Cats (1982 Original Broadway Cast)

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Music reviews of Cats (1982 Original Broadway Cast)

Music Review: Broadway vs. London
Rating: 3 Stars

1. Overture: TIE. There isn't a whole lot of difference between the two overtures, at least none that I can tell. They're both fine recordings.

2. Prologue: Jellicle Songs for Jellicle Cats: LONDON. Unquestionably, the London recording is the better of the two. The Broadway recording is weak and not as precise as the London recording.

3. The Naming of Cats: TIE. This track is completely spoken. If, other than accents, there is any noticeable difference between the two recordings, it has eluded me.

4. The Invitation to the Jellicle Ball: LONDON. Both casts are fine during the chorus efforts. However, the London Munkstrap sounds much more keen in his solos, as opposed to the Broadway Munkstrap who just sounds indifferent.

5. The Old Gumbie Cat: LONDON. This is no contest. The London version contains lines that were deleted from the Broadway version. To me, the Broadway recording always seems incomplete.

6. The Rum Tug Tugger: LONDON. The London Tugger is much more subdued. While it is understood that this is supposed to be a fun piece, and the Broadway Tugger is certainly fun, his constant squealing and weird timing are something I still haven't gotten used to.

7. Grizabella: LONDON. I don't know how else to say this. The Broadway version is puny. The London version isn't.

8. Bustopher Jones: BROADWAY. While the British recording is fine, and probably more technically precise, I find the voice of the Broadway Bustopher to be absolutely charming.

9. Mungojerrie and Rumpletezer: LONDON. The London and Broadway recordings of this track differ immensely. I prefer the London version, which is sung by the characters Mungojerrie and Rumpletezer, themselves, as opposed to the Broadway version, which is sung solely by the character Munkstrap. Also, the London recording just has this sly aura about it that the Broadway recording, in its differing style, fails to capture.

10. Old Deuteronomy: BROADWAY. I can't explain it; the Broadway version is just more emotionally uplifting and magical.

11. The Jellicle Ball: TIE

12. Grizabella, the Glamour Cat: TIE. This piece is really too short to gage either way.

13. Memory: LONDON. What we've all been waiting for. While there's nothing wrong with the Broadway version of this track. `Memory' is never sung more dutifully and emotionally charged then when sung by Elaine Paige. At least that's what my chorus instructor thinks.

14. The Moments of Happiness: BROADWAY. Truthfully, I don't care for either of the recordings very much. However, I've always felt that Ken Page, Broadway's Deuteronomy, had the better singing voice.

15. Gus: the Theater Cat: LONDON. I feel very passionately about this one. The London version of `Gus' is very humble, and for that I shall reward it. However, the Broadway version borders on disrespectful, given the subject matter, and that I cannot forgive.

16. Growltigers Last Stand: NO COMMENT

17. Skimbleshanks: the Railway Cat: LONDON. London is better for tons of reasons: more solos, better sounding Skimbleshanks, and jazzier opening chords. The Broadway versions habit of having the company sing all the verses together grows tiring very quickly.

18. Macavity: the Mystery Cat: TIE. One version can't be better than the other; they're both too dull.

19. Mr. Mistoffoleese: LONDON. I think the chorus of this song is best sung by the company, as in London, rather than by an individual, as in the Broadway recording.

20. Journey to the Heavyside Layer: TIE. There's no noticeable difference.

21. The Ad-Dressing of Cats: BROADWAY. It's all about Ken Page as Old Deuteronomy.

Personally, I found the London recording more satisfying as a whole. I hope you will, too.

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