The first time I saw “Cats” in Chicago back in the days of young motherhood, I hated it, an aversion that likely had something to do with the fact I was getting the flu. But even then I could tell this campy, whimsical musical from jolly old England was not my cup of tea.
That’s why, when the Paramount Theatre made “Cats” part of its 2014 Broadway Series, I had minimal expectations, and was, therefore, pleasantly surprised that I enjoyed it, although it was a far cry from one of my favorite downtown Aurora productions and not one I’d want to see again.
Boy, was I wrong. Both literally and figuratively, Paramount’s current “Cats” production – playing through June 15 – lifts this Tony-winning Andrew Lloyd Webber musical to a whole different level.
A really high level, in fact, because those in Director Trent Stork’s reimagined production can not only sing, dance and mimic a feline’s most adorable – and annoying – characteristics, eight of the 32 cast members are also acrobats, aerialists and contortionists who, under a spectacular big top set, fly through the air – on ropes, trapezes and suspended swaths of silk – with the greatest of ease. And, I have to add, with the greatest of confidence as they do so without a net.
Think “Cats” and Cirque du Soleil and you can get an idea of what I’m talking about. In fact, like any three-ring circus, there’s so much going on, it’s hard to figure out where your eyes should land. While a professional critic might think of that as a distraction, it made me just want to see the show again and again.
Speaking of which, one of the many thoughts going through my head during these two hours of sensory overload was the wish that Aurora’s new mayor would see it at least once.
It’s hardly news there’s plenty of angst about the future of the Paramount with John Laesch taking over the city reins from Richard Irvin, whose administration was the Paramount’s biggest cheerleader.
Laesch admits he’s no fan of theater. But what he really hates is the “serious debt” the city is facing, thanks to what he considers the past administration’s free-spending ways. And he’s been plenty upfront about the need to slash the budget, which would significantly impact the Aurora Civic Center Authority (ACCA), the nonprofit that oversees the Paramount, Copley and Stolp Island theaters, as well as RiverEdge Park.
In the days after his April 1 victory, Laesch declared ACCA’s proposal for a fourth downtown Aurora entertainment venue – the City of Lights Center – to be pretty much dead in the water, although he tempered that in his inauguration speech on Tuesday by declaring it to be “on hold” for at least the next four years.
That’s not exactly music to the ears of Paramount President Tim Rater, who sees this 4,000-seat theater as the fourth and last piece of Aurora’s entertainment puzzle, and “a way forward in perpetuity.” In other words, the venue would make it possible for ACCA to stand on its own without financial help from the city.
That statement, Rater said, is backed by carefully prepared data from CH Johnson Consulting, which he presented to Laesch at a recent meeting he described as “productive and positive.”
“It’s clear that there is a strong mutual interest in continuing a collaborative relationship between the city and the Paramount,” he wrote in a staff email later. “While the city is facing some financial pressures, I’m encouraged that we will continue to receive meaningful support.
“Although it’s unlikely we’ll receive the full amount of subsidy we originally anticipated, I’m confident we will maintain a strong partnership that allows us to sustain our mission and continue serving our community and patrons at the highest level.”
It’s a hopeful message, but those last few words present a tough balancing act.
There’s no denying the impact Rater and his talented staff have had on Aurora’s downtown, which is enjoying new life and a much-improved reputation. Thanks in large part to the Paramount, headlines about murder and mayhem have been replaced by stories about new restaurants, new businesses, new apartments and new shows that are drawing rave reviews and audiences from the Chicago area and beyond.
That includes the Copley Theatre BOLD Series, which puts on high-end productions in an intimate setting and therefore, along with the Paramount School of the Arts, could be the most vulnerable, and “Million Dollar Quartet,” which the Paramount just announced has been extended at Stolp Island Theatre through Jan. 4.
But all these high-quality shows come at a price. And the million-dollar question right now seems to be what dollar amount the city is willing to put on that line item next to ACCA. Thus the angst.
While Laesch was not in the audience for the opening night of “Cats,” his new chief of staff was.
Like me, Shannon Cameron has never been a fan of “Cats” but was more than impressed with Stork’s production, describing it as “beautifully done,” and noting how “very lucky we are to have that level of artistry in the heart of our community.”
She would know. Cameron comes from a theater background, arriving in Aurora in 2017 to be in charge of the Paramount School of the Arts under Rater. But like her new boss, she insists “tough decisions have to be made in the best interest of the community” and if that means “making cuts or trimming down, we have to find ways to be more sustainable.”
“There’s no question the Paramount is the jewel of downtown, with many businesses, particularly restaurants, depending on its success. But that puts a lot of pressure on one organization” which “has grown too quickly,” insists Cameron, noting ACCA’s budget has gone from $20 million to $30 million in the last 10 years.
“We want to be good partners. We see very much how important it is to the growth of downtown,” she continued. “But we need to be responsible to taxpayers. Everybody has to make hard choices at one time or another, and this is one of them.”
Rater points out that, by all industry standards, the Paramount is considered highly efficient, operating at 70% earned revenue. But what must also be considered is it can’t be viewed as just another business that needs to pay its way in order to survive. Much like the library – or police and fire stations, for that matter – it provides a valuable service to the community.
In this case that’s bringing people together to Aurora’s downtown and exposing them to the performing arts. Which as as far as I can tell, is working quite well. I wish I had a dollar for every time I’ve talked to a new Paramount fan in the last year alone. Many are people who were never theatergoers but now rave about the show or shows they just saw. And, caught up in the excitement of what they experienced, they’re spreading that enthusiasm to others.
It’s no coincidence subscriptions to the Broadway Series are expected to hit and possibly exceed a new high of 41,000 by the end of the year, putting it above its pre-pandemic levels, according to Rater, who also points to another 3,000 BOLD Series subscribers.
Cameron says she’d like to see higher ticket numbers from Aurora residents, with more emphasis on community engagement that would provide artistic opportunities for all segments of the city, including its large Hispanic population and growing number of Indian residents.
“Ultimately there do need to be changes,” she said, also referring to more reliance on fundraising and cost-cutting measures. “Sometimes simple storytelling can be more impactful than all the spectacle in the world.
“But that’s what makes the Paramount so special. They have the ability to do it all so well.”
Which brings me back to “Cats” and just how unique and fun this show is.
The Paramount’s very creative Trent Stork got the idea of doing “circus ‘Cats’” while working as the assistant director on the original version at the theater back in 2014. The now-director has always been professionally fascinated with circus performers and wondered what it would be like to partner with Sylvia Hernandez-DiStasi, who’s known as the “queen of Chicago circus” choreography.
When “Cats” was on the table again as a future production. Stork decided to try and turn a long-held dream into reality. Much to everyone’s delight, the Paramount and Hernandez-DiStasi not only said it could just fly, everyone worked through the “major roadblocks” of combining circus acts with musical theater.
Trust me, this production might provide a visual smorgasbord but as Stork put it, “‘Cats’ has no business sounding this good. Every member could lead their performance … it was meant to be.”
Less certain is the future of the Paramount. Rater insists that whatever number appears next to ACCA on the city’s budget line, “we will do our best” to continue bringing high level magic to downtown Aurora.
“We just need a runway to do it,” he said.
dcrosby@tribpub.com
