'CATS: The Jellicle Ball' at PAC reviews — Page 2

TheatreFan4 said: "PegasusOasis said: "it's a sing-a-long?? "

No, but Ballroom is an interactive experience with expected responses from the audience. So it's not going to be your traditional quiet audience the entire time."

Thanks, apologies, I misunderstood the previous post about the crowd and hearing the score.

quizking101 said: "Did they announce any rush or lottery aside from the pre-order discounts?"

These are all the available discount means

https://www.instagram.com/p/C8DNG19sH2E/?igsh=MWJ6MHNtbTdpb3ZpMg==

Were there Playbills (or programs of any kind)? If so, could someone share a pic of the front?!? Need to know if I need to be on the lookout for one (and, if so, what to look for) for my Lloyd Webber Playbill collection. THANKS!!!

PAC doesn't do Playbills. Too short of runs. Kinda like City Center.

WOW! WOW! WOW! This is IT!!!! Absolutely the most fun I've had in a theatre in a LONG time! Absolutely brilliant in every way!!!

This cast is OUTSTANDING and I LOVED the energy and personality they brought to their cats. The blending of ballroom and theatre performers worked so well and played to all of their strengths. Sydney James Harcourt is so hot as Rum Tum Tugger, Emma Sofia was a blast as Skimbleshanks, Antwayn Hopper is just fantastic casting for Macavity, and Silk had the perfect allure for Mistoffelees. They were all highlights for sure. Junior LaBeija was wonderful as Gus and does such a good job conveying that he's a legend deserving of respect, even for those who don't know the Ballroom scene. Andre DeShields was a solid Deuteronomy too. I've said it before and I'll say it again: he doesn't really act, he just ethereally delivers. But, when you need ethereal delivery, he is the person to call.

I loved the reimaginings of some of the cats that they did. Skimble as an MTA conductor from the Bronx was SOOO perfect, along with Rumpleteazer and Mungojerrie being cheaters from Jersey. i also liked the way that they organized the houses. Jennyanydots and Macavity as the House Parents makes so much sense.

The only question I'm left with is, Ballroom Starlight Express next summer?

Mickey3309 said: "FANtomFollies said: "Curious to hear about how 'Memory' is performed. Is it still a traditional 'park and bark' Broadway ballad or is there a twist to it in any way?"

Could someone who has attended address this Q? I was wondering the same thing."

It's pretty traditional. There's one thing I can think of that's a bit different (see the spoilers)

rosscoe(au) said: "I’m sorry if this is a stupid silly question, I’m guessing that balls are a huge part of New York drag culture ( Paris Is Burning ) is this more likely to succeed in New York only, or does anyone think this could work in other cities. Meaning does halving a knowledge help?"

Probably in major cities, but this won't get any play in middle America I'm sure.

There's a lot to enjoy but the show needed major re-orchestrating to match the ballroom energy. It sounds similar to the original recording and doesn't play with style nearly enough. You can watch the audience across from you slumping during every number like Gumbie Cat and Bustopher Jones where nothing particularly sensical or necessary is happening within the ballroom context. This new version of CATS makes about as much sense as CATS always has.

There's a beats arranger but no orchestrator credited. It didn't seem like there were big changes in orchestration, though a lot of it is carried out by synthesizers now (instrumentation is 3 keyboards, 2 reeds, electric bass, drums, and guitars, plus a DJ who's in the seating area, like Here Lies Love)

chrishuyen said: "For seating, we were sitting in row B of the cabaret tables which is elevated a bit (you can easily see the floor of the stage). Row A is on the ground below the raised stage, and row C is on the same level as row B but with high tops and on the other side of a walkway. Personally, I thought that if you're going to do cabaret tables, row B would be the best (there's also some minor interaction with the actors at just about all the tables too I believe, though no real participation required if you're averse to that). Even the back of the orchestra looked a lot closer than I would've expected from the seating chart, so I really don't think there's a bad seat (from house left there was one short moment we couldn't fully see, but it wasn't hard to figure out what was happening, so it didn't feel like a hindrance). I think being somewhere near the middle of the runway would be the best seating, as they do project some things on the back wall upstage (not completely necessary to see fully but definitely adds to the experience) and Andre de Shields sits in front of the orchestra section, usually with his back to the audience there, so sitting along the runway allows you to see his facial expressions throughout the show."

This was exactly what I was going to ask about, so thank you.

According to PAC’s website, Qween Jean is the costume designer.

I thought it worked great with the original orchestrations plus the new beats--the Cats score is incredibly exciting when played well (and the band did play it well). They're using the reduced orchestrations that regional productions use, so if anything it could just do with an expansion of the band (the midi cello sounds are a little cringe-worthy). There were also some sound mixing issues that I assume will be ironed out during previews--withe the right mix, that score is very exciting.



I'm not sure if the show could play in middle america, but it did serve as a very good introduction to Ballroom. The names of different categories are projected during the corresponding songs, for example. I don't think pre-existing knowledge of Ballroom is essential (though of course it helps)