By Walter Rutledge
Cats: The Jellicle Ball made it’s Broadway debut on April 7that the Broadhurst Theater. The new production has replaced the London alley/junkyard with a New York City gay ball. Called a “radical reimagining” this reincarnation of Daniel Lloyd Webber iconic musical is a fun, raucous, high energy theatrical juggernaut. We give this clever remake “tens across the board”.
For those not familiar with the show a tribe of cats comes together one night at the Jellicle Ball. They are there to make the “Jellicle choice” by deciding which cat will ascend to the Heaviside Layer to be reborn into a new Jellicle life (a tenth life). Throughout the story, new cats are introduced as contenders for the ultimate honor. The final decision is eventually made by their patriarch Old Deuteronomy.
As the show starts, we are introduced to DJ Griddlebone played by Ken Ard who shares three ole school album covers with us. Diana(1980) by Diana Ross for the anthem I’m Coming Out, Beyoncés’ tribute to queer Black club culture Renaissance (2022); and Cats: Original Broadway Cast Recording. Ard retreats to his DJ booth, located in the first balcony box (stage right), and places the classic black album cover with two yellow eyes on the turntable.
Theater veteran Ard’s career has come full circle. He originated major musical roles in the 1982 New York City premiere of Cats including Macavity, Plato, and the Rumpus cat. Now forty-four years later Ard is back on Broadway and back in Cats.
In a recent interview with Theatermania online Ard stated, “When I saw it two years ago at PAC downtown, I thought it was an amazing thing they did with Cats, and then, a few months ago, someone called me and said, ‘It’s going to Broadway,’ and my wheels started turning. I manifested myself being in the show. I reached out to them and let them know that I existed and was still able-bodied to do it. So, here I am. Cats, now and forever.”
Ard is surrounded by a talented cast of performers many from the ballroom community. Dudney Joseph Jr. as Munkustrap (international House of Elle) our master of ceremonies/narrator performs vocal razzle dazzle setting the acoustic pacing for the production. Junior LaBeija (an original member of the House of LaBeija and the featured MC in the 1980 Paris Is Burning documentary), was the evening’s grand dame as Gus the theater cat. “Tempress” Chastity Moore (founding Mother of the House of Maison Margiela) as Grizabella offers a poignant interpretation of the production’s most inspiring role. Expressing the power of transformation, hope and transcendence her second act performance of Memories will steal your heart.
Speaking of stealing Leiomy (House of Amazon) as Macavity is a true cat burglar. Dubbed the Wonder Woman of Vogue her character is a modern-day trans Robin Hoodress. She mops clothes and accessories from the rich (department stores and high-end boutiques) and gives/sales at the Ball. This scenario mirrors a real-life incident while police arrested an alleged Robin Hood at an actual ballroom event.
Theater royalty and Tony Award winner (2019 best featured actor in a musical for his role as Hermes in the Broadway musical Hadestown) Andre De Sheilds as Old Deuteronomy bring sense of panache and a statesmen like command in the role of community patriarch.Nora Schell as Bustopher Jones served up some big mama bravura, her performance was a true onstage delight. Sydney James Harcourt brings a alpha energy to the character of Rum Tum Tugger, the show’s realness heartthrob.
So much of ballroom is about movement and we would be remiss not to mention some of the outstanding dancers in the production. Choreographers Omari Wiles and Artoro Lyons have seamlessly combined a healthy mix of formal/tradition dance disciplines and ballroom movement. The results were an exciting almost nonstop dance party encompassing vogue dance staples like the duck walks, dips and stylized arms and hands were juxtaposed by turns in second position and barrel jumps.
Dancer Robert Silk Mason as Magical Mister Mistoffelees is a standout in more than one way. The six foot three-inch-tall stallion (sorry we couldn’t find a fitting feline reference) has legs for days. His strong, confident execution, and supple, pliant physique give him an even larger presence on stage. Tumblebrutus played by Primo Thee Ballerino (House of Donyale Luna) enthralled us with his multiple turns, effortless placed jumps and boundless effervescence making his performance one of the more memorable. While Dava Huesca and Baby Byrne (princess of the House of Dots) were two divas who brought their voguing A game. And triple threat Teddy Wilson Jr.’s subtle and nuanced interpretation of Sillabub resonated with the audience in a big way.
In so many ways there are parallels between the musical and the ballroom community. Both have a competitive spirit as the vie for status within their communities. Both have a social hierarchy. In Ballroom we have Mother (matriarch) and Father (patriarch) of the House and member who hold titles such as Founding Father, Legendary, and Icon. The musical and the Ballroom community base this status on length of commitment, the elder’s advice and consent. And the motivation remains winning the grand prize. In the musical the grand prize is a new Jellicle life, while the coveted ballroom grand prize is usually a healthy monetary reward and status.
The present social/political climate and its regressive policies toward the LGBTQ community is the first phase of dehumanizing people. Creating negative misconceptions about people as “the other”, has led to discrimination and marginalizing of our most vulnerable. Through humor, music, song and dance Cats: The Jellicle Ball creates a world of universality and inclusion. It’s alright to clap along with Munkustrap, pop your fan with Old Deuteronomy, or check out sexy Rum Tum Tugger tight buns. Just remember to watch your belongings around Macavity.
Glossary of Term (in case you don’t know the “T”)
Category – The guidelines you compete under.
Catwalk – a platform extending into an auditorium, which models walk to display clothes in fashion shows – a runway.
Chop – Cut
Dip – An athletic fall on your back with a leg lifted to the front
Duck Walk – A stylized walking in a squatted position
Face – A category for pretty boys and girls. Modeling only the face
Father or the House – The paternal leader of the house
Founding Father/Mother – The person who creates the house
Hands – Dance style that relies of gestural movement
House – A group of like-minded individuals who form a community. The main reason is to compete at the ball as a team.
Mop – steal (usually clothing or accessories from high-end stores)
Mother of the House – Matriarch leader of the house
tens across the board – perfect score from all the judges
Realness – Role playing in different categories such as thug, schoolboy, executive, and femme queen realness
Realness with a twist – Masculine guys who like to dance with a little sugar in their tank.
Shade – An attitude usual negative. Can also take the form of witty verbal comments. Think All About Eve
Vogue – Style of dance developed in the Black and Latino gay communities. Its origins come from the poses and catwalk struts from the fashion industry.
In Photo: 1. Poster, 2. Cast, 3. Ken Ard, 4. “Tempress” Chastity Moore, 5. Leiomy, 6. Andre De Sheilds, 7. Robert Silk Mason, 8. Primo Thee Ballerino
Photography By Matthew Murphy and Evan Zimmerman for MurphyMade
