By Alex Eichholz . . .
If you haven’t heard by now, Cats, now dazzlingly rebranded as Cats: The Jellicle Ball, has opened on Broadway at the Broadhurst Theatre after a critically acclaimed and sold-out run in 2024 downtown at PAC. For those who didn’t get to see it, any questions over whether this kitty is at long last serving fish, or the same old brick from 1982, can finally be answered. What is for certain is that Andrew Lloyd Webber’s once “Now and Forever” musical has clawed its way back to the big time. Never as critically acclaimed as its 18-year Broadway run and 7 Tony Awards may attest, a facelift for Cats isn’t a bad idea. Now the odd night of what was once a Jellicle Ball expressly for felines is set against the iconic backdrop of New York City’s famous ballroom nightlife scene, reimagined as a competition, yet still maintaining its theme of what it means to be reborn (its original concept, for those who may not recall, featured actors dressed as cats in a junkyard).
Swapping out cat ears for couture and the junkyard for the runway, this revival redefines itself and sharply recontextualizes the feline festival with a little less mystique and a lot more sparkle. In this version, co-directed by Zhailon Levingston and Bill Rauch, each cat represents and competes for their house in traditional ballroom fashion. In contrast to its original version, based on a book of poems by Thomas Stearns (T.S.) Eliot, these cats dance, vogue, “walk” their categories, serving their fiercest looks to earn praise and recognition and, hopefully, be chosen for rebirth. Win or lose, this production celebrates all these personalities, styles, and gender identities, putting an emphasis on diverse casting and reinterpretations of each cat’s persona inside and out. Levingston and Rauch’s monstrous task is to inject the nightlife energy and queer themes into this tired piece in order that they may result in something wildly palatable for a commercial audience. Despite pulling people outside of their comfort zone, which is a good thing, it falls a bit short of the concept’s full potential.
Even with the failure of its barely-there plot and problems with building momentum, the raw talent of this cast is allowed to shine. Every performer on the stage stood out in their own way, offering an array of mesmerizing moments. Chief standouts are Andre De Shields as Old Deuteronomy, Sydney James Harcourt as Rum Tug Tugger, and Robert “Silk” Mason as Mistoffelees, with De Shields’s quiet command just about everything you expect from theatre royalty such as him. His smirks, quips, and little dances are joyful and infectious, whether you vibe with the story as a whole or not. Harcourt brings a seductive charisma to the runway that is irresistible, sashaying through the role of Rum Tum Tugger with suave, verve, and charm for days, both in the spotlight and the shadows. And Mason brings the right dash of magic and mystery to Magical Mister Mistoffelees. The smoothness and control with which they move their body is truly masterful. On the other hand, “Tempress” Chastity Moore’s Grizabella is sadly less than memorable, leaving the show’s 11 o’clock number “Memory” decidedly undercooked and, consequently, undeserving of an ascent to the Heavyside Layer. Better deserving of critical appraisal are Emma Sofia, covering the roles of both Cassandra and Skimbleshanks, and Jonathan Burke and Dava Huesca as Mungojerrie and Rumpleteazer, respectively. It is also worth noting how much fun it was having Alex Newell (Glee, Shucked), and Wendell Pierce (Elsbeth, The Wire) as the evening’s celebrity guest judges, pulled out of the audience for a spell and seated atop the runway at the performance I attended.
Wisely running with the theme of the “Jellicle Ball” in the show’s over-the-top opening number, co-choreographers Omari Wiles and Arturo Lyons craft a specific world through movement and mischief. Born in West Africa, Wiles is largely known for his choreographic work with Beyoncé, Madonna, Janet Jackson, and Lady Gaga, and does not disappoint here. Across multiple styles, including voguing, runway, jazz funk, and hip-hop, every transition feels alive and natural, yet impeccably thought out, as if the choreography has been personally sculpted around each performer (much as it should be). However, in the earworm of an opening song, “Jellicle Songs for Jellicle Cats,” the proper build to an explosive finale from the performers wasn’t there, leaving us to be impressed merely by the choreography and not by what the dancers do with it.
Queen Jean’s inventive costume design brings the required razzle-dazzle to the runway. The choice to mostly stray from kitty motifs was much appreciated and helped to expand the musical’s themes beyond its traditional setting. Among the most inspired looks were those of Bustopher Jones, Macavity, and Etcetera. Rachel Hauck’s scenic design worked perfectly for this production, even if its runway appeared too narrow at times for the choreography. The stairway to heaven/rebirth was a spectacular “wow” moment, plus the addition of a few rows of seating upstage added significant stage depth. Adam Honoré’s lighting design made the whole evening shimmer, from grand numbers like “Macavity,” to such small and detailed work as the light that shined on the DJ (Ken Ard, a cast member of the original 1982 production) as he took a deep breath and blew glitter, as if it were dust, off the dust jacket of the old vinyl Cats Original Cast Recording.
Another thing that truly brought joy as well as hope to my experience was seeing credits in the Playbill for a Gender Consultant, Ballroom Culture Consultant, and Sensitivity Specialist. These newfound roles are of the utmost importance in the creation of pieces like this within a specific context, drawing as they do from sensitively lived experiences. Navigating with education, understanding, and care, the work of Josephine Kearns, N’yomi Allure Stewart, and Ann James brought more enchantment to this piece than glitz and glam ever could. These voices, starting in the smallest of corners, pave the way for representation and safety across the entire industry.
For those who’ve never experienced what a drag ball looks, sounds, and feels like, this reinterpretation of a forty-six-year-old musical might be up your alley (though alley cats need not apply).
At the Broadhurst Theatre, 235 W. 44th St., New York; https://catsthejellicleball.com
Photos by: Matthew Murphy and Evan Zimmerman for MurphyMade.
Headline photo: The cast of Cats: The Jellicle Ball.
