There are some fresh, more percussive orchestrations but I know this show well, and as far as I can tell, they play every note of the score. And speak almost every line, with a few lively additions.

“Cats” remaining “Cats,” of course, won’t ever work for some. T.S. Elliot will be doing a few spins in his grave, and there sure are subtler attractions than this one. But this show did not makes millions for decades without sticky, bop-along tunes like “Magical Mr. Mistoffelees” and “Jellicle Songs for Jellicle Cats.” Those are highlights, as is the moving performance of Junior LaBeija as Gus, the old theater cat for whom I find myself having increasing sympathy.

This show has not fully wrestled with the vocal demands of “Memory,” the most famous song and a power ballad here performed by “Tempress” Chastity Moore with a highly potent emotional key (truly) but not enough of a thrilling soar to top everything else, a necessity actually baked into the structure of the show and especially applicable to this particular treatment.

Still, this creative team, including set designer Rachel Hauck (deceptively brilliant here) had an idea for every moment of the show. I can’t overestimate how exciting it is to see an updating that (unlike the recent “Cabaret” and “Oklahoma!” revivals) actually adds meaning and gravitas to the original while respecting original authorial intent and not running afeard of offering popular entertainment. And dispensing hope.

“Look, a new day has begun,” they sing at the end.

Long live “Cats: The Jellicle Ball.” Tough ticket all summer, I suspect.

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A Perelman Performing Arts Center, 251 Fulton St., New York; pacnyc.org.

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