A Purr-fect Fit: Mark Vincent on CATS THE MUSICAL

Few musicals divide opinion like Cats, and yet few have had such a lasting impact. Since its West End debut in 1981, Andrew Lloyd Webber’s feline fever dream—adapted from T.S. Eliot’s Old Possum’s Book of Practical Cats—has clawed its way into global musical theatre history. With its abstract structure, elaborate choreography, and unforgettable score, Cats became a cult classic, running for decades in London and New York and amassing millions of fans across generations.

Now, the Jellicle Ball is returning to Australia, with acclaimed tenor and classical crossover artist Mark Vincent stepping into the role of Old Deuteronomy.

One of the most highly anticipated roles in this new Australian production is that of the wise and revered leader of the Jellicle Cats. Vincent, known for his powerful voice and commanding stage presence, rose to fame as a finalist on Australia’s Got Talent and has since performed across a range of musical settings. He is poised to bring his unique touch to this iconic character.

“I’ve always been a big fan of Lloyd Webber’s work,” Vincent says. “So I truly believe being part of Cats, playing the character of Old Deuteronomy, it’s very exciting for me… and I’m very honoured to be part of it.”

Though best known for his vocals and recording career, Vincent isn’t new to musical theatre. He’s previously appeared in Dirty Dancing and My Fair Lady, where he played Freddy Eynsford-Hill under the direction of Dame Julie Andrews. But Cats, with its abstract narrative and operatic score, offers a new kind of challenge. “It’s something different,” he admits. “But again, a lot of the material I sing anyway and perform has that classical element. So for me to be part of an amazing cast, I feel honoured. And I’m grateful that John Frost had the faith in me to be in the show.”

Old Deuteronomy is a fitting match for Vincent’s talents: a commanding role with deep vocal demands but minimal choreography—something he jokes about with good humour. “You’re right, I literally sit down and stand up. So that’s a perfect role for me. They seem to put me in roles where I’m sitting. Even with Freddy Eynsford-Hill, I’m sitting on a doorstep until 3:00 in the morning waiting for Eliza Doolittle to come out of her home.” Still, don’t be fooled by the lack of flips and spins—Vincent has been training in dance for years. “I don’t dance like Todd McKenney,” he says, “but I could… I don’t do backflips or any of that. But I get by during a performance.”

When it comes to vocal preparation, Vincent approaches the role with the same intensity and methodical process he applies to his classical work. “If you can recall Carols in the Domain, think of The Holy City, you know that song I do at the end? That song has such a massive range in it. So I’m pretty much going to be treating [Cats] the same.”

While Cats is often remembered for its dazzling visuals and stylised choreography, Old Deuteronomy’s songs—like “The Addressing of Cats” and “The Moments of Happiness”—demand emotional resonance and vocal control. “It still has a big classical element,” Vincent explains. “It’s going to be starting from the bottom end of my voice. And you’ve got like a top B at the end, which is going to be massive. So I’ve got to do that every night—which will be fun!” He continues, “Even though you do it every night, there’ll always be a different aspect and element of the performance. And like I said, genre-wise, singing in a classical way… that’s how Sir Andrew Lloyd Webber wrote this sort of music.”

The vocals may come naturally, but the acting is something Vincent takes just as seriously. When preparing for a musical, he meticulously annotates his script and score. “I tend to get the lyrics of the song, get my, you know, magic pencil, and start to write notes on the side of the sheet—what this line means to me, what’s my intention of the song, where am I heading with this song.”

It’s a process he also teaches his students. “You have to know—it’s your job as a performer—to make it easy for the audience to understand where you’re going with the song and the scene. It’s like driving a car and going, okay Mark, where are we going today? I say to you, well, guess what? I have no idea. That’s going to be a very interesting road trip, right?”

With nearly two decades in the industry, Vincent credits his staying power to one thing: versatility. “Like John Frost said to me, the more versatile you are, you work forever. And that’s the key to success… Especially in Australia, where we’re a small market, you have to be open to different things.”

Of course, Vincent knows that Cats is beloved largely because of one number: “Memory.” While not his to sing in the show, it remains a standout. “It has to be Memory, 100%. It’s the greatest song ever.”

With the curtain about to rise, Vincent is embracing the opportunity with characteristic humility and joy. “To be signed off by [Lloyd Webber] and his casting team to say, ‘We grant you permission to play Old Deuteronomy’—I’m so honoured.”

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CATS opens in Sydney in June, before touring to Adelaide and Melbourne.

For tickets and more information, please visit catsthemusical.com.au