Let's be honest. Before the 2019 CGI nightmare that gave us digital fur technology and human-faced cockroaches, there was the filmed stage version. For an entire generation of theater nerds, the cast of cats 1998 is the definitive version of Andrew Lloyd Webber’s junk-yard fever dream. It wasn't just a movie; it was a captured performance. They filmed it at the Adelphi Theatre in London, and honestly, it’s probably the most cohesive version of the show that will ever exist.
The casting was a weird, beautiful alchemy. It brought together legendary West End veterans, fresh-faced dancers, and even some of the original 1981 London performers. It feels personal. You see the sweat. You see the greasepaint. You see the absolute physical exhaustion in their eyes after "The Jellicle Ball."
The heavy hitters who anchored the cast of cats 1998
If we’re talking about this specific production, we have to start with Elaine Paige. She originated the role of Grizabella in London back in '81, and bringing her back for the film was a massive power move. By 1998, her voice had matured. It had more grit. When she sings "Memory," it’s not just a pop ballad; it’s a desperate plea from someone who knows time has run out.
Then you’ve got John Mills. Yes, Sir John Mills. He played Gus the Theatre Cat. He was nearly 90 years old when they filmed this. It’s arguably one of the most touching moments in musical theater history. Watching this actual legend of the British stage play a character who is a fading legend of the "theatre" is meta-commentary at its finest. He didn't have to act much. The shaky hands were real. The nostalgia was real.
But it wasn't just about the old guard.
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Ken Page returned as Old Deuteronomy. He’s the only one from the original Broadway cast to show up here. His voice is like warm molasses. It’s huge. It’s comforting. He provides the gravity that a show about cats jumping around a pile of trash desperately needs. Without his presence, the whole thing might just float away into pure absurdity.
The dancers who did the heavy lifting
People forget that Cats is, first and foremost, a dance show. Gillian Lynne’s choreography is notoriously punishing. It’s all about feline movement—low centers of gravity, arched backs, and explosive leaps.
John Partridge as Rum Tum Tugger basically stole the entire film. He played the character as a sort of Mick Jagger-inspired rockstar, but with insane technical dance skills. The pelvic thrusts were... a lot. But his energy was infectious. Partridge went on to have a huge career in UK soaps and reality TV, but for theater fans, he will always be the "Curious Cat."
Jacob Brent as Mr. Mistoffelees is another one. He’s the one in the velvet tuxedo with the lights. His "Conjuring Turn" sequence—those thirty-something fouettés—is basically the Olympic gold medal of musical theater dance. He had played the role on Broadway, and his precision in the 1998 film is probably why so many kids in the late 90s suddenly wanted to take ballet lessons.
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Then there’s Phyllida Crowley Smith as Victoria the White Cat. She starts the whole show. Her solo is the litmus test for whether a production of Cats is going to be any good. It’s pure, clean, classical lines. It’s beautiful.
Why this specific cast worked when others failed
The cast of cats 1998 worked because they weren't trying to be "realistic" cats. They were theater performers embracing the artifice. They had the knitted leg warmers. They had the wig caps. They had the heavy, heavy contouring.
In the 2019 version, the actors felt lost in the green screen. In the 1998 film, they had a physical set to climb on.
- The chemistry between Mungojerrie (Drew Varley) and Rumpleteazer (Bonnie Langford) felt genuine because they were actually doing the acrobatics together in real-time.
- Michael Gruber’s Munkustrap felt like a real leader because he was physically corralling a group of twenty other humans on a stage.
- The relationship between Demeter (Ainsley Howard) and Bombalurina (Rosemarie Ford) during "Macavity" had a palpable tension that you only get from live-captured performance.
Rosemarie Ford is actually an interesting case study here. She was a massive TV star in the UK (think The Generation Game). Putting her in as Bombalurina brought a certain "showbiz" polish to the cast that helped bridge the gap between high-art dance and popular entertainment.
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The weirdly specific details you probably missed
If you watch it enough times (and believe me, I have), you start to notice the little things. Look at Susan Jane Tanner as Jellylorum. She also originated the role in 1981. There’s a comfort in her performance that only comes from playing a character thousands of times. She’s the one who looks after Gus, and the genuine affection between her and John Mills is unmistakable.
Also, we need to talk about the villain. Bryn Walters as Macavity. He doesn't have a singing line, but his physicality is terrifying. He’s tall, lanky, and moves like a spring-loaded trap. In a show that can sometimes feel too whimsical, his appearance actually feels dangerous.
How to appreciate the 1998 production today
If you’re going to revisit this, don't look for a plot. There isn't one. It’s a series of character sketches based on T.S. Eliot’s poetry. Instead, look at the precision of the ensemble.
Watch the background. Even when they aren't the focus, the cast of cats 1998 are always "in character." They are grooming themselves. They are hissing at each other. They are reacting to the music with small, feline twitches. This is what made the stage show a global phenomenon, and it’s why the 1998 film remains the gold standard for how to capture a musical on camera.
It avoids the "movie musical" traps of quick cuts and close-ups that obscure the dance. The director, David Mallet, mostly stayed back. He let the choreography breathe.
Actionable steps for fans and researchers
- Compare the Vocal Tracks: If you have the 1981 original London cast recording, listen to Elaine Paige's "Memory" and then watch her 1998 performance. The evolution of her interpretation—the way she breaths through the phrasing—is a masterclass in aging with a character.
- Look for the "Making Of" Featurette: There is a great documentary about the filming process at the Adelphi. It shows the grueling makeup application (which took hours) and how they managed the pyrotechnics on a theatrical set.
- Study the Choreography: If you’re a dancer, use the 1998 film as a reference for the "Gillian Lynne style." It’s much more accurate to the original intent than any subsequent film version.
- Check the Credits for Future Stars: Look closely at the ensemble cats. Many of them went on to become major choreographers and directors in the West End. The level of talent in the "background" of this film is staggering.
The 1998 version isn't just a relic. It’s a high-water mark. It proves that you don't need a hundred million dollars of CGI to make a story about magical cats compelling. You just need the right people in the right costumes, sweating under the stage lights, giving it everything they’ve got.