CATS: THE JELLICLE BALL Previews — Page 4

The alternative to taking risks being….?

EvanstonDad said: "This is not meant to be snarky in any way but...you have the world at your fingertips. A few quick searches and Wikipedia will get you up to speed along with quizking101's suggestion.

If I am seeing a show with a subject matter or theme/style that I don't know enough about, I do some research before seeing it. I know about ball culture but have been looking things up as people here have been posting names of those associated with it and information about it. (And the bits of information people have been posting about the culture and the people associated with it, and this show, have been great to read and very informative.)

I didn't pose this question so much for my own benefit. I in fact did exactly what you suggested when I saw the description of this and looked up queer ballroom culture for context. But I'm more interested in the business model for a show like this, and how the producers intend to market it to an average theater goer who probably also doesn't have a lot of context andwon't put the energy into learning (and may be turned off if they do). It just seems like a particularly risky show to try to sell on Broadway, where it seems like for a show to survive for any length of time it has to appeal to a common denominator of ticket buyers. I'm not saying they shouldn't try and I wish them all the luck in the world, but I would be happily surprised if a show like this finds a large audience longer term."

I do not see any scenario where this is not a major, major hit. I don’t usually see first previews, but I was there last night and the atmosphere was electric. I have never seen such a reaction to a show, anywhere, ever. It was amazing and it is the most unique experience currently on Broadway. Don’t miss it.

As to sightlines and environmental staging in general: I'm old enough to have seen the first big Candide revival that Prince did at BAM and moved to the gutted and re-seated Broadway Theatre. I believe Prince freely admitted that the goal was a submersive experience; you weren't supposed to necessarily see everything as it unfolded, but to feel participatory. Connected more than a mere witness. I felt the same atmosphere at Great Comet at the Imperial. I could be wrong, but I suspect it's the goal here, and I'm fine with it.

Reminting this show for a new generation, a new community's ownership, I ask: why not? It's a testament to something no one likes to admit about Cats: it's always been an examination of community, about a tribe, and the benefits of membership, even when fleeting, even when redefined on the spot. Hell, Hair had the same message. My eyes blur typing that out, because it's a profound universal. I'm thrilled for all those thrilled by this.

re: the accessibility of the show

I first saw it downtown with only a passing idea of what ballroom was--I knew there were houses and they were like family and that they'd compete but that was about it. The choreographic style was fairly new to me (though some of it has carried over into more mainstream mediums), and I had no clue that categories were a thing. Some like old way/new way confused me as well, but I was happy to just go along with it.

And none of that really mattered because really this is just a celebration of joy and of performance. The music is fantastic, and seeing how it can be reconceptualized in such a radical way but still work was a huge win for me, and I went home excited to learn more about ballroom culture and basically booked my return ticket right away.

I think this is a show that will build hype as it goes, and they seem to have a great marketing team in place to show the environment of the show, with the full curtain call video and the videos from stage door. I think people will see the kinds of promo they do and think "hey that sounds cool, I want to see what that's about", and it's tangential enough to drag race to get those fans at least curious about it.

On another note though, I'm sad that they seemed to have gotten rid of the rainbow fans in merch. I was hoping for a wider selection of fan options, not just one fan.

Curious how the tables by the DJ booth are as they don't seem to be priced extravagantly.

Any other call outs regarding the sound quality? In a sea of positives, I saw that be a notable quibble.

CoffeeBreak said: "It sounded great downtown. It will improve over previews."

Maybe. I'm always stunned at the shows that never seem to figure out sound even after months of the show running.

I went again last night and sat in the rear orchestra on the aisle. To affirm some previous statements:

1) The disco ball is not visible, but considering how it lights up the theatre, I didn’t really miss seeing the actual object.

2) Getting to see the action in the DJ Booth box and Gus’ box was very cool. Leiomy really gets to cut loose as Macavity when she invades the DJ Booth.

3) The ball attendees (actors) do run up and down the regular aisles and not just on stage. They are hyped UP!

The show is definitely evolving into the space. The sound design was improved from first preview and I was able to hear most things in the rear orchestra without needing to strain. Also, it appears that Zhailon and Bill are still toying with the staging of different moments throughout the show - mostly minor stuff that doesn’t affect the plot but I definitely noticed more than a few changes between the performances. There was also this one guy sitting at the stage side cabaret tables in a glittery caftan and (I think?) a service dog. I was afraid the dog was going to cut and run because being that close is A LOT of noise.

I know someone mentioned audience participation and that is more or less already built into the show. The fourth wall really doesn’t exist in this staging since the performers are everywhere and will engage you in character, but also from the outset, you have the overhead announcement from Junior LaBeija explicitly telling people that the “normal quiet theatre kitties” have license to yell, cheer, holler, and GET YOUR LIFE. If you get a fan, clack it. Cheer, boo, it’s all an organic part of the show.

Re: The box tables. They are considered “partial view” because of visibility limitations of what is performed upstage, but that’s also probably the cheapest way to feel close and involved in the action.

quizking101 said: "I went again last night and sat in the rear orchestra on the aisle. To affirm some previous statements:

1) The disco ball is not visible, but considering how it lights up the theatre, I didn’t really miss seeing the actual object.

2) Getting to see the action in the DJ Booth box and Gus’ box was very cool. Leiomy really gets to cut loose as Macavity when she invades the DJ Booth.

3) The ball attendees (actors) do run up and down the regular aisles and not just on stage. They are hyped UP!

The show is definitely evolving into the space. The sound design was improved from first preview and I was able to hear most things in the rear orchestra without needing to strain. Also, it appears that Zhailon and Bill are still toying with the staging of different moments throughout the show - mostly minor stuff that doesn’t affect the plot but I definitely noticed more than a few changes between the performances. There was also this one guy sitting at the stage side cabaret tables in a glittery caftan and (I think?) a service dog. I was afraid the dog was going to cut and run because being that close is A LOT of noise.

I know someone mentioned audience participation and that is more or less already built into the show. The fourth wall really doesn’t exist in this staging since the performers are everywhere and will engage you in character, but also from the outset, you have the overhead announcement from Junior LaBeija explicitly telling people that the “normal quiet theatre kitties” have license to yell, cheer, holler, and GET YOUR LIFE. If you get a fan, clack it. Cheer, boo, it’s all an organic part of the show.

Re: The box tables. They are considered “partial view” because of visibility limitations of what is performed upstage, but that’s also probably the cheapest way to feel close and involved in the action."

This review has me so excited for this. Seeing it tomorrow night!

Jordan Catalano said: "I was at the show last night and really don’t have much of anything to add to what’s said above. It’s a joyous expression of queer art/artists and remains one of the most original things I’ve ever seen. It *maybe* loses a tadof the “edginess” I felt it had downtown but I’m willing to forgive any shortcomings with an event like this.

As for the sound, we were in the very front mezz and there were zero issues with it from there if anyone was wondering."

AGAIN! WE WERE AT THE SAME SHOW AND SOMEHOW DID NOT CROSS PATHS! 😂

Jordan Catalano said: "I was at the show last night and really don’t have much of anything to add to what’s said above. It’s a joyous expression of queer art/artists and remains one of the most original things I’ve ever seen. It *maybe* loses a tadof the “edginess” I felt it had downtown but I’m willing to forgive any shortcomings with an event like this.

As for the sound, we were in the very front mezz and there were zero issues with it from there if anyone was wondering."

I have tickets next month for front row Mezz and am wondering how the view is - specifically wondering if you can see the area in front of the runway? From photos it looks like there is some empty space between the first row in the orchestra and the stage so I'm assuming there are performers in that area during the show. Does the railing/edge of the mezz cut off the view of that area? Also does the front mezz feel super close to the action or did you feel removed/distant?