This pop-cultural phenomenon has been performed on stage for more than 50 million patrons in 26 countries for almost 18 years, churning more than $2 billion in ticket sales. Now that Cats has finally made it to the small screen, attention must be paid not just by fans of this critic-proof show, but also by those entertainment mavens who have somehow avoided Cats until now. The video version has been restaged but, alas, not really reconceived for its new medium. The video cast, assembled from London, Amsterdam, and New York productions, is competent. Ken Page as Old Deuteronomy, Jacob Brent as Mr. Mistoffelees, and Elaine Paige--the original London Grizabella, the Glamour Cat well past her prime--are a great deal more than that. Paige has toned down her theatrical belting of her big number, "Memory," and allowed the faded ruin of her character's soul to prevail in close-up. For all the "covers" of her signature song, Paige's version remains definitive. The video is, by definition, more intimate, not always a good thing: costumes are even more Halloweeny in garish close-up, the cats less cuddly without that all-important interaction, the stage's appropriately midnight lighting transmuted to a Las Vegas neon. And the chorus of cats in production numbers is even clunkier and more amorphous in two- and three-shots.
The one complete newcomer to the cast is the 90-year-old icon among English actors John Mills, a delight as Gus the Theatrical Cat. Sir John and his character show the youngsters how it's done in close-up, largely behind the eyes, abetted by a heart-tugging delivery of his one song. Yet virtually all of the songs are lip-synched, further robbing the video Cats of its onstage seeming spontaneity. It's clearer than ever that Lloyd Webber's music is mostly twaddle, with the important exception of "Memory," which instantly and rightly became one of the genuine theater standards not dependent on context, in the vein of Stephen Sondheim's "Send in the Clowns." On the plus side, most of the Cats characters and lyrics, from T.S. Eliot's 14-poem Old Possum's Book of Practical Cats, are far better defined and understood from the video version. --Robert Windeler
Entertainment
The entertainment industry has grown and evolved over the years with music and cinema taking a new form through the ages and so have the technologies that fuel it. Gone are the days of eight songs on a cassette and VCR players with merely two hours of entertainment recorded on a single video cassette. With the advent of computers came digital data storage and hence the birth of DVD/CDs.
Quiet a step back in matters of physical form as these new generation audio/video storage devices hold an uncanny resemblance to the records that preceded the cassette generation. DVDs and CDs today are an everyday household entertainment storage device which has come a long way since the first records and cassettes were distributed commercially.
Notable advantages of DVD/CDs have to begin with the amount of storage space available. These days its possible to burn multiple movies on a single DVD and as far as audio goes if its in a highly compressed format such as .mp3 a single CD can accommodate multiple music albums. These discs are easy to handle, light and portable with no moving devices unlike the tape generation however they are delicate and a scratch on the DVD/CD surface could cause a disruption in the information being read by the player.
DVD/CDs were initially invented to provide high quality audio/video data to a user with the ability to regulate its production however this soon fizzled away with daily household computers gaining the ability to burn data in such formats. The race to curb piracy through such means has not hit a roadblock and DVD/CDs keep evolving with newer encryption technologies in a bid to curb unchecked replication of data spawning newer technologies like Blu-ray discs which seems to be yet another milestone on an unending road of innovation.
