In the vibrant tapestry of New York City culture during the late 1980s, two worlds existed seemingly galaxies apart. While tourists, often from affluent backgrounds, flocked to the Winter Garden Theatre to witness the original Broadway spectacle of Cats, Jennie Livingston was capturing the electrifying queer ballroom scene of Harlem in her seminal documentary, Paris Is Burning. Imagine a typical Broadway audience member – perhaps a CFO and their spouse – juxtaposed with the energy of a Harlem ball, where participants might be channeling that very executive aesthetic in categories like “executive realness” or “opulence.”
These two scenes, though a mere subway ride away on the A Train, represented vastly different universes, separated by socio-economic divides, cultural acceptance, and mainstream recognition. Yet, in a surprising and joyous turn of events, these worlds now collide and harmonize in Cats: The Jellicle Ball at PAC NYC. This production is not just a musical; it’s a cultural phenomenon, arguably the most exhilarating theatrical event of the summer, and undeniably the most fun to be had at an Andrew Lloyd Webber production.
The company of Cats: The Jellicle Ball at PAC NYC.
The company of Cats: The Jellicle Ball at PAC NYC, showcasing the dynamic energy of the reimagined Broadway musical.
Cats, as a theatrical entity, is no stranger to strong opinions. For countless fans globally, it was their gateway into the magic of live theater, a cherished memory etched in time. However, for some seasoned American musical theatre aficionados, it has become symbolic of the overblown British mega-musical, characterized by dancers in feline Lycra costumes performing energetically to synthesizer melodies, seemingly devoid of a substantial narrative. The premise is simple: cats convene for the annual Jellicle Ball, introducing themselves through song, each vying for the chance to ascend to the Heaviside Layer and be reborn. The lyrics, drawn from the poetry of T.S. Eliot, offer a veneer of depth, but at its core, it’s about singing, dancing cats – or so conventional wisdom suggests.
Reflecting on the 2016 Broadway revival, I previously expressed disappointment in a production that felt like a mere carbon copy, “presenting Cats for what it was, while declining to further explore what it could be.” Fortunately, co-directors Zhailon Levingston and Bill Rauch, artistic director of PAC NYC, embraced this very challenge, and their discoveries are nothing short of revelatory.
The company of Cats: The Jellicle Ball walks the runway at PAC NYC.
The company of Cats: The Jellicle Ball commands the runway at PAC NYC, blending Broadway with ballroom aesthetics.
This reimagined Cats unfolds as a high-energy competitive ball within a transformed industrial space. Scenic designer Rachel Hauck’s ingenious set features a prominent runway that stretches from the windows to the judges’ table, creating a perfect ballroom atmosphere. The “cats” are now contestants, fiercely competing in ballroom categories. Imagine “Butch Queen Realness,” effortlessly embodied by Rum Tum Tugger, portrayed with irresistible charisma by Sydney James Harcourt, or the “Old vs. New” voguing face-off, where Skimbleshanks, hilariously interpreted by Emma Sofia in MTA conductor chic, narrowly misses victory. True to ballroom culture, the production revels in fantasy while cleverly exposing the theatricality inherent in everyday life through playful cultural appropriation – and, in the case of Macavity, depicted by Antwayn Hopper as a cunning drag queen with a penchant for designer goods, sometimes outright theft.
André De Shields, in a majestic performance as Old Deuteronomy, presides over the runway, bestowing trophies through his MC, the indispensable hype man Munkustrap, energetically played by Dudney Joseph Jr., while also delivering dramatic eliminations. Ultimately, Old Deuteronomy holds the power to decide who will be granted the ultimate prize: a chance at rebirth.
Under the skillful direction of Levingston and Rauch, the fusion of these seemingly disparate worlds feels organic and immediate. This theatrical alchemy provides fertile ground for outstanding performances.
Junior LaBeija Shereen Pimentel and the company of CATS The Jellicle Ball.
Junior LaBeija as Gus and Shereen Pimentel as Jellylorum in Cats: The Jellicle Ball at PAC NYC, showcasing the depth of talent in this Broadway revival.
Asparagus, the aging theater cat lamenting “these kittens” who “think they are smart just to jump through a hoop,” always carried an echo of Dorian Corey. This inherent connection is fully realized in a touching portrayal by ballroom legend Junior LaBeija.
Perhaps the most impactful performance comes from “Tempress” Chasity Moore as Grizabella. Her initial appearance, with smudged lipstick and rummaging through a worn bag for a faded trophy, immediately establishes her poignant backstory. While the other cats initially shun her, we glimpse the lingering sparkle beneath her diminished glamour, culminating in a breathtakingly moving rendition of “Memory.”
This production resonates deeply as a narrative of chosen names and chosen families – a community that honors its elders while simultaneously celebrating innovation and competition. Boundaries are self-imposed, limited only by imagination and resourcefulness, and the promise of redemption is perpetually within reach, just one ball away.
It’s unexpectedly moving, yes, but more importantly, it’s an explosion of fun. This infectious energy is palpable from the moment the cats begin to vogue down the runway, showcasing authentic and breathtakingly athletic choreography by Omari Wiles and Arturo Lyons, complete with death-drops that electrify the audience. The crowd responds with unbridled enthusiasm, cheering, applauding, and rhythmically clacking fans, transforming the theater into a genuine ballroom experience.
Andre De Shields in CATS The Jellicle Ball.
André De Shields as Old Deuteronomy in Cats: The Jellicle Ball at PAC NYC, delivering a majestic and unforgettable performance.
Adam Honoré’s spectacular lighting design dramatically enhances the immersive atmosphere, complemented by Brittany Bland’s playful projections. Kai Harada’s sound design, while generally robust throughout the show, presents a minor critique: occasionally, the balance falters, slightly obscuring the lyrics. Costume designer Qween Jean achieves a true masterpiece, presenting a dazzling array of stunning looks that will undoubtedly inspire envy and admiration from every Drag Race contestant, past and present. The same acclaim is due to Nikiya Mathis, who crafted a menagerie of wigs, with Skimbleshanks’s tiger stripe mane being a personal standout. This is the kind of theatrical magic that New York is uniquely capable of producing, and if you were to experience it without prior knowledge, you might never guess it’s an Andrew Lloyd Webber musical.
Andrew Lloyd Webber undeniably revolutionized the musical, ushering it into the age of globalization, embracing aggressive marketing, mass media integration, and rigorous brand management, resulting in billions in ticket sales. Having achieved unparalleled commercial success, Lloyd Webber, the composer, now appears to be loosening his creative control, allowing a new generation of directors to reimagine his works. If Cats: The Jellicle Ball is a harbinger of this new direction, it’s an immensely exciting development, suggesting a future filled with thrilling and innovative theatrical experiences.
