CATS: THE JELLICLE BALL Previews- Page 4

[Charley Kringas Inc]

Posted: 3/19/26 at 5:35pm

I love the idea that the drag element is what people would find confusing and offputting, and not three hours of singing cats.

[Alexander Lamar]

Posted: 3/19/26 at 5:47pm

The alternative to taking risks being….?

[John Adams]

Posted: 3/19/26 at 5:50pm

EvanstonDad said: "I didn't pose this question so much for my own benefit. [...] I'm more interested in the business model for a show like this [...] but I would be happily surprised if a show like this finds a large audience longer term."

I share your interest. This show is definitely not for an audience of "me"s (or possibly "you"s). I don't think that's a problem, though.

I think it's possible that this show is/was never meant for a long-term run like "Cats". I suspect that producers looked at its run off-broadway and calculated how long it would need to run on Broadway to make a substantial profit. I think they calculated, then made a decision that a Broadway run would likely meet their profit goal.

Also, I think the show probably doesn't need to rely on an audience of "me"s (or even to try to encourage me into the theater).  I'll bet they've already calculated prospective tourist box office, as well as prospective repeat audience members, and are satisfied that the show will be lucrative. 

The adjectives and phrases I read in this thread (beyond those of the obvious troll's) include:

• accessible
• "like a party"
• "Ballroom is Home. It's family. It's creating something from nothing. "
• "the show itself is about queer joy more than anything"

...and of course those previously mentioned catch-phrases that (if there's a competent person in charge of stock, and the stock is of good quality) will certainly up-sell the box office. (I may not have phrased that coherently.)

It's not been mentioned, but I see a potential for "stunt-casting" and even audience participation (similar to TRHPS) that could assist in creating a longer run. Who knows?

It's not my cup of tea, but it doesn't need to be so, "God Bless". 

[Matt Rogers]

Posted: 3/19/26 at 5:50pm

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. 

[getatme]

Posted: 3/19/26 at 5:58pm

Still coming down from the high of first preview, but what a night it was.

I saw this production downtown a couple of times and loved it then, and my love for it has only grown. There are some adjustments to be made -- especially to the sound -- but what this cast did at the Broadhurst last night was nothing short of miraculous. For my money, this has always been the 2024 ALW revival that deserved the praise.

The transfer of the set to the Broadhurst was relatively seamless, a few things they still need to iron out, but the cast is running all over the orchestra level and dancing in the aisles pretty much non-stop. It still feels immersive in the same way it did downtown. 

The choreo is athletic, exciting, and beautifully melds the traditional with the ballroom style. Should be a relatively easy Tony win.

The performances of the whole cast, including the new additions, have deepened and grown and I can see any number of them snagging a Tony nomination. Andre De Shields is commanding and fun, Sydney James Harcourt is sexy and mesmerizing, Junior LaBeija is a living breathing legend, "Tempress" Chasity Moore delivers the most emotionally resonant "Memory" I have ever heard. And everyone in between is just thrilling to watch. A massive shoutout to Baby Byrne who is just an absolutely stunning dancer.

The concept has been clarified a bit more, the guest judges are handled much better, and the whole thing is just so beautiful and joyous it was hard not to get swept up in the energy of the room.

Cannot wait to revisit this again in a couple of weeks and I wish the entire company a long and successful run.

[Auggie27]

Posted: 3/19/26 at 5:59pm

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. 

[Alexander Lamar]

Posted: 3/19/26 at 6:58pm

I’ll say this - I have had numerous people in my day-to-day life who are not only asking about this show, but asking when I can go with them to see it. 

These are people I can’t get to watch a musical if it would save their lives. I’m even worried/wondering if they may not know that what they’re asking about IS a musical. I’m not mentioning it though, I’m just saying yes…pick a date. 

[chrishuyen]

Posted: 3/19/26 at 9:21pm

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.

[Owen22]

Posted: 3/20/26 at 1:31am

Joyce 9 said: "I really disliked this at PAC and know several people who didn’t like it either. Without spectacle, thechoreography (ballet, jazz, tap), the amazing set, and hair and makeup, this musicaldoesn’t have anything going for it.They scrubbed the showof everything good and replaced it with arm movements and bad vocals, the woman singing memory was totally off pitch. It’s all so pedestrian, do they still have the slide show to open act two? Hahaha so cringe."

Your racism and homophobia (whether or not its internalized) is what's cringe. That you would even attempt to dampen the joy experienced by those around you (besides your obviously equally socially out of touch friends) by coming on these boards and work out your, what? Jealousy how you feel so left behind? that you had to spread your own negativity here? Begone before someone drops a house on you.

[inception]

Posted: 3/20/26 at 9:27am

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

[jpiedrafite]

Posted: 3/20/26 at 2:02pm

I had a work trip scheduled for next week that got cancelled. Have a ticket for Tuesday, 3/24 at 730. Mezzanine E 114. Paid $135, asking $100. Can transfer from Telecharge. DM if interested.

[theblackumbrella]

Posted: 3/20/26 at 2:55pm

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

[CoffeeBreak]

Posted: 3/20/26 at 3:05pm

It sounded great downtown.  It will improve over previews.

[Ensemble1665759202]

Posted: 3/20/26 at 3:10pm

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.

[CoffeeBreak]

Posted: 3/20/26 at 3:14pm

Ensemble1665759202 said: "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."

It's a totally new, and smaller, space for it on Broadway with awkward stage seating.  The PAC is a modern venue.  It'll take a few weeks to adjust it to an old Broadway theater with very vocal audiences and orchestra in the basement.

[quizking101]

Posted: 3/20/26 at 3:45pm

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]

Posted: 3/20/26 at 3:49pm

Also, just a testament to the choreographic skill and artistry on stage, Robert “Silk” Mason got as much, if not more, applause on entrance as André and Junior. 

The smooth, intricate way they navigate the balletic/gymnastic choreography is absolutely stunning and I really hope they get some awards recognition. Even if it’s not the Tony (because honestly André, Sydney, and Silk could all easily slide in), then definitely the major dance awards. He is an absolute hard-working wonder.

At the stage door last night though, a lot of the cast were shocked and touched by the amount of love they got from the crowd. They are truly invested in this work as a piece of theatre and an act of radical queer resistance. If you go and love what you see, feel free to tell them - it really lights their fire for the show even more.

[goodtimes123]

Posted: 3/20/26 at 3:55pm

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]

Posted: 3/20/26 at 5:28pm

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 tad of 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. 

[quizking101]

Posted: 3/20/26 at 6:45pm

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! 😂 

[Kad]

Posted: 3/20/26 at 7:02pm

I’ve seen Mason and their Royal House of Silk all around the city at various venues big and small and they are absolutely dynamite wherever they perform. Truly otherworldly in their talent. 

[FANtomFollies]

Posted: 3/20/26 at 8:38pm

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?

[Jordan Catalano]

Posted: 3/20/26 at 10:39pm

I think front row mezz is the best place to sit. The stage extends out a bit (I’m sure) so heads can get in the way when action is far downstage (down catwalk).

[JudyDenmark]

Posted: 3/20/26 at 10:41pm

FWIW, I'm a straight cis woman who knew absolutely nothing about ball culture. To be honest, had never even heard of it, despite unknowingly having seen some elements through the  occasional drag show and Madonna's Vogue. 

But I was interested in the PAC production because of word of mouth (and I do have a nostalgic soft spot for the Cats score), so decided to watch Paris Is Burning before seeing it, and I am so glad I did. I'm sure I would've enjoyed the spectacle regardless, but learning what categories meant, and the inspiration behind the movement in vogueing, and the significance of the House of LaBeija (making it so special that Junior LaBeija is part of this), and even what "houses" were at all... it made an absolute difference in my appreciation of the show, and I loved it so much I ended up seeing it twice. 

I almost wish Telecharge would send an email to ticket-buyers either telling them to watch the documentary, or with a mini-history and glossary, because I do agree that it's a world that a lot of Broadway-goers might know nothing about. Is any of that context in the Playbill, maybe? I'm bringing my 80-year-old parents to see it when they visit in a couple of weeks, and am making sure they watch Paris Is Burning before they do. They're fully open-minded and love the original score, so I'm confident they'll love it regardless, but I can't overstate what a difference it made actually understanding what I was watching. 

[MemorableUserName]

Posted: 3/21/26 at 9:20am

JudyDenmark said: "

I almost wish Telecharge would send an email to ticket-buyers either telling them to watch the documentary, or with a mini-history and glossary, because I do agree that it's a world that a lot of Broadway-goers might know nothing about.

Excellent suggestion, especially since they already send multiple emails (going next week after seeing it multiple times downtown and have already gotten 2 emails before receiving tickets); would seem easy enough to add to one of them.