CATS : THE JELLICLE BALL on Broadway

"Cats: The Jellicle Ball" is so freaking smart it's not even fair. This may be the only concept that could make "Cats" function as a narrative driven piece with applications for our own lives. 

For anyone who doesn't know, "Cats" is a famous Andrew Lloyd Webber musical which was part of the "McMusical" era of Broadway in the 1980's and 1990's. Adapted from the poems of T. S. Elliot, the show skyrocket to superstardom thanks to: 1.) It's incredible dancing and choreography, 2.) The hit song "Memory" and 3.) The fact that it was one of (if not THE) first shows that easily catered to foreign, non-English speaking, tourists. You do not need to understand anything being said or sung onstage to enjoy "Cats". In fact, it might be better if you don't. "Cats" (as Lloyd Webber said to Hal Prince when trying to convince him to direct it) is "about cats." There's no metaphor going on here. We meet a group of cats who are having a big celebration - the climax of which will be their leader choosing one of them to "go to the heaviside layer" - basically dying so they can be reborn in another one of their nine lives. The whole show serves as a competition of sorts to determine which cat is most worthy. That is the extent of the plot of "Cats". Really, the whole thing serves as an excuse to have a bunch of numbers where different cats sing about themselves. The relatively recent film adaptation highlighted everything "wrong" and "ridiculous" about the piece, but the previous Broadway incarnations have done very well - love the show or hate it.

"Cats: The Jellicle Ball", which just transferred from a more intimate Broadway run, scraps the idea of us watching literal cats... instead they have transported the show to the world of Ballroom culture, with the "cats" being members of that culture who get together to dance, compete, and find a home amongst others like them who, namely because of their gender identity and sexual orientation have been relegated to the fringes of society. Here their culture and community is alive and thriving.

For those who aren't familiar, Ballroom culture is an African-American and Latin underground LGBTQ+ subculture. It traces its origins to the drag balls of the mid-19th century. In the mid-20th century, as a response to racism in integrated drag spaces, the balls evolved into house ballroom, where Black and Latino attendees could "walk" in a variety of categories for trophies and cash prizes. Most participants belong to groups known as "houses", where chosen families of friends form relationships and communities separate from their families or origin, from which they might be estranged. The influence of ballroom culture can be seen in dance, language, music, and popular culture, and the community continues to be prominent today.

So now we have a subculture of "misfits" competing for various prizes - the most notable being their leader (Old Deuteronomy) choosing which "cat" will get to go to the heaviside layer and be reborn. Moments in "Cats" are repurposed to serve as wider metaphors... in the original, for example, Macavity is being pursued by the authorities because he's a thief, and he ends up kidnapping Old Deuteronomy. Here, Macavity is being pursued by the cops for theft, which leads to a police raid on the ballroom, and the arrest of Old Deuteronomy (taking the fall for Macavity). Ballroom culture has traditionally been faced with high levels of police surveillance and raids due to anti LGBTQ sentiment, cross-dressing laws, and flat out racism. The song "Memory" is not just about Grizabella wishing she could belong to the Jellicle cats again, but about the need for the world to remember ballroom culture - what it stands for and, especially, the people who were/are a major part of it. 

That element extends to the wonderful casting, which includes the great Junior LaBeija as Gus the "theatre cat". LaBeija (of the House of LaBeija - ballroom culture is made up of "houses", chosen "families" that compete against each other - something used to great effect in "Cats" where houses include Grizabella's House of Glamour, the House of Macavity, and Jennyanydots House of Dots.) LaBeija is a real life legend of the ballroom community and it makes Gus's song that much more poignant. Likewise "Tempress" Chastity Moore (Grizabella) is a Ballroom Hall of Fame icon. André De Shields is a Broadway legend, and casting him as Old Deuteronomy adds real weight and reverence to the character. For the first time, Old Deut being a LEADER of this group makes sense. 

The standouts of the evening for me were Baby Byrne as Victoria and Emma Sofia in the dual role of Cassandra and Skimbleshanks. With the exception of the great Steven McRae being the only thing that came close to working in the horrible "Cats" film adaptation (his Skimbleshanks was top notch) who would have thought Skimbleshanks could slap so hard?! Sofia KILLS the number in the best way, as she also does in her silent role as Cassandra - a "virgin" voguer who wins her competition on behalf of the House of Dots (during "the Old Gumbie Cat"). Byrne brings the best of what we love about principle dancer track Victoria into a whole new genre and all I can say is MAN I hope they have a good P.T. on staff for Byrne alone! I also greatly enjoyed Kalyn West in what I believe was her debut performance as Jellylorum (she understudies the role.) But truthfully there wasn't a weak link in the ensemble.

The costumes, wigs, lights and scenic design are all brilliant (and the fact that all the clothes are imminently "danceable" even when it seems impossible that they could be.) The direction by Zhailon Levingston and Bill Ruach is incredibly smart and dramaturgically sound, and the choreography by Omari Wiles and Arturo Lyons is fan-freaking-tastic (though I do think they rely a little too heavily on "death drops". By the end of the evening the've been done so frequently they've lost their impressiveness...)

There is still a disconnect (sometimes, not always) between what is being sung, and what is happening onstage. Certain lyrics translate well (every time someone is referred to as a "Cat" or "Kitty" it serves as a term of affection (a sort of "werk b*tch!") But you have to let your ears go a little fuzzy sometimes to get past literal discussions of "chasing rats and mice" and "eating cheese" that forcibly remind you that this show is, at least in the intent of its writing, meant to be about literal cats. If there had been a way to do a bit of selective rewriting (something I don't traditionally advocate for in revivals) it would have largely benefited this piece.

The truth is, this piece would be incredible and ideally pitched if it was being performed in an actual ballroom... there are those who feel the show shouldn't be on Broadway - it's "selling out". And while I understand the sentiment, and it would be genius in a different venue, I'm glad it's on the Great White Way. It might be a slight disconnect of venue and story, but it's bringing this piece, and the culture it reflects, to a mainstream commercial audience - and that's a huge win in my book. I'm curious to see what will happen after it officially opens, and the bridge and tunnel crowd start coming, thinking they're about to see a traditional production of "Cats". Hopefully the piece will inspire and educate, not alienate. It should - it's the funnest, most comprehensible version of "Cats" I think there's ever likely to be. I highly recommend it. You'll have a great time, and be inspired along the way.

John Davis

CATS: THE JELLICLE BALL is currently playing at the Broadhurst on Broadway