CATS: THE JELLICLE BALL Reviews — Page 6

André was out on Wedsneday matine, I was thinking on seeing the show tomorrow but without knowing for certain that would be him, not gonna risk

Correction: Phumzile Sojola was on this afternoon, but Ken is on tonight. (YAAAASSSSS!) Will report back.

The fact I’ll have cleared all three Old Deuteronomy performers in the span of a week and entirely by accident (I had tickets for Wednesday and tonight already) is actually nuts, even for me.

Last night was an all-skate, with 7 covers in 6 roles (Bryce Farris did a fantastic split Tumblebrutus/Etcetera and really is the crazy glue holding everyone together) I’ll keep it brief and just highlight the two very polarizing moments for me.

The bad - Kendall Grayson Stroud as Mistofflees. Silk is truly a singular talent and their dance vocabulary creates a fully fleshed out character and beautiful imagery through their movements. Kendall barely ticks any of the boxes, despite having gone on quite a bit. They very much blended into the background and some of the Misto moments that are usually highlights because of Silk’s flexibility and stage presence fell incredibly flat. The slow split during the drop of the disco ball was reassigned to Dava, and she nailed it. For MMM’s song, they did a lot of strutting, almost Kardashian-like as it appeared to be without heart, and their pas de deux with Sydney fizzled without chemistry.

The great - Ken Ard as Old Deuteronomy. If you ever get a chance to see him take on the role, it’s an absolutely magical experience. He’s very much cut of the same cloth as André, almost like a natural successor (and looks strikingly similar to him in costume). He also carries a sonorous voice that fills the theatre and commands attention. “Moments of Happiness” made me cry because you can see that the dynamic between him and Sillabub in the show’s context also carries the extra subtext of Ken (the original Macavity) passing down the mantle of CATS to the next generation. If/when André does step down from the role, I hope it goes to Ken. He is truly an understated legend of stage and dance.

BJR said: "I'm surprised no one has brought up Sydney James Harcourt's new press push, which includes a shoot withPlaygirl.

I can't remember the last time a performer on Bway so directly embraced (pursued?) a s*x symbol status."



And I am here for it! The man is fine and seems to have a wonderful personality to boot.

ACL2006 said: "quizking101 said: "I did not know Sherrod T. Brown had departed but it looks like it on Playbill Vault as of Sunday. Not sure what’s going on there, but I know they’ve been actively auditioning for new covers and haven’t found who they needed. I know Bryce Farris is working his ass off basically in a new track every few days - though he’s in the midst of a two week stretch as Tumblebrutus. (Primo is out with a bad injury).

André had called out for the matinee today and Phumzile Sojola made his Old Deuteronomy debut this afternoon with about 3 hours notice. He has a BEAUTIFUL voice, but you could definitely tell he was more restrained in what he did in terms of choreography and engaging with the cats and the costumes were mostly functional as opposed to opulent. With three hours notice, I can’t complain. Good for him!"

Their swing shortage is not a good sign. Lots of covers on last night and for both shows today. Hopefully they can hire & rehearse some new ones quickly."

Bryce Farris has had to do split tracks this weekend. Poor guy.

Those are almost certainly Ken's own costumes as he is quite a bit taller than Andre.

I echo what quizking said. Ard is a really phenomenal Old Deuteronomy, had the audience in the palm of his hand from his first entrance and an incredibly powerful voice.

Will never understand how Tempress wasn't nominated, but such is life.

He used to post himself and Jonathan going to The Eagle back during the Downtown run, go try your luck there!

It's insane to me to say this, but CATS is the best musical on Broadway right now.

I don't know who had the idea of make a ballroom Cats, but it just works in a perfect analogy. Maybe those outcasts are black and latin people from the 80's that had to deal with racism and things like HIV and never had a chance to actually live the life they deserved.

But to turn this metaphor in a big, bright and genuinely fantastic night of queer celebration is right down perfection.

Every decision that Zhailon Levingston and Bill Rauch did for this show was able to turn even the most boring number in a captivating way of seeing how queer bodies are so vibrant and alive.

Costumes, choreography, some entrances (André!) are simply stunning and I was NOT prepared to have a trans black woman singing ''a new day begin'', then receiving a chance to have a new life and have a stairs come down all the way though that ceiling. Probably my most jaw dropping moment this entire journey.

I almost bought a ticket to see it again, that's how much I loved this one.

From the UK here. What am I not understanding about the Drama Desk awards, and the poor showing for 'Cats: The Jellicle Ball'? Not even a nomination in Best Revival of a Musical - despite it being better reviewed than some that are nominated, and many say the best reviewed musical of the season..

Is there a disconnect between critics initially recognising 'cultural impact' but then dissecting individual elements for 'Best' qualities and deciding that they....disagree with their reviews after all? Even with that, I'd expect 'Best Revival' to be the place where that overall impact and cultural phenomenon can get a nod.

From what I've heard here, and on other messageboards, people are going to 'Chess' to hear "those songs" - without many thinking it's a great production. Yet, it's nominated in Revival.

I hope it's not a case of 'Cats: The Jellicle Ball' being 'let in' to Broadway by the gatekeepers, but given a table by the kitchen.

bear882 said: "Jimbob2 said: "From the UKhere. What am Inot understanding about the Drama Desk awards, and the poor showing for 'Cats: The Jellicle Ball'? Not even a nomination in Best Revival of a Musical - despite it being better reviewed than some that are nominated, and manysay the best reviewed musical of the season..

Is there a disconnect between criticsinitially recognising 'cultural impact' but thendissecting individual elements for 'Best' qualities and deciding that they....disagree with their reviews after all? Even with that, I'd expect 'Best Revival' to be the place wherethatoverall impact and cultural phenomenon can get a nod.

From what I've heard here,and on other messageboards, people are going to 'Chess' to hear "those songs" - without many thinking it's a great production. Yet, it's nominated in Revival.

I hope it's not a case of 'Cats: The Jellicle Ball' being 'let in' to Broadway by the gatekeepers, but givena table by the kitchen.

Cats: The Jellicle Ball was not eligible this season because it already was off-Broadway last season.

"

The production as a whole wasn’t eligible for revival, but they were considered for technical elements that were substantially changed/different from the off Broadway production, hence why Arturo Lyons and Omari Wiles are the first choreographers to be nominated back to back for the same show.

Jimbob2 said: "From the UKhere. What am Inot understanding about the Drama Desk awards, and the poor showing for 'Cats: The Jellicle Ball'? Not even a nomination in Best Revival of a Musical - despite it being better reviewed than some that are nominated, and manysay the best reviewed musical of the season..
"

I don't know what the theater awards ecosystem is like in the UK, but in NYC it is a confusing patchwork of different awards bodies that often have idiosyncratic or conflicting rules and eligibility, as well as entirely different voting bodies that sometimes are not at all representative of the industry. One of the major divergent points between the Tony Awards and most of the smaller awards is that the latter often consider both Broadway and off-Broadway together. This means productions that premiere off-Broadway- like Jellicle Ball- will often be eligible for awards like the Drama Desks a season or two before they move to Broadway and become eligible for the Tonys, which results in these productions being largely ineligible for most of these awards while campaigning for the Tony.

quizking101 said: "Per Instagram, Primo was back as Tumblebrutus tonight after being out for 2.5 weeks with a labrum tear and hip impingement.

Glad he’s better."

I’m glad he is better too. The funny thing about being pretty unfamiliar with Cats is that many of the character names still don’t ring a bell two months after seeing the revival. But I wasn’t confused at all as the show played out.

It’s ineligible this year (was last year)



Jimbob2 said: "From the UKhere. What am Inot understanding about the Drama Desk awards, and the poor showing for 'Cats: The Jellicle Ball'? Not even a nomination in Best Revival of a Musical - despite it being better reviewed than some that are nominated, and manysay the best reviewed musical of the season..

Is there a disconnect between criticsinitially recognising 'cultural impact' but thendissecting individual elements for 'Best' qualities and deciding that they....disagree with their reviews after all? Even with that, I'd expect 'Best Revival' to be the place wherethatoverall impact and cultural phenomenon can get a nod.

From what I've heard here,and on other messageboards, people are going to 'Chess' to hear "those songs" - without many thinking it's a great production. Yet, it's nominated in Revival.

I hope it's not a case of 'Cats: The Jellicle Ball' being 'let in' to Broadway by the gatekeepers, but givena table by the kitchen.

"