Who knew a spontaneous decision to see the terrible CG nightmare fuel CATS adaptation would make me watch the 1998 CATS-- and then become a fan of this weird, weird musical?

The new movie truly is bad, but the original material, much maligned over time, is actually pretty amazing. I love the variety of musical styles in all the songs, the sense of community among all the characters, even those bizarre stylized costumes and make-up. This is a fun musical, all around, and I can see why trying to make it more "cinematic" does not suit the material. The 1998 adaptation seems to essentially just shoot the stage show as it is, with a few close-ups and cinematic flourishes for good effect.

While I would recommend the 2019 movie for those who love hilariously bad films, the 1998 film is the better choice if you want to see just why CATS made billions of dollars.

Andrew Lloyd Webber knew he hit the right formula. Get a few memorable songs and score a chart hit.

Once the musical opens, it does not matter how much the critics slaughter it. The audience will come along humming the tunes.

With the mauling of the CGI movie version of the cats. I decided to see the filmed stage version.

I knew this was an adaptation of TS Eliot's poems. Something about Jellicle cats. This version has wonderful feline costumes, good make up. The set itself is like a decrepit garbage dump, lit with single bright light which should be moonlight. Some of the dancing is acrobatic and balletic.

The stage version wowed the audience. However looking at this filmed version there are several glaring problems. I waited for the story to start and then realised there was no story.

Different cats come and go, they sing and they dance. Lloyd Webber's main theme is regurgitated time and time again. I know the theme as the BBC had adopted it for their 1982 world cup coverage. The main song Memories reprises several times.

Musically there is no content, it is left to the dancing and the stage sets. No wonder the big screen movie version failed. The stage musical is an empty spectacle.

For a while I didn't call myself a fan of Cats, as a matter of fact I was one of those who dismissed it as having only one good song. Over-time though, the musical has really grown on me, it is charming and fun and the songs are very catchy(not just Memory),so now I feel that my initial assessment was unfair. And it was thanks to this performance, which, apart from some sloppy lip-synching, some awkward editing between some numbers and the omission of Growltiger's Last Stand(the number where everything that people love about Cats is in it),is very good and entertaining. It is a beautifully designed production, the costumes are cute and have a hint of realism, the make-up is tasteful and not over-the-top, the lighting is not too dark or bright(loved the haunting coolness of it during Memory) and the sets are clever and don't come across as obstacles for the performers. The editing may be awkward but the camera work is excellent, likewise with the sound quality. The stage direction brings out all the humour, charm and heart that Cats has and it more than compensates for the often-mentioned lack of story. The choreography, helped by such spirited dancing, positively sparkles too. The band bring great energy to the score, the chorus sing with involvement and there is care to blend with one another. The performances are on the money. Elaine Paige gives a beautifully sung and very heartfelt rendition of Memory, John Mills is wonderful and quite poignant in his role and Ken Page is a regal presence with a voice that is not just large in range and size but resonant throughout the voice. Jacob Brent has the right innocence and slyness for Mistofelees and has a voice that carries very nicely. Michael Gruber and John Patridge are perfect in their roles, Jason Gardiner's Alonzo is forcefully arrogant(and in just the right way and approach) and Veerle Casteleyn is very touching with eyes that will make you go weak at the knees literally. All in all, a very good performance of a musical that has grown on me overtime. 8/10 Bethany Cox