DRAT! THE CAT! - The Group Rep Theatre at Lonny Chapman Theatre (North Hollywood)

Reviewed by Chris Cassone

cc @chriscassone.com

Ira Levin, author of this 1965 revival, warned up and coming writers never to insert two exclamation points in a title. His perky-quirky Victorian musical comedy closed after eight performances. He confessed that the title was a result of a name change from "Cat and Mouse" to the title of the show's opener, with its overused punctuation.

Our cat that drives the plot is a young feminist socialite from New York's elite upper east side who stealthily swipes her High Society neighbors' jewels. "Cat burglars" were just coming into vogue at the turn of the 19^th Century as the press played up their traits: quiet, sneaky, graceful, typically operating at night and, the reason the public fell in love with the stories, they used their skill and agility to avoid confrontation. They would always use finesse rather than brute force or violence.

            Pit this cat against an up-and-coming NYC detective, add twenty-one songs and you have our mad-cap musical. Think Julian Fellow's "Gilded Age" meets the Keystone Kops with a taste of Meredith Wilson's Americana. A little hackneyed and overdone, but once I let my guard down, it became very enjoyable. Our high school drama club would have loved a production like this. Not so nowadays with songs like "A Pox on The Traitor's Brow."  "Mr. C, uh, what's a pox?"

            Our cat, Alice, played athletically by Sydney DeMaria was perfect with her coy "meow's" and her prancing, cat gestures. She is a perfect red-haired Audrey Hepburn with swanky grace and sneaky sleekness.

Remember, it is a love story as well and, just like we all knew the idol's diamond eyes would go missing, so too were we ready for Bob and Alice to fall in love. Officer Bob, played by the sheepish, "aw, shucks" Alex Reusch could sing and dance with the best of them. And the best of them was DeMaria, whose clear, strong voice had us all on her side.

            Their "Homes and Watson" number was choreographed so perfectly. The two of them were very sure of themselves, could dance together well and their vocals complimented each other.  When that happens, musical magic takes place.

            The ensemble was a well-oiled machine of timing and singing. Director Bruce Kimmel gets kudos for his playful touches of the era. The Keystone-esque Kops who, when knocked on their police helmets, would elicit a crack from the drummer's wood block. These Kops also would march across the stage like an early silent film, with shutter flash and stutter-step. And Shon Le Blanc's costumes were perfect. It seemed the cast members were always appearing in something new. And the cat with her black tights, ears and tail was playfully evil.

            Let's talk about my favorite part of the show: the duet between Alice's parents played by Constance Mellors and Lloyd Pedersen. Alice's father had a decidedly unique tenor that cut through and her mother, who matched him note for note, both had the cleverest, finger-pointing-est repartee of a duet, "It's Your Fault," - symmetry in the blame game of parents who believed each other was the reason their child turned out a criminal. Anyone who has raised a child knows this dance. The rapid-fire lyrics had this listener gasping for air. Well done.

            And the band must be applauded. How only five can make the sound of a small orchestra, is a marvel. Deserving that credit is musical director and pianist, Gerald Sternbach who directed from the rear of the stage, pointing, glancing, gesturing to get his musical points across to his team: drummer, percussionist Craig Pilo, Tom Marino on trumpet, Paul Cotton on woodwinds and bassist Tim Christensen.

            The tango, "Wild and Reckless," was another piece that was so well choreographed. Cheryl Baxter outdid herself with twenty bodies to move around that stage. And who can resist a tango? Several scenes, especially the returning of the jewels, were clearly reminiscent of the silent era.

While certainly not the most memorable of Broadway shows, The Group Rep's Drat! The Cat! was a harmonious romp, a slice in time, a good versus bad, boy meets girl feast for your ears and eyes - an original, historical rom-com.