Katrina: A Victorian Ballet of Cats

Katti Lanner, lithograph by Adolf Dauthage, 1861.

Andrew Lloyd Webber’s 1981 musical Cats was not the first production to feature a cast of dancers dressed in cat costumes.  Nearly one hundred years earlier, a ballet called Katrina made its debut at the Empire Theatre in London.  Arranged by choreographer Kattie Lanner and set to music by composer Leopold Wenzel, it featured two intertwined stories.  The first concerned the love affairs of a young student. The second—and far more interesting—took place in the Kingdom of Cats. 

Katrina starred Miss Ada Vincent as Princess Frou-Frou, a fairy cat, and Miss Lizzie Vincent as Tom Grey, a cat bridegroom.  They were accompanied by their cat attendants, portrayed by a troupe of young ballerinas dressed in cat costumes.  Together, they performed lively dances meant to represent cats engaged in their evening revels.  As an 1894 edition of the magazine Pick-Me-Up explains:

“[Katrina] is a novelty presenting two or three hundred young more-or-less ladies dressed up to represent cats in their nightly fling on the tiles.”

London, Empire Theatre (Leicester Square), postcard, 1905.

An 1893 edition of the St. James’s Gazette declares that Katrina was, in the main, “a ballet of cats.”  The reviewer in Pick-Me-Up seems to have agreed with this assertion, even going so far as to state:

“I’m still wondering why they didn’t call it ‘Pussy-Katrina.’”

Unlike Cats (which was based on Old Possum’s Book of Practical Cats by T. S. Eliot), Katrina does not appear to have been based on any particular piece of poetry or prose.  It was nevertheless entertaining, receiving fairly decent reviews.  A reviewer in an 1893 edition of Fun called it “a very brilliant affair,” writing:

“It is very gorgeous, splendid, clever and effective—the cat dresses are particularly striking and interesting.”

Katrina, Illustration from Fun, Vol. LVII, No. 1443. 1893.

The St. James Gazette was equally complimentary to the costumes, calling Katrina “another triumph for the Empire.”  He writes:

“‘Katrina’ is not a grand ballet; but as a divertissement it is of quite the right kind, and is a beautiful and varied masque of dancing.”

Katrina, Illustration from Fun, Vol. LVII, No. 1443. 1893.

Katrina was not the only Victorian production to include cats.  In 1871, for example, the Globe Theatre produced The White Cat: Or, Prince Lardi-Dardi & the Radiant Rosetta. Advertised as “A Grand New Fairy Burlesque Extravaganza,” its second scene takes place in “The Forest of Katz Kradle Kastle” wherein a group of actors dressed as cats hunted for birds and mice.

Today, when one thinks of cats in the theatre, Andrew Lloyd Webber’s Cats is still the first thing that usually comes to mind.  Nevertheless, I hope this brief look at cat-themed theatricals gives you some insight into the long history—and perennial popularity—of dancing cats on the stage.

The White Cat by F. C. Burnand, 1871.

Thus concludes another of my Friday features on Animals in Literature and History. If you are interested in adopting a cat or if you would like to donate your time or money to a rescue organization, I urge you to contact your local animal rescue foundation or city animal shelter.  The below links may also be useful as resources:

The Humane Society of the United States (USA)

Battersea Dogs & Cats Home (UK)

Mimi Matthews is the USA Today bestselling author of The Matrimonial Advertisement, The Pug Who Bit Napoleon, and A Victorian Lady’s Guide to Fashion and Beauty. She researches and writes on all aspects of nineteenth century history—from animals, art, and etiquette to fashion, beauty, feminism, and law.

Sources

Burnand, F. C. The White Cat: Or, Prince Lardi-Dardi & the Radiant Rosetta. A Fairy Burlesque Extravaganza. London : Thomas Hailes Lacy, 1871.

Fun, Vol. LVII, No. 1443. 1893.

Pick-Me-Up, Volume 11, Issue 261.  London: 1894

St. James’s Gazette (London, England), 21 February 1893.

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Sarah Waldock
Sarah Waldock
4 years ago

Naturally any human with any sensitivity wishes to worship at the hem of purrfection and consequently tries to imitate cats; they say that imitation is the sincerest form of flattery. Alas that such big and clumsy creatures are doomed to failure but we watch their humble attempts with amused tolerance, and understand their motivations.

Mimi Matthews
Mimi Matthews
4 years ago
Reply to  Sarah Waldock

“The hem of purrfection.” Too funny, Sarah. And so true :)

amberseah2015
amberseah2015
4 years ago

I love the character names and classifications in the White Cat. Now I want to know more about Katti Lanner and about the Miss Alleyne who was the management at the Globe in 1870.

Mimi Matthews
Mimi Matthews
4 years ago
Reply to  amberseah2015

They had really creative names for the cat characters!

Vickie
Vickie
4 years ago

How wonderful! Who knew that cat performances were part of history.

Mimi Matthews
Mimi Matthews
4 years ago
Reply to  Vickie

I’m glad you enjoyed it!

authorangelabell
authorangelabell
4 years ago

What a fascinating bit of history! I’d love to see a modern revival of this Victorian ballet with replicas of the original costumes. :-)

Mimi Matthews
Mimi Matthews
4 years ago

I agree, Angela :) It would be really neat to see a modern version of it.

Angelyn
Angelyn
4 years ago

“….young more-or-less ladies.” This made me smile.

Mimi Matthews
Mimi Matthews
4 years ago
Reply to  Angelyn

A not so subtle 19th century barb at the morals of actresses & dancers!

Robert James Miller
Robert James Miller
4 years ago

Greetings Mi Mi, I just wanted to say how much I enjoyed the article. Thank you Robert Miller

Mimi Matthews
Mimi Matthews
4 years ago

Thanks, Robert :) I’m glad you enjoyed it!

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