| Cats | |
|---|---|
 Logo | |
| Music | Andrew Lloyd Webber |
| Lyrics | T. S. Eliot Trevor Nunn Richard Stilgoe |
| Basis | Old Possum's Book of Practical Cats by T. S. Eliot |
| Premiere | 11 May 1981; 44 years ago (1981-05-11):New London Theatre,London,England,U.K. |
| Productions | |
| Awards | |
Cats is asung-throughmusical with music byAndrew Lloyd Webber. It is based on the 1939 poetry collectionOld Possum's Book of Practical Cats byT. S. Eliot. The musical tells the story of a tribe of cats called theJellicles and the night they make the "Jellicle choice" by deciding which cat will ascend to the Heaviside Layer and come back to a new life. As of 2024,Cats remains thefifth-longest-running Broadway show and theeighth-longest-running West End show.
Lloyd Webber began setting Eliot's poems to music in 1977, and the compositions were first presented as asong cycle in 1980. ProducerCameron Mackintosh then recruited directorTrevor Nunn and choreographerGillian Lynne to turn the songs into a complete musical.Cats opened to positive reviews at theNew London Theatre in theWest End in 1981 and then to mixed reviews at theWinter Garden Theatre onBroadway in 1982. It won numerous awards including Best Musical at both theLaurence Olivier andTony Awards. Despite its unusual premise that deterred investors initially, the musical turned out to be an unprecedented commercial success, with a worldwide gross of US$3.5 billion by 2012.
TheLondon production ran for 21 years and 8,949 performances, while the Broadway production ran for 18 years and 7,485 performances, makingCats the longest-running musical in both theatre districts for a number of years.Cats has since been revived in the West End twice and on Broadway once. It has also been translated into multiple languages and performed around the world many times. Long-running foreign productions include a 15-year run at theOperettenhaus inHamburg that played over 6,100 performances, as well as an ongoing run in a purpose-built theatre in Japan that has played over 10,000 performances since it opened in 1983.
Cats started themegamusical phenomenon, establishing a global market for musical theatre and directing the industry's focus to big-budgetblockbusters, as well as family- and tourist-friendly shows. The musical's profound but polarising influence also reshaped the aesthetic, technology, and marketing of the medium.Cats was adapted into adirect-to-video film in 1998 and afeature film in 2019.
Cats is based onT. S. Eliot's 1939 poetry bookOld Possum's Book of Practical Cats, and the songs in the musical consist of Eliot's verse set to music byAndrew Lloyd Webber.[1] The musical is unusual in its construction; along with Eliot's poems, music and dance are the main focus of the show at the expense of a traditional narrative structure.[2]Musicologists William Everett andPaul Laird describedCats as "combining elements of therevue andconcept musical".[3] The plot centres on a tribe of cats called theJellicles, as they come together at the annual Jellicle Ball to decide which one of them will ascend to the Heaviside Layer (their version of heaven) and be reborn into a new life.[4] The bulk of the musical consists of the different contenders being introduced, either by themselves or by other cats.[5]
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Old Possum's Book of Practical Cats is a collection oflight poetry about cats that Eliot had originally written for his godchildren in the 1930s. Due to the rhythmic nature of Eliot's work, there had been previous attempts beforeCats at setting his poems to music, though none of these attempts had been met with much critical or commercial success.[6] John Snelson, a musicologist, wrote of the poems:
[They] provided excellent material for musicalization, as Eliot's style in this collection is reminiscent of a popular lyricist. The poet uses repeated catch phrases, strong hooks, steady rhythm and outrageous, attention-grabbing, witty rhymes, which are the ingredients of every well-crafted popular lyric.[7]
Most of the lyrics inCats were taken fromOld Possum's Book of Practical Cats with very minor alterations. Supplementary verses from unpublished poems by Eliot were adapted for "Grizabella: The Glamour Cat" and "The Journey to the Heaviside Layer", while the song "The Moments of Happiness" was taken from a passage in Eliot'sThe Dry Salvages.Cats directorTrevor Nunn and lyricistRichard Stilgoe provided the remaining lyrics, namely for the opening number "Jellicle Songs for Jellicle Cats" and the most famous song from the musical: "Memory". The former was written by Nunn and Stilgoe and was modelled after an unpublished poem by Eliot titled "Pollicle Dogs and Jellicle Cats", while the latter was written by Nunn based on another Eliot poem titled "Rhapsody on a Windy Night".[1]
Lloyd Webber began composing the songs in late 1977 as a songwriting exercise, partly because Eliot's book had been a childhood favourite and partly to see if he could write music to predetermined lyrics. The compositions were performed privately for friends but Lloyd Webber had no further intentions for them at the time. After hissong cycleTell Me on a Sunday was televised by theBBC in early 1980, Lloyd Webber began to consider using his musicalization of Eliot's poems in the same vein for a televised concert anthology.[8] He approached producerCameron Mackintosh to explore possible avenues for the songs.[9]
Practical Cats, as the show was then called, was first presented as a song cycle at the 1980 summerSydmonton Festival. The concert was performed byGemma Craven,Gary Bond andPaul Nicholas. Eliot's widow andliterary executor,Valerie, was in attendance and brought along various unpublished cat-themed poems by Eliot. One of these was "Grizabella the Glamour Cat" which, although rejected from Eliot's book for being "too sad for children", gave Lloyd Webber the idea for a full-blown musical.[10] He explained:
The musical and dramatic images that this created for me made me feel that there was very much more to the project than I had realised. I immediately decided that I needed the support of another to encourage me to re-work my settings and to see if a dramatic whole could be woven from the delightful verse that I was now to be allowed to develop.[8]
Lloyd Webber thus decided to turnPractical Cats into a musical, co-produced by Mackintosh and theReally Useful Group'sBrian Brolly.[10]
Shortly after the Sydmonton Festival, Lloyd Webber began setting the unpublished poems he had been given to music, a few of which were later added into the show. He also composed theoverture and "The Jellicle Ball", incorporatinganalog synthesizers into these orchestrations to try to create a unique electronicsoundscape.[11] Meanwhile, Mackintosh recruited Nunn, the then artistic director of theRoyal Shakespeare Company (RSC), to directPractical Cats. Nunn was an unusual choice as he was considered "too high-brow" for musical theatre,[12] but Mackintosh felt that a "pedigree" director was needed to ensure Valerie Eliot's approval of the project.[13] After much persuasion, Nunn came on board and was joined by his RSC colleagues, choreographerGillian Lynne and set and costume designerJohn Napier.[9][14] Nunn initially envisionedPractical Cats as achamber piece for five actors and two pianos, which he felt would reflect "Eliot's charming, slightly offbeat, mildly satiric view of late-1930s London".[15] However, he yielded to Lloyd Webber's more ambitious vision for the musical.[15] Nunn was also convinced that for the musical to have the wide commercial appeal that the producers desired, it could not remain as a series of isolated numbers but instead had to have a narrativethrough line.[14] He was therefore tasked with piecing the self-contained poems together into a story.[16] Nunn wrote about the significance "Grizabella the Glamour Cat" had on the construction of the narrative:
Here in eight lines Eliot was describing an intensely recognizable character with powerful human resonances, while introducing the themes of mortality, and the past, which occur repeatedly in the major poems. We decided that if Eliot had thought of being serious, touching, almost tragic in his presentation of a feline character, then we had to be doing a show which could contain that material, and the implications of it. Furthermore, we would have to achieve the sense of progression through themes more than incidents.[17]
An event called the Jellicle Ball was referenced by Eliot in the poem "The Song of the Jellicles", while a cat version of heaven known as the Heaviside Layer was mentioned in one of his unpublished poems. Nunn expanded on these concepts by conceiving the Jellicle Ball as an annual ritual in which the cats vie to be chosen to ascend to the Heaviside Layer, thus giving the characters a reason to gather and sing about themselves in the musical. He also added the element of rebirth as a play on the idea that cats have nine lives.[1]
One of Nunn's stipulations for agreeing to directPractical Cats was that actressJudi Dench would be cast in the musical. Lloyd Webber was happy to oblige given her credentials and so Dench joined the company in thedual roles ofGrizabella andJennyanydots. FormerRoyal Ballet principal dancerWayne Sleep was offered the part ofMr. Mistoffelees after Lloyd Webber and Mackintosh attended a performance by his dance troupe, one of the many dance showcases they saw in preparation for the musical. Casting for the other roles began in November 1980, with auditions held across the UK for dancers who could also sing and act. There was an initial disagreement over the casting ofPaul Nicholas asRum Tum Tugger; Nunn had misgivings about the actor's easy-going attitude but eventually yielded to Lloyd Webber, Mackintosh and Lynne, all of whom were keen on Nicholas for the role.Sarah Brightman, who had already made a name for herself with the chart hit "I Lost My Heart to a Starship Trooper", arranged a private audition and was cast in an as-then undecided role. By December, the full cast had been assembled.[18]
Meanwhile, Mackintosh engaged the advertising agency Dewynters to design a poster for the musical. After much back-and-forth, the agency presented a minimalist poster consisting of a pair of yellow feline eyes (with dancing silhouettes for thepupils) set against a black backdrop. The producers and the creative team loved the design but felt that the title —Practical Cats — looked out of place when paired with the image of the cat's eyes. The musical's title was thus shortened to justCats.[19]
The musical was scheduled to open on 30 April 1981, withpreviews starting on 22 April. Shortly before tickets went on sale in mid-February, Nunn revealed to the alarmed producers that he was struggling to write the script for the musical. Despite still having no established book or score, rehearsals began on 9 March 1981 in a church hall inChiswick, London.[20] The situation improved later that day when Lloyd Webber, Mackintosh and Nunn met withRichard Stilgoe, a musician known for his ability to improvise lyrics on the spot, in hopes that Stilgoe could write an opening song for the musical. By the next evening, Stilgoe had produced a draft for "Jellicle Songs for Jellicle Cats".[21] However, "Memory", an11 o'clock number for Grizabella that Nunn insisted the show needed as its "emotional centre",[22] still had no lyrics at this point. Lloyd Webber's former writing partnerTim Rice was brought in to write a lyric for the song, but his version was rejected by Nunn for being too depressing. The lyrics for "Memory" were not completed by Nunn until well into the previews.[23]
Many of the ensemble characters were created by the original cast through extensiveimprovisation sessions held during the rehearsal process. Said Nunn: "[O]n day one of rehearsals what we had was 15 poems set to music and five weeks later we had a show with characters, relationships and stories running from beginning to end."[24][25] The production faced a last minute mishap when Denchsnapped her Achilles tendon during rehearsals for "The Old Gumbie Cat" and had to pull out one week before the first preview. Shortly after this, the original music director, Chris Walker, also had to leave the production for medical reasons and was replaced by the film conductorHarry Rabinowitz. Dench's understudy Myra Sands replaced her as Jennyanydots, whileElaine Paige agreed to take over the role of Grizabella. Opening night was pushed back to 11 May, but Mackintosh refused to postpone the previews as he wanted to dispel the industry rumours that the production was an impending debacle.[26]
The development ofCats was also plagued by financial troubles. Mackintosh struggled to raise the £450,000 (US$1.16 million[27]) needed to stage the musical in theWest End as major investors were sceptical of the show's premise and refused to back it. Lloyd Webber personallyunderwrote the musical and took out a secondmortgage on his house for thedown payment of the theatre. He later recalled that ifCats had been a commercial failure, it would have left him in financial ruin.[28] The remainingcapital was eventually raised by small investments procured from 220 individuals through newspaper advertisements.[1][12] After the musical became a massive hit, therate of return for these investors was estimated to have exceeded 3,500 per cent.[29]
After the overture, a tribe of cats known as theJellicles gather on stage and describe themselves and their purpose ("Jellicle Songs for Jellicle Cats"). The cats (who break thefourth wall throughout the show) then notice that they are being watched by a human audience, and proceed to explain how the different cats of the tribe are named ("The Naming of Cats"). This is followed by aballet solo performed byVictoria to signal the beginning of the Jellicle Ball ("The Invitation to the Jellicle Ball"). At this moment,Munkustrap, the show's main narrator, explains that tonight the Jellicle patriarchOld Deuteronomy will make an appearance and choose one of the cats to be reborn into a new life on the Heaviside Layer.
Munkustrap introduces the first contenderJennyanydots ("The Old Gumbie Cat"), a large tabby cat who lazes around all day, but come nighttime, she becomes active, teaching mice and cockroaches various activities to curb their naturally destructive habits. Just as Jennyanydots finishes her song, the music changes suddenly andRum Tum Tugger makes his extravagant entrance in front of the tribe ("The Rum Tum Tugger"). He is very fickle and unappeasable, "for he will do as he do do, and there's no doing anything about it".
Then, as Rum Tum Tugger's song fades, a shabby old grey cat stumbles out wanting to be reconciled; it isGrizabella. All the cats back away from her in fear and disgust and explain her unfortunate state ("Grizabella: The Glamour Cat"). Grizabella leaves and the music changes to a cheerful upbeat number asBustopher Jones, a fat cat in "a coat of fastidious black", is brought to the stage ("Bustopher Jones: The Cat About Town"). Bustopher Jones is among the elite of the cats, and visits prestigiousgentlemen's clubs. Suddenly, a loud crash startles the tribe and the cats run offstage in fright. Hushed giggling sounds signal the entrance ofMungojerrie and Rumpleteazer, a pair of near-identical cats. They are mischievous petty burglars who enjoy causing trouble around their human neighbourhood ("Mungojerrie and Rumpleteazer"). After they finish, they are caught off-guard and confronted by the rest of the cats.
Finally, the Jellicle patriarch, Old Deuteronomy, arrives before the tribe ("Old Deuteronomy"). He is a wise old cat who "has lived many lives" and is tasked with choosing which Jellicle will go to the Heaviside Layer every year. The cats put on a play for Old Deuteronomy ("The Awefull Battle of the Pekes and the Pollicles"), telling a story about two dog tribes clashing in the street and subsequently being scared away by the GreatRumpus Cat. A moral from Old Deuteronomy is interrupted by a second loud crash, presumably fromMacavity, which sends the alarmed cats scurrying. After a quick patrol for Macavity, Old Deuteronomy deems it a false alarm and summons the cats back as the main celebration begins ("The Jellicle Ball"), in which the cats sing and display their "Terpsichorean powers".
During the Ball, Grizabella reappears and tries to dance along, but her age and decrepit condition prevent her from doing so ("Grizabella: The Glamour Cat (Reprise)"). As a result, she is once again shunned by the other cats, but that does not stop her from vowing to return for another chance to be in the spotlight while a guilty Old Deuteronomy looks on ("Memory (Prelude)").
After the Jellicle Ball, Old Deuteronomy gathers his tribe to contemplate the nature of happiness.Jemima (also known as Sillabub), the youngest of all Jellicles, understands the patriarch is referring to Grizabella, and passes the message on to the rest of the tribe ("The Moments of Happiness").Gus – short for Asparagus – shuffles forward as the next cat to be introduced ("Gus: The Theatre Cat"). He was once a famous actor but is now old and "suffers frompalsy which makes his paws shake". He is accompanied byJellylorum, his caretaker, who tells of his exploits. Gus then remembers how he once played the infamous pirate captain,Growltiger ("Growltiger's Last Stand"). He tells of Growltiger's romance with Lady Griddlebone, leading to the pirate's capture by a horde of Siamese cats and his execution bywalking the plank.
Back in the present, after Gus exits,Skimbleshanks is seen sleeping in the corner ("Skimbleshanks: The Railway Cat"). He is the cat who is unofficially in charge of the nightly train from London toGallowgate, and it will not depart unless he is aboard. Within his song, a whole steam train engine is assembled out of objects in the junkyard.
With a third crash and an evil laugh, the "most wanted" cat Macavity appears. He is the so-called "Napoleon of Crime" who always manages to evade the authorities. Macavity's henchmen capture Old Deuteronomy and take off with the patriarch in tow. As Munkustrap and his troop give chase,Demeter andBombalurina explain what they know about Macavity ("Macavity: The Mystery Cat"). When they are finished, Macavity returns disguised as Old Deuteronomy, but his cover is blown by Demeter and he ends up getting beaten by Munkustrap and Alonzo. Macavity holds his own for a time, but as the rest of the tribe begin to gang up and surround him, he shorts out the stage lights and escapes in the resulting confusion.
After the fight, Rum Tum Tugger calls upon the magicianMr. Mistoffelees for help ("Magical Mr. Mistoffelees"). Known as the "original conjuring cat", Mr. Mistoffelees can perform feats of magic that no other cat can do. He displays his magical powers in a dance solo and uses them to restore the lights and bring back Old Deuteronomy. Now, the "Jellicle choice" can be made.
Before Old Deuteronomy can make his decision, Grizabella returns to the junkyard and he allows her to address the gathering. Her faded appearance and lonely disposition have little effect on her song ("Memory"). With acceptance and encouragement from Jemima and Victoria, her appeal succeeds and she is chosen to be the one to go to the Heaviside Layer and be reborn into a new Jellicle life ("The Journey to the Heaviside Layer"). A tyre rises from the piles of junk, carrying Grizabella and Old Deuteronomy partway towards the sky; Grizabella then completes the journey on her own.[i] Finally, Old Deuteronomy closes the show by giving his final speech to the audience ("The Ad-dressing of Cats").
Notes:
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Based on the definitive 16-piece licensed version.[33]
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Cats is anensemble show with a largesupporting cast and noleads.[34]
Characters who are featured singers and/or dancers:
Other characters who have appeared in multiple notable productions include:
| Role[i] | West End[59] | Broadway[60] | West End revival[61] | West End revival[62] | Broadway revival[32] |
|---|---|---|---|---|---|
| 1981 | 1982 | 2014 | 2015 | 2016 | |
| Admetus/Plato | Steven Wayne | Kenneth Ard | Cameron Ball | Javier Cid | Daniel Gaymon |
| Macavity | John Thornton | ||||
| Alonzo | Roland Alexander | Héctor Jaime Mercado | Adam Lake | Jack Butterworth | Ahmad Simmons |
| Asparagus (Gus) | Stephen Tate | Stephen Hanan | Paul F. Monaghan | Christopher Gurr | |
| Growltiger | N/a | ||||
| Bustopher Jones | Brian Blessed | Christopher Gurr | |||
| Bill Bailey/Tumblebrutus | Peter Barry | Robert Hoshour | Adam Salter | Jon-Scott Clark | Kolton Krouse |
| Bombalurina | Geraldine Gardner | Donna King | Charlene Ford | Emma Lee Clark | Christine Cornish Smith |
| Carbucketty | Luke Baxter | Steven Gelfer | Joel Morris | Luke Cinque-White | Giuseppe Bausilio |
| Cassandra | Seeta Indrani | René Ceballos | Cassie Clare | Danielle Cato | Emily Pynenburg |
| Coricopat | Donald Waugh | René Clemente | Benjamin Mundy | James Titchener | Corey John Snide |
| Demeter | Sharon Lee-Hill | Wendy Edmead | Zizi Strallen | Anna Woodside | Kim Fauré |
| Electra | Anita Pashley | N/a | N/a | N/a | Lili Froehlich |
| Etcetera | Julie Edmett | Christine Langner | N/a | N/a | N/a |
| George/Pouncival | John Chester | Herman W. Sebek | Stevie Hutchinson | Jordan Shaw | Sharrod Williams |
| Griddlebone | Susan Jane Tanner | Bonnie Simmons | Clare Rickard | N/a | |
| Jellylorum | Sara Jean Ford | ||||
| Grizabella | Elaine Paige | Betty Buckley | Nicole Scherzinger | Beverley Knight | Leona Lewis |
| Jemima/Sillabub | Sarah Brightman | Whitney Kershaw | Natasha Mould | Tarryn Gee | Arianna Rosario |
| Jennyanydots | Myra Sands | Anna McNeeley | Laurie Scarth | Jane Quinn | Eloise Kropp |
| Mr. Mistoffelees | Wayne Sleep[ii] | Timothy Scott | Joseph Poulton[ii] | Mark John Richardson[ii] | Ricky Ubeda |
| Mungojerrie | John Thornton | René Clemente | Benjamin Yates | Harry Francis | Jess LeProtto |
| Munkustrap | Jeff Shankley | Harry Groener | Callum Train | Matt Krzan | Andy Huntington Jones |
| Old Deuteronomy | Brian Blessed | Ken Page | Nicholas Pound | Adam Linstead | Quentin Earl Darrington[iii] |
| Rum Tum Tugger | Paul Nicholas | Terrence Mann | Antoine Murray-Straughan | Marcquelle Ward | Tyler Hanes |
| Rumpleteazer | Bonnie Langford | Christine Langner | Dawn Williams | Georgie Leatherland | Shonica Gooden |
| Rumpus Cat | Roland Alexander | Kenneth Ard | Adam Lake | Jack Butterworth | Christopher Gurr |
| Skimbleshanks | Kenn Wells | Reed Jones | Ross Finnie | Evan James | Jeremy Davis |
| Tantomile | Femi Taylor | Janet Hubert-Whitten | Kathryn Barnes | Gabrielle Cocca | Emily Tate |
| Victoria | Finola Hughes | Cynthia Onrubia | Hannah Kenna Thomas | Georgina Pazcoguin | |
Notes:
Notable replacements from the musical's West End and Broadway runs:
Cats is completely told through music with no dialogue in between the songs,[71] although there are occasions when the music accompanies spoken verse. Lloyd Webber's compositions employ an eclectic range of musical styles so as to magnify the characters' contrasting personalities.[4] For example, the rebellious Rum Tum Tugger is introduced with arock song ("The Rum Tum Tugger"); the fallen Grizabella is accompanied by a dramatic operaticaria ("Grizabella: The Glamour Cat"); Old Deuteronomy makes his grand entrance to alullaby-turned-anthem ("Old Deuteronomy"); and Gus' nostalgia for the past is reflected through an old-fashionedmusic hall number ("Gus: The Theatre Cat").[16] Many of the songs arepastiches of their respective genres, which Snelson attributes to the show's origins as a song cycle:
The original concept of a set of contrasting numbers, without a dramatic narrative, meant that each song needed to establish some sort of musical characterization independent of the others and develop a quick rapport with the audience. Such a rapid familiarity and identification of purpose can be achieved through pastiche. But it was only a musical starting point, for the songs inCats move beyond the straightforward "Elvis" pastiche ofJoseph and the Amazing Technicolor Dreamcoat; they are less pointed, more the free workings within a range of chosen styles than direct copies of a specific performer or number. The audience responds to the musical differences, given an initial security provided by the familiarity of recognizable, underlying stylistic generalities.[72]
Lloyd Webber also employs various techniques to help connect the pieces. Namely, the score relies heavily on recurringmotifs as well as the use ofpreludes andreprises.[73] For instance,melodic fragments of "Memory" are sung by Grizabella and Jemima at several points in the show before the song is sung in full,[39] serving to characterise Grizabella and foreshadow her final number.[74][75] Similarly, Lloyd Webber introduces afugue in the overture, and variations of this theme are then repeated throughout the musical until it is finally resolved as Grizabella ascends to the Heaviside Layer.[76]
The musical also features an unusual amount of "group-description" numbers. According to musicologist Jessica Sternfeld, such numbers are usually relegated to theprologue and nothing more, as seen in "Another Op'nin', Another Show" fromKiss Me, Kate and "Tradition" fromFiddler on the Roof.Cats on the other hand features four Jellicle-defining songs: "Jellicle Songs for Jellicle Cats", "The Naming of Cats", "The Jellicle Ball" and "The Ad-Dressing of Cats". These numbers allow the cats to celebrate their tribe and species as a whole, in between the ones that celebrate individual members.[77]
Regarded as "one of the most challenging shows to dance in musical theatre history",[78] dance plays a major role inCats as the original creative team had specifically set out to create "England's first dance musical".[79] BeforeCats, the industry-wide belief was that British dancers were inferior to their Broadway counterparts. The risky hiring of a British choreographer, Lynne, for a British dance musical was described by one historian as "a vivid and marvellous gesture of transatlantic defiance".[80] Making Lynne's job more challenging was the fact that the music inCats is unceasing and the majority of the cast remains on-stage throughout nearly the entire show.[80]
Lynne choreographed the original London production with a dance crew consisting of her assistant Lindsay Dolan, the dance captain Jo-Anne Robinson, and cast members Finola Hughes and John Thornton.[79] The resulting choreography blendsballet,modern dance,jazz andtap, interspersed with acrobatic displays.[16] Lynne also trained the cast to evoke the movement, physicality and behaviour of actual cats.[81] These feline traits were incorporated into the movement and choreography so as to create an "anthropomorphic illusion".[16] Lynne considered the 13-minute "Jellicle Ball" dance to be the crux of the show, noting that in order to work as a dance-driven musical,Cats "had to succeed there or die".[79][82] She recalled the difficulty she faced in persuading Lloyd Webber to add the extended dance break, culminating in her and her dance crew having to dance all the parts in the "Jellicle Ball" to convince him.[79][82]
The original staging ofCats at theNew London Theatre was considered revolutionary[83] and "one of the first truly immersive theatrical experiences".[34] Instead of a conventionalproscenium, the theatre was quasi-in-the-round with a centralrevolving stage.[15][84] Nunn and Napier had sought to create "an environment rather than a set",[17] and around $900,000 was spent remodelling the New London in preparation for the show.[9] This included mounting sections of thestalls onto the theatre's 60 ft (18 m)[85] revolve such that the audience moved along with the stage.[16] When the show was brought to Broadway, theWinter Garden Theatre was given a similar $2 million makeover;[86] its proscenium stage was converted into athrust, and a part of its roof was torn through to allow for the effects of Grizabella's ascension to the Heaviside Layer.[87]
Nunn was also adamant that the orchestra forCats be hidden backstage — out of the audience's view — so as not to break the immersion.[88] Adding to the experience, the show usually includes a lot of audience interaction, such as during the overture when the cast don flashing "green eyes" as they make their way through the audience in the darkened theatre.[77][89] In the original Broadway production,catwalks were built to connect the stage to theboxes andbalcony so as to give the cast access to the entire auditorium during the show.[90]
Napier began designing the set in November 1980, wanting "a place where cats might congregate together, which also included maximum room for dancing".[91] The set ofCats consists of a junkyard filled with oversized props to give the illusion that the cast are the size of actual cats;[92] it remains the same throughout the show without any scene changes. Over 2,500 of these scaled-up props were used to fill the whole auditorium in the original Broadway production.[16][93]
Napier also designed the costumes, combining cat and human features based on "hints" given in Eliot's poems, while ensuring that they did not impede the dancers' movements.[91] The costumes generally consist of aunitard, a wig that is fashioned to suggest the presence of feline ears, patches resembling body fur, andarm andleg warmers to give the performers' hands and feet a more paw-like appearance. As with the contrasting music and dance styles, the costumes and make-up are used to bring out each character's distinct personality. For example, the costume for the flirtatious Bombalurina is designed to accentuate her sensuality, while the markings on the costume for Jemima — the youngest of the tribe — resemble crayon scribbles.[24] Every character's designmotif is custom-painted by hand onto a plain unitard to line up with their performer's individual body. To reproduce the "hand-drawn aesthetic" of Napier's original design sketches, costume painters in the original Broadway production usedsqueeze bottles to apply the paint. Due to the amount of dancing inCats, most of the costumes did not last longer than a few months.[94]
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Cats has been translated into over 15 languages and produced professionally in more than 30 countries.[95]
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Cats premiered in the West End at theNew London Theatre on 11 May 1981. The musical was produced by Mackintosh and Lloyd Webber'sReally Useful Group, with direction by Nunn, choreography by Lynne (who also served as the associate director), set and costume design by Napier, lighting design byDavid Hersey, sound design byAbe Jacob and music direction byHarry Rabinowitz.[96] It played a total of 8,949 performances before closing on its 21st anniversary, 11 May 2002. The final performance was broadcast live on a large outdoor screen inCovent Garden for fans who could not acquire a ticket.[97]Cats held the record as London's longest-running musical from 1989, when it surpassedJesus Christ Superstar,[98] until 8 October 2006, when it was surpassed byLes Misérables.
The musical returned to the West End in 2014 for a planned 12-week limited run at theLondon Palladium. Beginning on 6 December, the revival starredNicole Scherzinger as Grizabella, and featured the original creative team, with direction from Nunn, choreography by Lynne and design by Napier.[61] Lloyd Webber was also involved and rewrote "The Rum Tum Tugger" for the revival.[99] The run was later extended through April 2015 and an additional 100,000 tickets were released, withKerry Ellis replacing Scherzinger as Grizabella.[65] The musical returned once again to the London Palladium for another limited run lasting from 23 October 2015 to 2 January 2016, starringBeverley Knight as Grizabella.[100]
In summer 2026,Regent's Park Open Air Theatre will present a new revival from 25 July to 12 September 2026, directed and choreographed by its Artistic Director, Drew McOnie. Following the run, the production will tour the UK and Ireland from October 2026 until 2027.[101].
Cats debuted on Broadway on 7 October 1982 at theWinter Garden Theatre with a record-breaking $6.2 million in ticket pre-sales.[27] The musical was co-produced by the original London production team, along withDavid Geffen andThe Shubert Organization.[60] Most of the original creative team remained, withMartin Levan replacing Jacob as the sound designer andStanley Lebowsky replacing Rabinowitz as music director. It was the most expensive Broadway show ever mounted at the time with a production cost of $5.5 million,[102] though it recouped its investment in less than 10 months.[98] On 19 June 1997,Cats overtookA Chorus Line to become thelongest-running show in Broadway history with 6,138 performances.[103] At the time, the musical was found to have had an economic impact of $3.12 billion on New York City and had generated the most theatrical jobs of any single entity in Broadway history.[93] In early 2000, the show's closing was scheduled for June but it was subsequently pushed back after a resulting surge in ticket sales.[104] The show closed on 10 September 2000 after a total of 15 previews and 7,485 performances.[60] One actress, Marlene Danielle, performed in the Broadway production for its entire 18-year run.[69] Its Broadway-run record was surpassed on 9 January 2006 byThe Phantom of the Opera, andCats remains Broadway'sfifth-longest-running show of all time. Overall, the original Broadway production grossed approximately $388 million in ticket sales.[105]
Encouraged by the reception to the first West End revival, producers began looking to bringCats back to Broadway in early 2015.[106] The Broadway revival opened on 31 July 2016 at theNeil Simon Theatre.[32] It featured new choreography byAndy Blankenbuehler, with Nunn and Napier from the original creative team returning to direct and design respectively.[107] Scherzinger, who played Grizabella in the 2014 West End revival, had originally agreed to reprise the role on Broadway but later withdrew.[108]Leona Lewis was cast as Grizabella instead,[109] and was succeeded by Mamie Parris three months later in October 2016.[110] The Broadway revival closed on 30 December 2017 after 16 previews and 593 performances.[32]
The show, under the titleCats: The Jellicle Ball, made itsOff-Broadway debut at thePerelman Performing Arts Center in June 2024 and was extended twice, closing in September.[111] The show, directed by Zhailon Levingston andBill Rauch and choreographed by Arturo Lyons and Omari Wiles, was a radical reimagining of the musical taking inspiration fromballroom culture. Josephine Kearns served asdramaturg and gender consultant.André De Shields starred as Old Deuteronomy,[112] with other cast members including Jonathan Burke as Mungojerrie, Sydney James Harcourt as Rum Tum Tugger,Antwayn Hopper as Macavity,Junior LaBeija (the emcee featured in the Ballroom documentaryParis is Burning) as Gus, "Tempress" Chasity Moore as Grizabella and Nora Schell as Bustopher Jones. This was the show's first major production to depart stylistically from the original.[113] On August 13, 2025, Andrew Lloyd Webber confirmed thatCats: The Jellicle Ball would transfer to Broadway in spring 2026, with dates and a theater to be announced at a later date. The transfer will be the first production for Lloyd Webber'sLW Entertainment following the company's rebranding in the summer of 2025.[114][115] It was announced on October 9, 2025 that the production would open at theBroadhurst Theatre on April 7, 2026, with much of the off-Broadway cast reprising their roles.[116]
Following its Broadway debut,Cats has been staged extensively across North America. The first US national tour, Cats National I, launched at theShubert Theatre in Boston in December 1983 and closed in November 1987. The opening night cast includedLaurie Beechman playing Grizabella andCharlotte d'Amboise playing Cassandra; later replacements includedVictoria Clark andJessica Molaskey both playing Jellylorum/Griddlebone. This production was a "slow tour" that had lengthy engagements lasting for several months in each of the nine cities it visited.[117][118] Cats National II, a separate sit-down production at theLos Angeles Shubert Theatre, ran from January 1985 to November 1986, and starredKim Criswell andGeorge de la Peña in the roles of Grizabella and Mistoffelees respectively.[119][120] A third US touring company, Cats National III, ran for two years from September 1986 to September 1988. Notable performers in the third tour includedJonathan Cerullo as Skimbleshanks (1986) andBill Nolte as Old Deuteronomy (1987).[121]
The fourth national company, Cats National IV, toured the United States for 13 years from March 1987 to December 1999.[122] It overtook the first national tour ofOklahoma! in November 1997 to become the longest-running tour in theatre history, and played its 5,000th performance in July 1999.[123] Notable performers in the fourth tour includedAmelia Marshall as Sillabub (1988),Jan Horvath as Grizabella (1990),Bryan Batt as Munkustrap (1991–1992),Jennifer Cody as Rumpleteazer (1992),David Hibbard as Rum Tum Tugger (1992–1993),Natalie Toro as Grizabella (1992, 1997),Christopher Gattelli as Mistoffelees (1993),John Treacy Egan as Old Deuteronomy (1993–1994),J. Robert Spencer as Rum Tum Tugger (1995),Bart Shatto as Bustopher Jones/Gus/Growltiger (1996),Linda Balgord as Grizabella (1998),Andy Karl as Rum Tum Tugger (1998), andLena Hall as Demeter (1998).[122] By June 1997, the North American touring companies had grossed over $400 million.[86]
After the show's closure on Broadway in 2000, Troika Entertainment obtained the touring rights forCats and launched the show's first non-Equity national company.[124] After a try-out atHarrah's Atlantic City in July 2001, the production toured North America for 11 years from August 2001 to June 2012.[125][126][127] Performers in the non-Equity tour includedJulie Garnyé as Jennyanydots (2001),[128]Dee Roscioli as Grizabella (2002),[129][130] and Jonathan Burke as Mungojerrie (2004). In January 2019, a new North American Equity tour based on the 2016 Broadway revival opened at theProvidence Performing Arts Center inRhode Island, and was originally scheduled to run through June 2020.[131] However, due to theCOVID-19 pandemic, performances of this tour were suspended on 13 March 2020. The tour re-launched as a non-Equity production on 21 September 2021.
Meanwhile, the first Canadian national production premiered in March 1985 at theElgin and Winter Garden Theatres inToronto,Ontario. It moved toMontreal two years later and then toured other parts of Canada. By the time the production closed in August 1989, it had become the most successful Canadian stage production of all time with a box office of $78 million from nearly 2 million tickets.[123][132] A second All-Canadian company began at Toronto's formerPanasonic Theatre in May 2013 and ran for four months & 128 performances, 28 years after the original production.[133]
The musical first played in Mexico from April 1991 to November 1992;[125] the Spanish-language production performed over 400 shows and starredMaría del Sol as Grizabella,[134]Manuel Landeta as Munkustrap,[135]Susana Zabaleta as Jellylorum,Maru Dueñas as Sillabub andAriel López Padilla as Macavity.[136] A revival premiered at the Teatro San Rafael in May 2013, with an opening night cast that includedFilippa Giordano as Grizabella, Landeta, andMaru Dueñas.[137] After a total of 350 performances, the show closed at the Teatro San Rafael in June 2014,[138] and then toured over 36 cities in Mexico until December 2014.[139][140] Other performers who later joined the production includedLisset,[141]Rocío Banquells,[142]Lila Deneken andMyriam Montemayor Cruz, all of whom played Grizabella.[143] Another Mexican revival was launched at the Coyoacán Centennial Theater in October 2018, withYuri as Grizabella and Landeta as Old Deuteronomy.[135][144] The revival marked its 200th performance in May 2019.[145]
The first UK and Ireland tour opened in May 1989 at theOpera House Theatre inBlackpool. The cast for this tour includedMarti Webb as Grizabella,Rosemarie Ford as Bombalurina andJohn Partridge as Alonzo.[125] Following a six-month engagement in Blackpool that broke the theatre's box office record and was seen by around 450,000 people,[146] the production moved to theEdinburgh Playhouse for three months, before closing in May 1990 after another two months at thePoint Theatre inDublin.[125] A second national tour launched in June 1993 at theBristol Hippodrome,[147] featuring Rosemarie Ford as Grizabella,Robin Cousins as Munkustrap,Simon Rice as Mistoffelees andTony Monopoly as Old Deuteronomy.[148] The tour closed at theManchester Opera House in December 1995.[149]
Following the closure of the original West End production, a nationwide tour embarked in 2003 withChrissie Hammond starring as Grizabella,[150][151] untilDianne Pilkington took over the role in 2006.[152] Hammond reprised the role on tour again from 2007 to 2008.[153][154]
A UK and Ireland tour ofCats launched in February 2013 at the Edinburgh Playhouse withJoanna Ampil as Grizabella.[155][156]Susan McFadden took over the role from Ampil during the tour's three-week stop in Dublin.[157] The production ran through 2014 before transferring to the West End.[158] In between its limited West End runs, the musical returned to the Blackpool Opera House Theatre in 2015, this time starringJane McDonald as Grizabella.[159][160] After the second West End revival, the production toured the UK in 2016 withAnita Louise Combe as Grizabella andMarcquelle Ward as Rum Tum Tugger.[161][162]
The Japanese-language production ofCats by theShiki Theatre Company has been playing continuously since it premiered inShinjuku, Tokyo, in November 1983. This production is a "slow tour" with engagements lasting for several years in each of the nine cities it has visited.[163][164] An initial investment of ¥800 million (US$3.4 million in 1983) was required to bringCats to Japan, including ¥300 million for the construction of a purpose-built theatre tailored to the needs of the musical. This was a big financial risk for the Shiki Theatre Company as it meant that a long run was needed to turn a profit; however, stage productions in Japan ran on a monthly basis at the time and open-ended runs were unheard of.[165] The resulting success of this production led to what the local media termed a "musical boom" in the 1980s, with other Broadway musicals quickly following suit and opening in Japan.[166]
As of 2019[update], the show is performed at the purpose-built CATS Theatre in Tokyo.[163][167] The production has played over 10,000 performances to over 10 million audience members.[168]
Similar to the original London staging, the set of the 1,200-capacity CATS Theatre is built on a revolving stage floor such that during the overture, the stage and sections of the stalls revolve approximately 180 degrees into place.[169][170] In 1998, the Japanese production underwent major revisions to the choreography, staging and costume designs.[171] Following further revisions in 2018,[172] the current incarnation features 27 named cats, including both Jemima and Sillabub (who have evolved into two separate characters), and an original character named Gilbert.[173]
There have been numerous notable performers in the Japanese production, includingShintarō Sonooka as Munkustrap (original 1983 cast),[174]Kanji Ishimaru as Skimbleshanks (1992),[175]Masachika Ichimura, andMayo Kawasaki.[176] Yoshiko Hattori (ja:服部良子) holds the production's record for the longest-appearing cast member; she played Jennyanydots in the original 1983 cast and remained in the role for 20 years with a final performance tally of 4,251.[176]
Under the direction ofPeter Weck, the first German-language production ofCats inMichael Kunze's translation opened in September 1983 at theTheater an der Wien inVienna, Austria. In 1988, the show transferred to the newly renovatedRonacher Theatre where it ran for another two years before closing on its seventh anniversary in September 1990.[117][177] The Vienna production played a total of 2,040 performances to more than 2.3 million audience members.[178]
The original Viennese cast includedUte Lemper who played Bombalurina,Steve Barton who played Munkustrap, Robert Montano who played Pouncival,[117] andAngelika Milster [de] who played Grizabella.[179]Pia Douwes was also a member of the cast from 1987 to 1989, covering several different characters including Grizabella.[180] The Vienna production also performed limited runs at theKomische Oper Berlin inEast Germany in 1987,[181] and at theMoscow Operetta Theatre [ru] in theSoviet Union in 1988.[182]
A revival by theVereinigte Bühnen Wien production company opened at the Ronacher Theatre in September 2019[183] and closed in June 2022.[184] The revival cast includedRory Six [de] who played Old Deuteronomy,Alexander Auler [de] who played Munkustrap,Felix Martin Poenichen [de] who played Gus/Growltiger and Bustopher Jones, andAna Milva Gomes [de] who played Grizabella.[184]
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Influenced by the show's success in Vienna, a German production by Stella Entertainment premiered in April 1986 at the newly renovatedOperettenhaus inHamburg[177][185] using a new translation by Sabine Grohmann, John Baer, and Marc Henning. It closed in January 2001 after 15 years, having played over 6,100 performances to 6.2 million audiences.[185][186]Cats was the first stage production in the country to be mounted without public funding and was also the first to run for multiple years; its success established the medium as a profitable venture in Germany.[186] The musical was also a huge boost for tourism in Hamburg, particularly the subdivision ofSt. Pauli where it accounted for 30% of all tourists. The number of overnight visitors to the city increased by over one million per year within the first five years of the show's premiere.[185]
Cats redefined musical theatre in the German-speaking part of the world, turning an industry which consisted ofrepertory theatre at the time towards privately funded commercial productions. The success of the Vienna and Hamburg productions sparked a "musical boom" in the region that saw numerous musicals being launched not just in Germany but also inSwitzerland.[177][186] It also led to a "construction boom" in Germany as new theatrical venues such as theSchmidt Theater were enacted all around the country.[186][187] Germany has since grown to become the third largest musical market after the US and UK, with Hamburg as its "musical capital".[177][186]
After Hamburg, the German production transferred toStuttgart where it played from 2001 to 2002.[188][189]Stage Entertainment took over the production mid-2002 and moved the show toBerlin (2002–2004)[190][191] and laterDüsseldorf (2004–2005),[192] before touring other cities until 2006.[193][194] Mehr-Entertainment launched a separate tour ofCats that ran from December 2010 to June 2013, performing in a travelling purpose-built tent theatre.[186] Besides Germany, this company also made stops in cities in Luxembourg, Switzerland and Austria.[195]
Beyond the UK, Vienna, and Germany,Cats is also produced frequently in the rest of Europe.
The first non-English production ofCats premiered in March 1983 at the Madách Theatre inBudapest, Hungary, with direction by Tamás Szirtes and choreography byLászló Seregi.[196] Since then, the Hungarian-language production has continued to be staged intermittently as part of the Madách Theatre's repertoire and, as of 2017, has been performed nearly 1,500 times.[197][198]
November 1985 saw the premiere of a Norwegian-language production atDet Norske Teatret inOslo. It closed in January 1987 and included performers such asØivind Blunck,Brit Elisabeth Haagensli andØystein Wiik.[123][199]Jorma Uotinen directed and choreographed a Finnish production at theHelsinki City Theatre that ran for over two years from September 1986 to December 1988, and featuredMonica Aspelund as Grizabella,Heikki Kinnunen as Gus, andKristiina Elstelä as Jennyanydots/Griddlebone.[200] A Swedish version of the musical opened in 1987 at theChinateatern inStockholm. The production was seen by 326,000 audiences before it transferred to theScandinavium inGothenburg two years later.[201]
Meanwhile, theCarré Theatre inAmsterdam, Netherlands, staged the musical in 1987 (withRuth Jacott as Grizabella[202]), 1988 and from 1992 to 1993.[203]Cats made its French debut at theThéâtre de Paris from February 1989 to April 1990,[125] with an original cast that includedGilles Ramade as Old Deuteronomy.[204] The show was also produced inZürich at the ABB Musical Theatre from 1991 to 1993,[205] while a production byJoop van den Ende and theRoyal Ballet of Flanders was staged at the Stadsschouwburg Antwerpen in Belgium in 1996.[206] An English/German-language "Eurotour" production also toured the region from May 1994 to December 1995.[178]
The show was staged at theDet Ny Teater inCopenhagen, Denmark, in the 2002–2003 season.[207] This Danish production was translated byAdam Price and was one of the largest theatrical productions ever mounted in the country at the time with 100 performers, musicians and stagehands.[208] The first non-replica production ofCats was approved for a Polish production at the Teatr Muzyczny Roma inWarsaw.[209] Set in an abandoned film studio instead of a junkyard, the Polish version opened in January 2004 and closed in 2010.[210][211][212] TheGothenburg opera house staged a production with a Swedish-language script byIngela Forsman; this version was reimagined to take place in an abandoned fairground and played from September 2006 to February 2007.[213] Other productions were also staged at the Divadlo Milenium inPrague from 2004 to 2005,[194] and a Norwegian revival at theChat Noir in Oslo in 2009.[214] The first Italian-language production began touring Italy in 2009.[215]
The Dutch live entertainment companyStage Entertainment has been responsible for several European productions ofCats. The company produced the musical at the Coliseum Theatre inMadrid from December 2003 to January 2005, with a cast that included Víctor Ullate Roche as Mistoffelees.[216][217] They then staged a Russian-language production at the Moscow Palace of Youth from 2005 to 2006, with a cast that includedIvan Ozhogin as Munkustrap.[218][219] A Dutch production under the same company toured the Netherlands and Belgium from 2006 to 2007,[211][220] featuring several performers in the role of Grizabella includingPia Douwes andAnita Meyer.[221][222] A Paris revival by Stage Entertainment ran at theThéâtre Mogador from October 2015 to July 2016. This production was based on the 2014 London revival and also featured a new song written especially for the French show by Lloyd Webber.[223][224]
English-language touring companies have also toured the European region extensively. International tours in the early to late 2000s included stops in Sweden, Norway,[225] Finland,[226] Greece,[194] Portugal,[227] Germany,[228] and Italy.[229] The 2013–2014 UK tour visited cities in Belgium,[220][230] Greece, Italy,[231] Monaco, and Portugal.[158] Most recently, a UK production played in numerous European cities from 2016 to 2019, with tour stops in Switzerland, Croatia, Belgium, Poland, Bulgaria, Germany, Norway, Sweden, Finland, Denmark, Netherlands, and Luxembourg.[232] These European tours have featured several notable performers in the role of Grizabella, includingPernilla Wahlgren (Sweden; 2003),[233]Katarína Hasprová (Slovakia; 2016)[234] andJenna Lee-James (Netherlands; 2018–2019).[235]
The first Australian production ran from July 1985 to August 1987 at theTheatre Royal inSydney. The original cast includedDebra Byrne as Grizabella,John Wood as Old Deuteronomy,Marina Prior as Jellylorum,Jeff Phillips as Rum Tum Tugger,David Atkins as Mistoffelees, andAnita Louise Combe as Sillabub.[123][236] The Sydney production cost $3 million to mount and grossed a record $28 million. It was credited with revitalising the then-stagnant musical genre in Australia. After closing in Sydney, an additional $1.8 million was spent transferring the production toMelbourne, including $725,000 to refurbish the oldHer Majesty's Theatre.[237] The Melbourne run played from October 1987 to December 1988, with an opening night cast that includedMegan Williams as Grizabella, Wood as Old Deuteronomy, Phillips as Rum Tum Tugger,Linda Hartley-Clark as Demeter,Femi Taylor as Bombalurina,Rachael Beck as Rumpleteazer andSeán Martin Hingston as Plato/Macavity.[123][238] From 1989 to 1990, the company toured theFestival Theatre inAdelaide,[239]His Majesty's Theatre inPerth,[240]Civic Theatre inNewcastle,Lyric Theatre inBrisbane, and theSt. James Theatre inAuckland.[123] This was followed by a second national tour from 1993 to 1996,[241] during whichDelia Hannah made her debut as Grizabella in 1994.[242] A professionalcircus adaptation ofCats, titledCats Run Away to the Circus, had a national tent tour from 1999 to 2001, with Hannah once again starring as Grizabella.[243][244] Hannah reprised her role for another production that toured Australia and Asia in 2009 and 2010.[245]
In July 2014, Australia'sHarvest Rain Theatre Company staged the biggest production ofCats in the Southern Hemisphere with over 700 performers. Produced byTim O'Connor, the production was performed at theBrisbane Convention & Exhibition Centre. Callum Mansfield directed and choreographed it, and its cast included Marina Prior as Grizabella andSteven Tandy as Bustopher Jones and Gus.[246][247] From October 2015 to May 2016, a revival toured Australia with stops in Sydney,Hobart, Melbourne, Brisbane, Adelaide, and Perth.[248][249] The revival featured singer-songwriterDelta Goodrem as Grizabella,[250] before Delia Hannah took over the role during the Adelaide and Perth seasons.[242][251]
The show returned to Auckland in 1995 as part of a three-city New Zealand tour, and again in 2015 preceding the 2015/16 Australian tour.[252] A New Zealand national tour played across 16 cities in 2019, with a reimagined setting in a derelictVictorian theatre that was inspired by post-earthquakeChristchurch.[253] A 2025 Australia production will return in June 2025.
Besides Japan,Cats is also produced regularly in other parts of Asia. The region has hosted numerous English-language productions of the musical, beginning with a tour from 1993 to 1994 when it played in Singapore (with local actressJacintha Abisheganaden as Grizabella),[254] Hong Kong and South Korea.[255]Cats returned to Asia from 2002 to 2004, when an international touring company performed in Malaysia,[256] South Korea,[257]Shanghai,[258]Taipei andBeijing;[259][260][261] the 2004 cast includedSlindile Nodangala in the role of Grizabella.[260] A touring company visited Asia again between 2007 and 2010, including stops in the region of Taiwan,[211]Macau, and Thailand in 2007;[262] South Korea from 2007 to 2008;[263] China in 2008;[264] Singapore and Hong Kong in 2009 (withDelia Hannah playing Grizabella);[245][265][266] andManila in 2010 (withLea Salonga as Grizabella).[267]Cats toured Asia again from 2014 to 2015, making stops in South Korea, Singapore and Macau.[268] Two years later, another Asian tour was launched and is scheduled to run through 2020, with visits to South Korea from 2017 to 2018,[269] Hong Kong[270] and Taiwan in 2018,[271] China in 2018 (withJoanna Ampil as Grizabella) and 2019,[272] and planned stops in the Philippines and Singapore in 2019, and Malaysia in 2020.[272]Cats was China's highest-grossing musical in 2018, accounting for over 20% of the total grosses from all musicals staged in the country that year.[273]
The musical has also been translated and staged nationally in Asia. From September 2008 to May 2009, a Korean-language production toured South Korea, withShin Youngsook andOck Joo-hyun alternating as Grizabella,Kim Jin-woo andDaesung alternating as Rum Tum Tugger, andKim Bo-kyung as Rumpleteazer.[274] This production was revived and toured South Korea from 2011 to 2012, withInsooni andPark Hae-mi taking turns to portray Grizabella.[275] The first Chinese-language production began touring various cities in China in 2012.[276]
Spanish and Portuguese-language productions ofCats have been staged inSouth America, with productions in Argentina in 1993 (with Mexican actressOlivia Bucio as Grizabella),[182] in Chile in 2006 (at theArena Santiago)[277] and 2014,[278] in Colombia in 2009,[279] and in Brazil in 2010 (withPaula Lima as Grizabella).[280]Other countries that the musical has been performed in include South Africa (2001–2002) &,(2025-2026),[256] Lebanon (2002),[281] Qatar (2003, 2017),[282][283] Turkey (2013),[284] Israel (2014),[285] and theUnited Arab Emirates (2017).[286]
A full-length production ofCats has been performed regularly for guests aboardRoyal Caribbean International's cruise shipOasis of the Seas,[287] starting in autumn 2014, with a cast rotating every nine months.[287][288]
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Cats has been produced by various professional regional theatre companies.Broadway Sacramento staged the musical in 2003 and 2009 at theWells Fargo Pavilion. Both productions featuredKen Page reprising his role as Old Deuteronomy from the original Broadway production, along withJacquelyn Piro Donovan as Grizabella andJeffry Denman as Munkustrap.[289][290] A 2010amphitheatre production atThe Muny starred Page as Old Deuteronomy,Stephanie J. Block as Grizabella andLara Teeter as Munkustrap.[291] TheLa Mirada Theatre for the Performing Arts staged the musical in 2014, with a cast that includedTodrick Hall as Rum Tum Tugger.[292]
Nick Winston directed and choreographed a production at theKilworth House Theatre in 2019 with a cast that includedEmma Hatton andHelen Anker. Set in a dilapidatedLondon Underground station duringWorld War II, this production was given a 5-star review byThe Stage for its "radical" reimagining ofCats.[293]
The musical is also available for school and amateur licensing through The Musical Company.[294] On 24 March 2013, the largest-ever staging ofCats was performed by 3,000 students fromStagecoach Theatre Arts schools at theNational Indoor Arena inBirmingham, UK.[295]
Steven Spielberg's former animation studioAmblimation had planned an animated adaptation of the musical in the 1990s.[296] The film was to be set in war-torn London duringWorld War II, but the project was abandoned with the studio's closure in 1997.[297] The following year, adirect-to-video film was released. The film was directed byDavid Mallet and was shot at theAdelphi Theatre in London. It starredElaine Paige as Grizabella,John Mills as Gus,Ken Page as Old Deuteronomy, andMichael Gruber as Munkustrap.[298]
Afilm adaptation directed byTom Hooper forUniversal Pictures,Amblin Entertainment andWorking Title Films was released on 20 December 2019. The film starredJames Corden as Bustopher Jones,Judi Dench as Old Deuteronomy,Jason Derulo as Rum Tum Tugger,Idris Elba as Macavity,Jennifer Hudson as Grizabella,Ian McKellen as Gus,Taylor Swift as Bombalurina,Rebel Wilson as Jennyanydots andFrancesca Hayward as Victoria.[299] Swift collaborated with Andrew Lloyd Webber for a new song called "Beautiful Ghosts."[300] The movie was negatively received by both critics and audiences, and was also abox-office bomb. Andrew Lloyd Webber disowned the film, claiming that it convinced him to get a therapy dog.[301]
Cats was a commercialblockbuster. Its worldwidebox office gross of over US$2 billion by 1994 made it the highest grossing musical in history at the time.[302]
The original London production received mostly rave reviews, with critics hailing it as a watershed moment in British musical theatre.[303]Michael Billington ofThe Guardian laudedCats as "an exhilarating piece of total theatre". Billington praised the show's "strong framework" and the ease in which the poems were integrated. He was also very impressed by Lloyd Webber's fitting compositions, Napier's environmental set, Lynne's effective and at times brilliant choreography, and Nunn's "dazzling staging" that makes use of the entire auditorium.[304] The show received similarly glowing reviews fromThe Sunday Times'Derek Jewell andThe Stage's Peter Hepple. Jewell proclaimed it to be "among the most exhilarating and innovative musicals ever staged",[303] while Hepple declared that withCats, "the British musical has taken a giant leap forward, surpassing in ingenuity and invention anything Broadway has sent us".[305]
There were a few lukewarm reviews, most notably fromIrving Wardle ofThe Times. Wardle enjoyed Lloyd Webber's compositions but found the visual spectacle too overwhelming.[303] Robert Cushman's review forThe Observer concluded thatCats was flawed but unmissable.[306]
The reviews for the 2014 and 2015 London revivals were positive as well, with critics giving both productions an average of 4 out of 5 stars.[307][308] Critics generally found the revivals to be enjoyable and invigorating, thoughMark Shenton was disappointed that the new staging lacked the immersiveness of the original.[307][309]
Reactions to the original Broadway production were mixed.[310] In his review forThe New York Times,Frank Rich said the main draw of the show was that it "transports the audience into a complete fantasy world that could only exist in the theater". He attributed much of this "wondrous spectacle" to Nunn's direction, Napier's set and costume designs, as well as the cast. Rich found many of Lloyd Webber's songs to be "cleverly and appropriately" pastiche, but panned Lynne's choreography and felt that the musical failed in its vague attempt to tell a story. Overall, he wished the show had more "feeling to go with its most inventive stagecraft."[311]
The New Yorker'sBrendan Gill wrote: "Judged as a spectacle instead of simply as a musical, 'Cats' is a triumph."[312] Conversely, Sylviane Gold ofThe Boston Phoenix called the musical "an overproduced trifle, a cabaret evening tricked out in Broadway regalia."[313]Edwin Wilson ofThe Wall Street Journal describedCats as an "anomaly", writing that "[t]he world it creates is refreshingly novel [...] and Mr. Webber has composed a score of eminently hummable tunes," but noting there was a disconnect between the immense scale of the production and the simplicity of Eliot's lyrics.[314]Clive Barnes of theNew York Post concluded his review saying: "Its importance lies in its wholeheartedness. It is a statement of musical theater that cannot be ignored, should prove controversial and will never be forgotten."[315]
The 2016 Broadway revival received a similarly mixed review byCharles Isherwood ofThe New York Times. Isherwood concluded that the revival was "fundamentally theCats you knew and loved when you were first bit by the musical-theater bug. Or it's theCats you knew and snickered at when you first encountered it."[316]
Cats has received many international awards and nominations. The original London production was nominated for sixLaurence Olivier Awards in 1981, winning two awards includingBest New Musical.[317] Two years later, the original Broadway production won sevenTony Awards, includingBest Musical, out of eleven nominations.[318] The London andBroadway cast recordings were nominated for theGrammy Award for Best Musical Theater Album, which the latter won.[319][320] In 2015, the London revival was nominated for — but did not win — two Olivier Awards, includingBest Musical Revival.[321]
This is how they divide history: BC — BeforeCats — and AD — Andrew Dominant.
— Mark Steyn on the history of musical theatre.[322]
Despite mixed reviews whenCats opened in New York in 1982, critics agreed that it was innovative and visually spectacular in ways that Broadway had never seen before.[315] The musical became a cultural phenomenon and has had a profound influence on the medium.[323]Cats established musical theatre as a global commodity,[324][325] marking the beginning of a new era in the industry that is characterised by huge global stakes for potentially even huger global profits.[324] It led the shift in the Broadway market towards big-budgetblockbusters and shows that appeal to families and tourists,[86][326] which in turn left smaller productions struggling to compete.[325]Cats also ushered in a "golden age of British musicals" which saw West End exports dominate the industry for nearly two decades.[327][328] Musical theatre historian Vagelis Siropoulos asserted that in terms of impact, the "seminal Broadway opening" ofCats was "comparable only toRodgers and Hammerstein'sOklahoma! thirty nine years ago."[324]
Ultimately, critics are polarized on whetherCats has changed musical theatre for the better or for the worse.William Grimes wrote of its detractors: "There are more than a few who see theCats phenomenon as the theatrical equivalent of the rise of the megabudgetHollywoodaction film. For them,Cats is a soulless money machine."[315]
As the "first truemegamusical",[329]Cats pioneered a genre of musical theatre that is produced on a grand and global scale. It paved the way for later megamusicals — includingLes Misérables (1985),The Phantom of the Opera (1986) andMiss Saigon (1989) — that have dominated the industry since.[330] Siropoulos explained:
Cats is considered the quintessential megamusical, because it reconceived, like no other show before, theatrical space as an immense affective encompasser, that transforms the viewing experience into a hypercharged thrill-ride and the spectator into an explorer of new and challenging aural and visual sensations. Its unprecedented success paved the way for even bolder hyperspatial configurations, made the set designer a proper environment builder and raisedlight andsound design into the status of art in their own right. It also paved the way for the constant revolutionization of stage technology.[331]
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Cats introduced a marketing strategy that set the template for subsequent megamusicals. Early advertisements for the musical did not feature traditionalpull quotes (despite many positive reviews) or any of the cast, instead branding the show itself as the star. It did this by adopting — and then aggressively promoting — a single recognisable image (the cat's-eyes logo) as the face of the show.[332] The cat's-eyes logo was the first globally marketed logo in musical theatre history,[86] and was paired with atagline ("now and forever") to create whatThe Daily Telegraph called "one of musical theatre's greatest posters".[333] Such branding emblems proved equally effective for later megamusicals, as seen with the waifCosette forLes Misérables and the Phantom's mask forThe Phantom of the Opera. This advertising method had the additional effect of diminishing the importance of critical reviews, popularising the so-called "critic-proof" status of megamusicals.[332]
Additionally,Cats was the first Broadway and West End show to capitalise on merchandising as a major revenue stream. Stalls were set up in the theatre lobbies to sell souvenirs ranging from toys and watches to coffee mugs, all of which were emblazoned with the cat's-eyes logo. The officialCats t-shirt became the second-best-selling t-shirt in the world in the 1980s, second only to theHard Rock Cafe t-shirt. Merchandising has since become an important source of income for the industry.[324]
Beyond the megamusical,Cats also led the Broadway trend for musicals aimed at families and tourists, which later took the form of theDisney Theatrical Productions andjukebox musicals.[326][334] The marketing campaigns for the musical targeted family audiences at a time when this demographic was not a consideration in the industry.[334] ComposerJoe Raposo said of family musicals in 1986: "Cats is a wonderful proof of what an audience is out there, untapped. People do want a theatrical experience for their children."[335] Thanks to its easily accessible spectacle, the original Broadway production also tapped into the then-burgeoning tourist boom in New York and its audience shifted increasingly towards foreign visitors in its later years.[325][332] Billington also specifically traces the rise of the jukebox musical genre back toCats, citing the latter's disregard for dramatic text in favour of an all-encompassing theatrical experience.[336]
The musical'sfantasy setting and disregard forverisimilitude allowed for groundbreaking experimentations in lighting and audio technology. The original London and Broadway productions featuredDavid Hersey's pioneering use ofautomated lighting to produce kaleidoscopic landscapes and complicated optical effects. Hersey also used light in an "architectural manner", with fast-changing configurations to spotlight different performers in rapid succession. This dynamic shifting of the audience's perspective created an effect similar to that offast cutting in film editing.[16] The original London production ofCats was also the first known instance in which an entire cast was individually outfitted withradio microphones.[337] The departure from shared ambient microphones meant that the show did not have to depend on the acoustics and architectural design of the theatrical venue, and enabled the sound designer to achieve cinematic levels of sound amplification and studio-quality audio in live theatre.[338] This practice transformed sound design and has since become the norm in live theatre.[337]
Cats opened new regional, touring and international markets that the industry continues to capitalise on.[325] Recognising the global potential of his show, Mackintosh replicated the original production worldwide with an unprecedented degree of standardisation.[324] Paraphrasing theatre historian Alan Filewod, Marla Carlson wrote:
Cats began the progressive transformation of "Broadway" from a specific location into a delocalized "moment of reception" that can be experienced anywhere and everywhere, even while continuing to depend upon the stamp of approval that box-office success in an actual Broadway theater bestows.[339]
In the 1980s, the success of local productions ofCats in Tokyo,[166] Sydney,[340] Vienna, Hamburg,[177] and Toronto were turning points that established these cities (and their respective countries) as major commercial markets in the global theatrical circuit.[341] The musical was also a boon for the Broadway touring industry. In 1997,The New York Times credited the regional and touring productions ofCats with "almost single-handedly reviv[ing] the sagging road business".[342]Cats revolutionised the touring business by introducing the now commonplace practice of extended touring engagements that can last several weeks or months in a single city, as opposed to the typical one-week or ten-day tour stop. Mackintosh's insistence that all touring productions ofCats replicate the Broadway production also resulted in the expansion and upgrading of regional theatre venues to accommodate the musical's demanding logistical requirements, as local theatre owners did not want to miss out on the opportunity to host the lucrative show.[343]
"Memory" is the standout hit song fromCats. By 2002, the song had been played over two million times on radio and television stations in the US.[97] It was the most requested song at piano bars and lounges in the 1980s, and was an equally popular choice at weddings, concerts and other gatherings. As of 2006, the song had been recorded around 600 times by artists such asBarbra Streisand,Barry Manilow,Judy Collins, andJohnny Mathis, in covers ranging fromeasy listening totechno.[344] According to Sternfeld, it is "by some estimations the most successful song ever from a musical."[329]
Cats was the ground-breaking show for all of us ... The success of it gave us all the freedom to go on and do other shows.
— Mackintosh[327]
Despite moderate hits withJesus Christ Superstar andEvita, Lloyd Webber was still relatively unknown to the general public beforeCats, especially in the US. WithCats, he became a big celebrity in his own right.[329] The musical also established the theatrical careers of the original creative and production team. FollowingCats, they collaborated on other global blockbusters includingStarlight Express (composed by Lloyd Webber, directed by Nunn and designed by Napier),Les Misérables (directed by Nunn, designed by Napier and produced by Mackintosh), andThe Phantom of the Opera (composed by Lloyd Webber, choreographed by Lynne and produced by Mackintosh).[1][345]
The New London Theatre, where the original London production ofCats played for 21 years, was officially renamed the Gillian Lynne Theatre in 2018. This made Lynne the first non-royal woman to have a West End theatre named after her.[346]
Valerie Eliot used a portion of the royalty payments fromCats to establish the literary charity Old Possum's Practical Trust, and to set up theT. S. Eliot Prize which has since become "the most coveted award in poetry".[347][348]Cats also turned things around for the independent British publishing houseFaber and Faber. As the publisher ofOld Possum's Book of Practical Cats, royalties of up to £1 million annually[327] kept the then-struggling Faber afloat during the 1980s.[349] Moreover, the musical led to a surge in the sales of Eliot's book.[1] The success ofCats led Faber to turn another of their literary properties,Ted Hughes'The Iron Man, into a 1989musical of the same name.[350]
Cats has been referenced many times on screen; from the filmsSix Degrees of Separation[302] andTeam America: World Police,[351] to thesketch comedySaturday Night Live, and animated series likeFamily Guy,The Simpsons andBoJack Horseman,[352] as well as live action comedies includingThe Golden Girls,Caroline in the City,Glee andUnbreakable Kimmy Schmidt.[353][354] An episode of the musical television seriesCrazy Ex-Girlfriend, titled "I Need Some Balance", parodiedCats by having all the songs sung by anthropomorphic cats who "introduce [themselves] over '80s Broadway beats".[355] The sitcomThe Nanny includes a recurring plot of rivalry between Andrew Lloyd Webber and the character Maxwell Sheffield. The latter is often taunted by other characters with reminders that he declined to produceCats.
Stage parodies of the musical have also been mounted in the West End andOff-Broadway.CAT – (THE PLAY!!!), a one-man show written by Jamie Beamish and Richard Hardwick, is adark comedy about the fictitious life of Dave, a cat who was fired from the original London production ofCats on opening night. StarringGerard McCarthy as Dave and with choreography byArlene Phillips, the musical premiered at the 2014Edinburgh Fringe Festival;[356] it performed at various regional venues before making its West End debut at theAmbassadors Theatre in April 2017.[357]Katdashians! Break the Musical!, a parody mashup ofKeeping Up with the Kardashians andCats by Bob and Tobly McSmith, premiered Off-Broadway at the Elektra Theatre in June 2016.[358] All the song parodies ofCats were later removed after accusations ofcopyright infringement from Lloyd Webber's representatives, who claimed the songs were being used "to parody another subject matter entirely".[359] Other stage shows that satiriseCats includeSix Degrees of Separation,[354]Angels in America,[302] andThe Musical of Musicals (The Musical!).[360]
Madame Tussauds New York featureswax figures of several characters from the musical, including one of Grizabella that sings "Memory" through the use ofprojection mapping technology.[361] Similarly, a wax figure of Rumpleteazer is displayed at thePanoptikum wax museum in Hamburg, Germany.[362]
ACatspostage stamp was issued by theUnited States Postal Service in 2000 as part of itsCelebrate the Century series. The musical was chosen as one of fifteen "outstanding artifacts, events and activities" from the 1980s to be commemorated with its own stamp design.[363] Beginning in March 2019, theRinkai Line in Tokyo, Japan, uses two songs from the musical for itstrain departure melodies at theŌimachi Station; the train toŌsaki Station uses a jingle from "Memory", while the train toShin-Kiba Station uses a jingle from "Skimbleshanks: The Railway Cat".[364]
The visual effects of the 2019 film adaptation were mocked in the 2022Disney filmChip 'n' Dale: Rescue Rangers, in a scene where the titular characters notice two alley cats resembling the ones in the film as they venture through an "uncanny valley" part of town.[365]
| Cast | Album details | Peak chart positions | Sales | Certifications | |||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
| US [366][367] | AUS [368] | AUT [369] | GER [370] | JPN [371] | NED [372] | NZ [373] | UK [374] | ||||
| Original London cast | 86 | 44 | 7 | 21 | 6 | ||||||
| Original Broadway cast |
| 131 | – | 5 | 17 |
| |||||
| Original Viennese cast |
| – | 1 | 24 | |||||||
| Original Australian cast | 19 | ||||||||||
| Original Japanese cast |
| – | |||||||||
| Original Hamburg cast | – | 12 | |||||||||
| Original Dutch cast |
| – | 72 | ||||||||
| Original London cast (Highlights fromCats) |
| – | |||||||||
| Japanese cast | – | ||||||||||
| Original French cast |
| – | |||||||||
| Original Mexican cast |
| – | |||||||||
| Original Polish cast |
| - | |||||||||
| Dutch cast |
| – | |||||||||
| Original Italian cast |
| – | |||||||||
| Japanese cast |
| – | 13 | ||||||||
| Film cast |
| – | |||||||||
| Title | Year | Director(s) | Details | Ref. |
|---|---|---|---|---|
| "The Rum Tum Tugger" | 1985 | Jeff Lee | Starring original Broadway cast memberTerrence Mann as Rum Tum Tugger, the musical number was re-arranged and re-staged for a music video. It was the first music video created to promote a Broadway show. | [398][399] |
The stage production ofCats has undergone several revisions since its London opening. When the show transferred to Broadway, several cuts and rewrites were made with the intention of appealing more to an American audience.[400] Additionally, a song entitled "Cat Morgan Introduces Himself" was cut during initial development. Lloyd Webber performed this song at the show's 6,138th Broadway performance, when it broke the record to become the longest-running Broadway show.[103]
The "Growltiger's Last Stand" sequence has been changed multiple times over the course of the show's history. In the original London production, the "last duet" for Growltiger and Griddlebone was a setting for an unpublished Eliot poem, "The Ballad of Billy M'Caw". For the original Broadway production, the Ballad was replaced with "In Una Tepida Notte", a parody of Italian opera with moreslapstick humour.[93][401] This new version was eventually incorporated into all other productions ofCats.[93]
"Growltiger's Last Stand" has been criticised as being racially offensive. The original lyrics, taken directly from the Eliot poem it is based on, included the ethnic slur "Chinks" and this was later replaced with the word "Siamese".[31] The number also originally involved the cast putting on "Asian accents" to portray the Siamese cats.[316]In the 1998 video version, the entire scene featuring Growltiger was cut.[402] By 2016, "Growltiger's Last Stand" had been removed completely from the US and UK productions of the show.[31]
In the original London production, Mungojerrie and Rumpleteazer were characters in their own right and sang their eponymous song themselves as a singsong-style duet. When the show transferred to Broadway, the song was instead sung in the third-person, with Mungojerrie and Rumpleteazer as puppets being magically controlled by Mr. Mistoffelees. Their number was also rewritten to be faster and more upbeat, alternating betweenvaudeville-style verses and a "manicpatter" section. Eventually, the Broadway version of the song was rewritten to allow Mungojerrie and Rumpleteazer to once again sing their own song as full characters.[403]
The 2014 London revival introduced several modernisations to the show. Rum Tum Tugger was reworked from a ladies-man rockstar to abreakdancing street cat. His eponymous musical number was also turned into arap.[404][405] The 2015 Australian tour and 2015 Paris production also used the new version of the character; however, the 2016 Broadway revival, and other subsequent productions thereafter, did not.[citation needed]
The 2016 Broadway revival featured new choreography byAndy Blankenbuehler, who introduced morehip hop andcool jazz elements to the movements and dances.[55] Blankenbuehler's choreography for the ensemble numbers did not differ too much from the original by Lynne, but significant changes were made in several solo numbers, including "The Rum Tum Tugger" and "Mr. Mistoffelees".[316]
| Preceded by | Longest-running Broadway show 1997–2006 | Succeeded by |
| Characters | |||||||
|---|---|---|---|---|---|---|---|
| Music |
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| Film adaptations | |||||||
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