From left to right (centre): director Trevor Nunn, composer Andrew Lloyd Webber and Gillian Lynne with members of the cast during the launch for Cats at the London Palladium, on July 6 this year

intensive prep work with just one girl, one boy, my TOP CAT wonderful assistant Lindsay TOPTOP CATCAT Dolan and later on the dance Renowned choreographer Gillian Lynne talks captain, giving us a chance to Marianka Swain about her work on to explore thoroughly. When cast rehearsals started, I had Cats, ahead of its return to the West End something very definite to veryone thought we was approached very early teach them straightaway.” “ were mad, right up on, because Andrew [Lloyd Workshopping was, admits E until we opened,” Webber] was absolutely Gillian, “a killer time. I was a says Gillian Lynne, recalling longing to make a dance strong dancer, so I created it the initial hostility in 1981 to musical, so it made sense to all on my own body initially, what has become a record- speak to me. I’d longed to which is why I now have breaking sensation. “On the work with him as well, and I two metal hips and a metal first night, the whole creative thought what a splendid idea foot! I observed cats to find team went down to the bar for to have a show about cats. the base, and I wanted to a stiff drink, thinking we might It’s an animal everyone loves.” fuse classical ballet, jazz and need it, but then we heard Nevertheless, the general modern – there wasn’t much these cheers erupting. We lack of faith meant a limited decent jazz here at the time, crept back up and found the budget and thus only five but I’d been to America to audience on their feet. They’d weeks’ rehearsal. “I knew if work on my technique and never seen anything like it.” I didn’t prepare in advance, brought that back with me.” Gillian always believed there wouldn’t be enough Gillian is inspired by dance in the show’s potential. “I time. So I did a month’s greats like Fred Astaire, ➤

Photographs © Dan Wooller/wooller.com DECEMBER 2014 \ DANCE TODAY 41 TOP CAT

Fosse, Ninette de For the new Valois and Frederick London Palladium Ashton, “but there production, opening had never been an this month, Gillian animalistic musical reunited with her like Cats, so really original creative I didn’t look to team: Andrew, anyone else. It Trevor Nunn and needed absolutely John Napier. original thought.” “Andrew’s created It was also some new material, groundbreaking and I’ve tightened for a musical to have such of true all-rounders, who things up a bit, but it’s held a high standard of dancing. really responded to the idea up terribly well. I always look “There were lots of singers that it’s storytelling through at it carefully and ask the who could hoof a bit, but the dance. I had the luck to kids if they want to change ‘triple threat’ really hadn’t work with Robert Helpmann, anything, but they never do. been invented. It took us who wouldn’t let you do one Dancers have such affection months to find performers at movement without knowing for it – they feel it’s their that level. The entire cast has what it’s saying. Cats asks show. They seldom get this to sing flat out and dance flat a lot of performers because chance to be centre stage.” out, which is terribly unusual, you can’t do it without that Gillian can see the and rather a tall order. acting intention, but it’s influence of Cats in other “Now, there are far more also very tough dancing.” choreographers’ work and performers trained for that, Cats has been seen by particularly in the level which is lovely to see. I more than 50 million people of dance on stage: “It’s really put my original cast worldwide since its premiere, changed the face of musical through the wringer! We had with Gillian herself helming theatre. But there’s still a very difficult class every several productions and the nothing quite like it – it’s single day, getting them first US tour. She’s handed not pure classical or jazz, fit. They absolutely had to the baton over to Christine it’s sensual, dangerous, be – it’s the most physically Cartwright, but will often fast-moving. That’s why it’s demanding show out there.” spend a few days working never stopped running, and Fortunately, Gillian on a new version: “It’s has given work to more was blessed with strong very much my heart – no dancers the world over than performers like Wayne Sleep choreographer could ask for any show ever has. I’m most and Elaine Paige, plus “lots a show to be more ‘them’.” proud of that legacy.” l

“ON THE FIRST NIGHT, THE WHOLE CREATIVE TEAM WENT DOWN TO THE BAR FOR A STIFF Cats is at the London Palladium until February DRINK, THINKING WE MIGHT NEED IT, BUT THEN 28. www.london. WE HEARD THESE CHEERS ERUPTING” catsthemusical.com –– GILLIAN LYNNE

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