet, when McOnie is involved with basically anything, it becomes a transcendental experience.
He isn’t alone in this, of course. Lloyd Webber has created some unparalleled musical theatre moments, and the poetry of TS Eliot is of another world. But within all of this, McOnie’s movement sorcery is clear. I see it most clearly in group numbers – the dancers move like weather systems, organic and dynamic. Throughout, the choreography is a heady fusion of numerous genres: classical jazz, playful contemporary, ballroom flair and urban vibes. All with a feline awareness that feels subtle and embodied. These kitties definitely went to Cat school and may never leave…
The dancers are extraordinary, yet there’s sorcery at play. Dancers are often only as good as their working environment, and McOnie (and team) clearly create one that allows for individuality and development. I don’t think I’ve ever seen a group of dancers so truly involved in what they’re doing. If you know theatre, you can always find someone fooling around or slacking off in dark corners… well, not here. What you witness is total immersion, and it’s beyond intoxicating.
I’d propose McOnie hasn’t reinvented the wheel with this production; it’s more of an homage to what came before by a hardcore fan. It’s evident through the work that McOnie completely loves what he does, as the work always comes first – not his ego or any single demanding performer. This is the epitome of passion and collective power.
McOnie has superb taste in artists, and yet again he’s selected a troupe who feel absolutely right for the roles. Pre-show, he announced two casting replacements, one of which was Grizabella, the glamour cat. Taziva-Faye Katsande probably had the toughest job in London last night, stepping into the iconic role at the last minute. Well, without sounding cliché; a star was born. McOnie’s Grizabella is a creature, more exhausted than bedraggled. And Katsande’s youth works on her side for this. We see a weary cat, physically and mentally, who simply wants something more.
She has a natural voice that tends to find its feet after the first few bars, but it’s the authenticity of the performance that hooks you. She spoke to the audience last night and reached beyond the fourth wall – it felt extremely special. And she isn’t alone either. The whole cast are stellar, but Jack Wilcox as Munkustrap is an extraordinarily elegant master of ceremonies, Dianté Lodge is a truly wild Macavity, Matthew Caputo fizzes as Skimbleshanks, and Katie Dunsden crackles as Bombalurina. Dunsden in particular is performing on a different level; her dancing seems to almost explode with tension and focus.
I’m a big fan of what Sami Fendall has done with the sets and costumes. Again, the wheel hasn’t been reinvented, but everything feels uber fresh and atmospheric, and no doubt Regent’s Park as a backdrop helps matters! Speaking of reinvention, I also love McOnie’s urban take on Mr Mistoffelees – a break-dancing magician cat makes perfect sense to me, and Jet Yau seems the ideal fit.
All in all, this is another huge hit for McOnie, and reaffirms his place as one of dance’s most important creatives. He has talent and humility and isn’t afraid to surround himself with the best of the best. And that’s a very intelligent place to be.
Matthew Paluch was awarded a place at The Royal Ballet School in 1990 where he graduated in 1997. His first four years as a professional dancer were spent working with London City Ballet, Scottish Ballet, K-Ballet and English National Ballet, becoming a full-time member of ENB until leaving in 2006.
Matthew graduated from the Royal Academy of Dance, Professional Dancers’ Teaching Diploma in 2007, and was formerly on faculty at The Royal Ballet School. He completed his Masters in Ballet Studies at Roehampton University in 2011, has been a freelance writer since 2010 and currently works in the Law Sector.
He is a member of the Dance Section of The Critics’ Circle.
