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Cats (musical)
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Cats

Logo by Really Useful Group

Music Andrew Lloyd Webber

Basis Old Possum's Book of Practical Cats

by T. S. Eliot

Premiere 11 May 1981; 38 years ago: New London

Theatre, London, England, U.K.

Productions Multiple productions worldwide

  Laurence Olivier Award for Best New Musical
Awards
 Tony Award for Best Musical

 Tony Award for Best Book of a Musical

 Tony Award for Best Original Score

Cats is a sung-through musical composed by Andrew Lloyd Webber based on the 1939 poetry
collection Old Possum's Book of Practical Cats by T. S. Eliot. It tells the story of a tribe of cats called
the Jellicles and the night they make the "Jellicle choice", deciding which cat will ascend to
the Heaviside Layer and come back to a new life. The musical includes the well-known song
"Memory" as sung by Grizabella.
Lloyd Webber began setting Eliot's poems to music in 1977 and the compositions were first
presented as a song cycle in 1980. Producer Cameron Mackintosh then recruited director Trevor
Nunn and choreographer Gillian Lynne to turn the songs into a complete musical. Cats opened to
positive reviews at the New London Theatre in the West End in 1981 and then to mixed reviews at
the Winter Garden Theatre on Broadway in 1982. It won numerous awards including Best Musical at
both the Laurence Olivier and Tony Awards. Despite its unusual premise which deterred investors
initially, the musical turned out to be an unprecedented commercial success, with a worldwide gross
of $3.5 billion by 2012.
The London production ran for 21 years and 8,949 performances, while the Broadway production
ran for 18 years and 7,485 performances, making Cats the longest-running musical in both theatre
districts for a number of years. As of 2019, it remains the sixth-longest-running West End show and
the fourth-longest-running Broadway show. 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
the Operettenhaus in Hamburg 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 the megamusical phenomenon, establishing Broadway as a global industry and
directing its focus to big-budget blockbusters, as well as family- and tourist-friendly shows. The
musical's profound but polarizing influence also reshaped the aesthetic, technology, and marketing
of the medium. Cats was adapted into a direct-to-video film in 1998, with a feature film
adaptation by Tom Hooper set to follow in 2019.

Contents

 1Background
o 1.1Poems
 2Creation
o 2.1Inception
o 2.2Development
 3Synopsis
o 3.1Act I – When Cats Are Maddened by the Midnight Dance
o 3.2Act II – Why Will the Summer Day Delay – When Will Time Flow
Away?
 4Music
o 4.1Musical numbers
o 4.2Orchestration
 5Characters
 o 5.1Featured
o 5.2Others
 6Notable casts
o 6.1One-off film characters
o 6.2Notable replacements
 7Artistic elements
o 7.1Musical treatment
o 7.2Choreography
o 7.3Staging
o 7.4Set and costume design
 8Production history
o 8.1London
o 8.2Broadway
o 8.3North America
o 8.4United Kingdom
o 8.5Japan
o 8.6Vienna
o 8.7Germany
o 8.8Europe
o 8.9Oceania
o 8.10Asia
o 8.11Others
o 8.12Regional and amateur
 9Film adaptations
 10Reception
o 10.1Box office
o 10.2Critical reception
o 10.3Awards and nominations
 11Legacy and cultural impact
o 11.1Influence and innovations
o 11.2"Memory"
o 11.3Creators
o 11.4In popular culture
 12Recordings and music video
o 12.1Cast recordings
o 12.2Music video
 13Revisions and cut material
o 13.1"Growltiger's Last Stand"
o 13.2Mungojerrie and Rumpleteazer
o 13.3Rum Tum Tugger
o 13.4Choreography
 14References
o 14.1Bibliography
 15External links

Background[edit]
Cats is based on T. S. Eliot's 1939 poetry book Old Possum's Book of Practical Cats, with the songs
in the musical consisting of Eliot's verse set to music by Andrew Lloyd Webber.[1] The musical is
unusual in terms of 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 and Paul
Laird described Cats as "combining elements of the revue and concept musical".[3] The plot centres
on a tribe of cats called the Jellicles, 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]
Poems[edit]

T. S. Eliot's poetry provided most of the lyrics for Cats

Old Possum's Book of Practical Cats is a collection of light 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 before Cats at setting his poems to music, though none of these attempts had
been met with much critical or commercial success.[6] Musicologist John Snelson 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 in Cats were taken from Old 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's The Dry Salvages. Cats director Trevor Nunn and
lyricist Richard 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]

Creation[edit]
Inception[edit]
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 his song cycle Tell Me on a Sunday was televised by
the BBC in early 1980, Lloyd Webber began to consider using his musicalizations of Eliot's poems in
the same vein for a televised concert anthology.[8] He approached producer Cameron 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
summer Sydmonton Festival. The concert was performed by Gemma Craven, Gary Bond and Paul
Nicholas. Eliot's widow and literary 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 turn Practical Cats into a musical, co-produced by Mackintosh and
the Really Useful Group's Brian Brolly.[10]
Development[edit]
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
the overture and "The Jellicle Ball", incorporating analog synthesizers into these orchestrations to try
to create a unique electronic soundscape.[11] Meanwhile, Mackintosh recruited Nunn, the then artistic
director of the Royal Shakespeare Company (RSC), to direct Practical 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 fellow RSC colleagues,
choreographer Gillian Lynne and set and costume designer John Napier.[9][14] Nunn initially
envisioned Practical Cats as a chamber 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
relented 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 narrative through 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 direct Practical Cats was that actress Judi Dench would
be cast in the musical. Lloyd Webber was happy to oblige given her credentials and so Dench joined
the company in the dual roles of Grizabella and Jennyanydots. Former Royal Ballet principal
dancer Wayne Sleep was offered the part of Mr. 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 of Nicholas as Rum Tum Tugger; Nunn had misgivings about the actor's laid-back 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 the pupils) 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
just Cats.[19]
The musical was scheduled to open on 30 April 1981, with previews 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 in Chiswick, London. The original music director,
Chris Walker, became so frustrated with the unfinished score that he quit by lunchtime and was
replaced by the film conductor Harry Rabinowitz.[20] The situation improved later that day when Lloyd
Webber, Mackintosh and Nunn met with 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", an 11
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 partner Tim 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]

The original 1981 London cast of Cats

Many of the ensemble characters were created by the original cast through
extensive improvisation 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 Dench snapped her Achilles tendon during rehearsals for "The Old Gumbie
Cat" and had to pull out one week before the first preview. Her understudy Myra Sands replaced her
as Jennyanydots, while Elaine 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 of Cats was also plagued by financial troubles. Mackintosh struggled to raise the
£450,000 (US$1.16 million[27]) needed to stage the musical in the West End as major investors were
sceptical of the show's premise and refused to back it. Lloyd Webber personally underwrote the
musical and took out a second mortgage on his house for the down payment of the theatre. He later
recalled that if Cats had been a commercial failure, it would have left him in financial ruin.[28] The
remaining capital was eventually financed by small investments procured from 220 individuals
through newspaper advertisements.[1][12] After the musical became a massive hit, the rate of return for
these investors was estimated to have exceeded 3,500%.[29]

Synopsis[edit]
Act I – When Cats Are Maddened by the Midnight Dance[edit]

The Jellicle cats gather every year to make the "Jellicle Choice", and decide which cat will ascend to the
Heaviside Layer and come back to a new life.

After the overture, the cats gather on stage and describe the Jellicle tribe and its purpose ("Jellicle
Songs for Jellicle Cats"). The cats (who break the fourth 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 a ballet solo performed by Victoria 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 patriarch Old
Deuteronomy will make an appearance and choose one of the cats to be reborn into a new life on
the Heaviside Layer.
The first contender Munkustrap introduces is Jennyanydots ("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 and Rum 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 is Grizabella. 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 as Bustopher 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 prestigious gentlemen's clubs. Suddenly, a loud crash startles the tribe and the cats run
offstage in fright. Hushed giggling sounds signal the entrance of Mungojerrie 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 Great Rumpus Cat. A sombre moral from Old Deuteronomy is interrupted
by a second loud crash, presumably from Macavity, 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 is once again shunned by the other cats ("Grizabella: The
Glamour Cat (Reprise)") while Old Deuteronomy looks on sadly. She tries to dance along, but her
age and decrepit condition prevent her from doing so ("Memory (Prelude)").
Act II – Why Will the Summer Day Delay – When Will Time Flow Away?[edit]
After the Jellicle Ball, Old Deuteronomy contemplates "what happiness is", referring to Grizabella.
However, the cats do not understand him, so he has Jemima (also known as Sillabub), the youngest
of all Jellicles, sing it in simpler terms ("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 from palsy which makes his paws shake". He is accompanied
by Jellylorum, his caretaker, who tells of his exploits. Gus then remembers how he once played the
infamous pirate captain, Growltiger a.k.a. the Terror of the Thames ("Growltiger's Last Stand"). Gus
tells the story about the pirate captain's romance with Lady Griddlebone, and how Growltiger was
overtaken by the Siamese and forced to walk the plank to his death.
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 night train to Glasgow.
Skimbleshanks is considered vital to the rail operations, as without him "the train can't start". 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 and Bombalurina 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 in a fight with 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 magician Mr. 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 announce 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 toward the sky; Grizabella then completes the journey on
her own.[i] Finally, Old Deuteronomy gives his closing speech to the audience ("The Ad-dressing of
Cats") and the show comes to a close.
Notes:

1. ^ The method in which Grizabella ascends to the Heaviside Layer varies

depending on the production. In the original London and Broadway
productions, she climbs up a stairway that emerges from the ceiling. In
the 1990s and 2000s scaled-down touring productions, she ascends via
a flying saucer-like vessel.[30]

Music[edit]
Musical numbers[edit]
Act I Act II
 "Overture" – Orchestra  "The Moments of Happiness" – Old Deuteronomy, Jemim
 "Prologue: Jellicle Songs for Jellicle Cats" – The Company Company
 "The Naming of Cats" – The Company  "Gus: The Theatre Cat" – Asparagus, Jellylorum
 "The Invitation to the Jellicle Ball" – Victoria, Quaxo,  "Growltiger's Last Stand" (including "The Ballad of Billy
Munkustrap, Company M'Caw" or "In Una Tepida Notte")† – Growltiger,
 "The Old Gumbie Cat" – Jennyanydots, Munkustrap, Griddlebone, Genghis, The Crew, Company
Bombalurina, Jellylorum, Demeter, Company  "Skimbleshanks: The Railway Cat" – Skimbleshanks and
 "The Rum Tum Tugger" – Rum Tum Tugger, Quaxo, Company
Bombalurina and Company  "Macavity: The Mystery Cat" – Demeter, Bombalurina, G
 "Grizabella: The Glamour Cat" – Grizabella, Demeter,  "Mr. Mistoffelees" – Mr. Mistoffelees, Rum Tum Tugger
Bombalurina, Company and Company
 "Bustopher Jones: The Cat About Town" – Bustopher,  "Memory" – Grizabella, Jemima
Jennyanydots, Bombalurina, Jellylorum, Company  "The Journey to the Heaviside Layer" – The Company
 "Mungojerrie and Rumpleteazer" – Mungojerrie,  "Finale: The Ad-Dressing of Cats" – Old Deuteronomy an
Rumpleteazer, Company Company
 "Old Deuteronomy" – Munkustrap, Rum Tum Tugger, Old
Deuteronomy, Company
 "The Awefull Battle of the Pekes and the Pollicles" –
Munkustrap, Rumpus Cat and Company
 "The Jellicle Ball"* – The Company
 "Grizabella: The Glamour Cat (Reprise)" – Jellylorum and
Jemima
 "Memory (Prelude)" – Grizabella
*Also credited as "Song of the Jellicles and the Jellicle Ball".[31]
†Song has been dropped from US and UK productions since
2016.[32] In the 2016 Broadway revival, "The Awefull Battle of the
Pekes and the Pollicles" was moved to Act II to replace this
number.[31]
Orchestration[edit]
Based on the definitive 16-piece licensed version.[33]
 Woodwind I: flute, tenor sax, soprano  Keyboard I
sax  Keyboard II
 Woodwind II: B♭ clarinet, baritone sax,  Keyboard III
flute  Percussion
 Woodwind III: oboe, cor anglais  Cello
 Horn I  Guitar: electric, acoustic
 Horn II  Bass
 Trumpet I: B♭ trumpet, piccolo trumpet  Drums
 Trumpet II: B♭ trumpet, flugelhorn
 Trombone

Characters[edit]
Main article: Jellicle cats
Cats is an ensemble show with a large supporting cast and
no leads.[34]
Featured[edit]

From left to right: Old

Deuteronomy, Jemima, Grizabella and Victoria during an event in
Germany, 2011.

Characters who are featured singers and/or dancers:

 Asparagus (Gus) a.k.a. the Theatre Cat – A frail elderly cat

who likes reminiscing about his past exploits when he used to
be a famous stage actor.[35]
 Bombalurina – A flirty and confident red queen; she is best
friends with Demeter and the two share an intense hatred for
Macavity.[36]
 Bustopher Jones – A fat upper-class cat with a "fastidious
black coat and white spats". Respected by all, he is a man of
leisure who frequents gentlemen's club for their fine
dining.[37] In most productions, the actor playing Gus also plays
Bustopher, though in early productions the part was handled
by the actor playing Old Deuteronomy.
 Demeter – A troubled and skittish queen; she is best friends
with Bombalurina and the two share an intense hatred for
Macavity.[36]
 Griddlebone – Growltiger's lover in "Growltiger's Last Stand",
in which she sings "The Ballad of Billy M'Caw" or the mock
Italian aria "In Una Tepida Notte" (depending on production).
Usually played by the actress playing Jellylorum.
 Grizabella – A former "glamour cat", ostracised by the
Jellicles, who has lost her sparkle and now only wants to be
accepted.[38]
 Growltiger – A theatrical character Gus recalls playing in his
youth, and who appears in Gus' memory during "Growltiger's
Last Stand".[35] In some productions he is portrayed as a
vicious pirate; in others, he is more comical. Usually played by
the actor playing Gus.
 Jellylorum – A motherly caretaker who watches out for the
kittens and looks after Gus.
 Jemima/Sillabub – The youngest kitten. Idealistic and jovial,
she is sympathetic to Grizabella's plight.[39]
 Jennyanydots a.k.a. the Old Gumbie Cat – She sits around
all day and is seemingly very lazy, but at night, she becomes
very active as she rules the mice and cockroaches, forcing
 them to undertake helpful functions and creative projects to
curb their naturally destructive habits.[40]
 Macavity – A notorious criminal known as the "Napoleon of
Crime".[41] He is a featured dancer with no singing parts.
Usually played by the actor playing Admetus/Plato.
 Mr. Mistoffelees – A young black-and-white tuxedo tom
learning to control his magical powers.[42] He is a featured
dancer, performing his signature "Conjuring Turn" (twenty-four
consecutive fouettés en tournant) during his
number.[43] Mistoffelees' chorus identity is sometimes known
as Quaxo.
 Mungojerrie – A mischievous troublemaker, he is one-half of
a notorious duo of cat-burglars along with Rumpleteazer.[44]
 Munkustrap – A grey tabby tomcat who is the storyteller and
protector of the Jellicle tribe. He is Old Deuteronomy's
second-in-command and the show's main narrator.[45]
 Old Deuteronomy – The wise and benevolent elderly Jellicle
leader who is beloved by his tribe. He tries to get the other
cats to accept Grizabella all through the show.[46]
 Rumpleteazer – A mischievous troublemaker, she is one half
of a notorious duo of cat-burglars along with Mungojerrie.[44]
 Rum Tum Tugger – A flashy and unappeasable cat who
loves to be the centre of attention.[47]
 Skimbleshanks a.k.a. the Railway Cat – An upbeat and
active orange tabby cat, who lives on the mail trains and acts
as an unofficial chaperone to such an extent he is considered
rather indispensable to the train and station employees.[48]
 Victoria – A demure and graceful white kitten. She is a
featured dancer, opening with a ballet solo after "The Naming
of the Cats" and is the first character to touch Grizabella.[49]
Others[edit]
Other characters who have appeared in multiple notable
productions include:

 Admetus/Plato – The chorus identity of Macavity. He is a

quiet ginger-and-white young tom, and is typically paired with
Victoria in a pas de deux during the Jellicle Ball.[50]
 Alonzo – A black-and-white tom. He is vain, insecure and full
of bravado.[51]
 Bill Bailey/Tumblebrutus – A playful tom kitten, often
performing acrobatics as well as being a strong dancer. His
costume consists of brown patches (including a brown eye
patch) on a white base.[52]
 Carbucketty/Pouncival – A playful and acrobatic brown-and-
white tom kitten.[53]
 Cassandra – An elegant and aloof brown pointed queen.[54]
 Coricopat and Tantomile – Mysterious twin brother and
sister with psychic abilities.[55]
 Electra – A reserved and solemn tortoiseshell kitten. Her
costume is brown, red and black.[56]
  Etcetera – An exuberant and immature tabby kitten. Her
costume is white, black and brown.[57]
 Rumpus Cat – A spiky-haired cat with glowing red eyes, seen
as a sort of superhero figure in "The Awefull Battle of the
Pekes and the Pollicles" despite his ineptness. Usually played
by one of the male ensemble characters in the play within the
musical.[58]

Notable casts[edit]

Origin Origina First Second

Broadwa
al l London London
Role Film y revival Film
Londo Broadw 1998[61] Revival Revival 2019[64]
cast
n cast ay cast cast cast 2016[31]
1981[59] 1982[60] 2014[62] 2015[63]

Eric
Steven Kenneth Bryn Cameron Javier Daniel
Admetus/Plato Underw
Wayne Ard Walters Ball Cid Gaymon
ood

Héctor
Roland Jack Bluey
Jaime Jason Adam Ahmad
Alonzo Alexan Butterwo Robinso
Mercad Gardiner Lake Simmons
der rth n
o

Ian
Stephen Stephen John Christop
Asparagus (Gus) Paul F. Monaghan McKelle
Tate Hanan Mills her Gurr
n

Bill Robert
Peter Fergus Adam Jon-Scott Kolton
Bailey/Tumblebr Hoshou N/A
Barry Logan Salter Clark Krouse
utus r

Geraldi Emma Christine

Donna Rosemari Charlene Taylor
Bombalurina ne Lee Cornish
King e Ford Ford Swift
Gardner Clark Smith

Brian Stephen James Christop James

Bustopher Jones Paul F. Monaghan
Blessed Hanan Barron her Gurr Corden
 Luke
Carbucketty/Pou Luke Steven Karl Joel Giuseppe
Cinque- N/A
ncival Baxter Gelfer Morgan Morris Bausilio
White

René Emily
Seeta Rebecca Cassie Danielle Mette
Cassandra Ceballo Pynenbur
Indrani Parker Clare Cato Towley
s g

René Corey
Donald Tommy Benjami James Jaih
Coricopat Clement John
Waugh Sliiden n Mundy Titchener Betote
e Snide

Sharon Anna
Wendy Aeva Zizi Kim Daniela
Demeter Lee- Woodsid
Edmead May Strallen Fauré Norman
Hill e

Anita Leah Sue Lili

Electra N/A N/A N/A N/A
Pashley Morland Froehlich

Christin
Julie Jo
Etcetera e N/A N/A N/A N/A
Edmett Bingham
Langner

Herman Stevie
John Jordan Sharrod
George/Pouncival W. N/A Hutchins N/A
Chester Shaw Williams
Sebek on

Susan Bonnie Melissa

Clare
Griddlebone Jane Simmon N/A N/A N/A Madden
Rickard
Tanner s Gray

Nicole
Elaine Betty Elaine Beverley Leona Jennifer
Grizabella Scherzin
Paige Buckley Paige Knight Lewis Hudson
ger

Ray
Stephen Stephen
Growltiger N/A Paul F. Monaghan N/A Winston
Tate Hanan
e
 Susan Bonnie Susan
Sara Jean Freya
Jellylorum Jane Simmon Jane Clare Rickard
Ford Rowley
Tanner s Tanner

Whitne
Sarah Veerle
y Natasha Tarryn Arianna Jonadett
Jemima/Sillabub Bright Casteley
Kersha Mould Gee Rosario e Carpio
man n
w

Anna Suzie
Myra Laurie Jane Eloise Rebel
Jennyanydots McNeel McKenn
Sands Scarth Quinn Kropp Wilson
ey a

John
Kenneth Bryn Cameron Javier Daniel Idris
Macavity Thornto
Ard Walters Ball Cid Gaymon Elba
n

Mark
Laurie
Wayne Timoth Jacob Joseph John Ricky
Mr. Mistoffelees Davidso
Sleep[i] y Scott Brent Poulton[i] Richards Ubeda
n
on[i]

John René
Drew Benjami Harry Jess Danny
Mungojerrie Thornto Clement
Varley n Yates Francis LeProtto Collins
n e

Jeff Andy
Harry Michael Callum Matt Robert
Munkustrap Shankle Huntingt
Groener Gruber Train Krzan Fairchild
y on Jones

Quentin
Old Brian Nicholas Adam Earl Judi
Ken Page
Deuteronomy Blessed Pound Linstead Darringto Dench
n[ii]

Antoine
Paul
Rum Tum Terrenc John Murray- Marcquel Tyler Jason
Nichola
Tugger e Mann Partridge Straugha le Ward Hanes Derulo
s
n
 Bonnie Christin Georgie
Dawn Shonica Naoimh
Rumpleteazer Langfor e Jo Gibb Leatherla
Williams Gooden Morgan
d Langner nd

Roland Frank Jack

Kenneth Adam Christop
Rumpus Cat Alexan Thompso Butterwo N/A
Ard Lake her Gurr
der n[iii] rth

Kenn Reed Geoffrey Ross Evan Jeremy Steven

Skimbleshanks
Wells Jones Garratt Finnie James Davis McRae

Janet
Femi Kaye Kathryn Gabrielle Emily Zizi
Tantomile Hubert-
Taylor Brown Barnes Cocca Tate Strallen
Whitten

Phyllida Georgina Francesc

Finola Cynthia Hannah Kenna
Victoria Crowley Pazcogui a
Hughes Onrubia Thomas
Smith n Hayward

Notes:

1. ^ Jump up to:a b c Also credited as "Quaxo" (chorus cat)

2. ^ Also credited as "Victor" (chorus cat)
3. ^ Also credited as "Admetus/Cover"

One-off film characters[edit]

 1998 film: Femi Taylor as Exotica; Tony Timberlake as

Asparagus (chorus cat)[65]
 2019 film: Les Twins as Socrates and Plato
Notable replacements[edit]
Notable replacements from the musical's West End and Broadway
runs:
West End[edit]

 Admetus/Macavity: Richard Armitage (1994–1995)[66]

 Alonzo: Warren Carlyle (1992), Steven
Houghton (1993), Jason Gardiner (1997), Chris Jarvis (2001–
2002)[66][67]
 Asparagus/Growltiger: Paul Bentley (1988), Mark
Wynter (1990–1992), Peter Polycarpou (2001–2002)[66][67]
 Bill Bailey: Michael Sundin (1982)[66]
 Bombalurina: Femi Taylor (1984–1985), Janie
Dee (1990), Donna King (1992), Heather Douglas (1999)[66]
 Coricopat: Danny John-Jules (1983)[66]
 Demeter: Erin Lordan (1985), Louise Fribo (1994–1995)[66]
 Electra: Sarah-Jane Honeywell (1993–1994)[66]
 Etcetera: Sarah-Jane Honeywell (2001–2002)[66][67]
 Grizabella: Angela Richards (1982), Marti Webb (1983), Anita
Harris (1985–1986), Clare Burt (1993), Rosemarie
Ford (1995), Diane Langton (1996), Stephanie
Lawrence (1997), Sally Ann Triplett (1998), Chrissie
Hammond (1999–2002),[66][67] Kerry Ellis (revival;
2015),[68] Madalena Alberto (revival; 2015–2016)[69]
 Jellylorum/Griddlebone: Rebecca Lock (2000–2001)[66][70]
 Jemima: Ruthie Henshall (1987–1989), Louise
Fribo (1996), Veerle Casteleyn (1998–1999)[66]
 Jennyanydots: Ann Emery (1983–1986)[66]
 Mistoffelees: Gen Horiuchi (1998), Louie
Spence (1999),[71] Jacob Brent (2001)[66]
 Munkustrap: David Burt (1982), Gary Martin (1987–
1990), Steven Houghton (1994)[66]
 Old Deuteronomy: John Turner (1983–1985), John
Rawnsley (1995–1997), Dave Willetts (2001), Junix
Inocian (2001–2002)[66][67]
 Rum Tum Tugger: John Partridge (1995, 2001–
2002),[67] Tommie Earl Jenkins (1997–1998)[66]
 Rumpleteazer: Anna-Jane Casey (1988–1990), Jo
Gibb (1996–1997)[66]
 Skimbleshanks: Neil Fitzwiliam (1984–1985)[66]
 Victoria: Phyllida Crowley Smith (1992–1993)[66]
Broadway[edit]

 Alonzo: Scott Wise (1984)[72]

 Bustopher Jones/Asparagus/Growltiger: Tim
Jerome (1984–1986), Gregg Edelman (1986)[72]
 Cassandra: Charlotte d'Amboise (1984–1985)[72]
 Demeter: Lena Hall (1999–2000)[73]
 Grizabella: Laurie Beechman (1984–1988, 1997), Loni
Ackerman (1988–1991), Lillias White (1991–1992), Liz
Callaway (1993–1999), Linda Balgord (1999–2000)[72]
 Jennyanydots: Sharon Wheatley (1999–2000)[72]
 Mistoffelees: Gen Horiuchi (1991–1993, 1995–1996), Jacob
Brent (1996–1999), Christopher Gattelli (1999)[72]
 Munkustrap: Rob Marshall (1987), Bryan Batt (1991–
1992), Michael Gruber (1996–1997, 1999), Jeffry
Denman (1999–2000)[72]
 Plato/Macavity/Rumpus Cat: Scott Wise (1983)[72]
 Pouncival: Robert Montano (1985–1987), Christopher
Gattelli (1996–1998, 1999–2000)[72]
 Rum Tum Tugger: David Hibbard (1993–1996, 1997–
1999), Stephen Bienskie (1999–2000)[72]
 Rumpleteazer: Jennifer Cody (1994)[72]
 Tumblebrutus: Randy Bettis (1990–1991, 1996–1998)[72]

Artistic elements[edit]
Musical treatment[edit]

Andrew Lloyd Webber

Cats is completely told through music with no dialogue in between

the songs,[74] 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 a rock song ("The Rum Tum
Tugger"); the fallen Grizabella is accompanied by a dramatic
operatic aria ("Grizabella: The Glamour Cat"); Old Deuteronomy
makes his grand entrance to a lullaby-turned-anthem ("Old
Deuteronomy"); and Gus' nostalgia for the past is reflected
through an old-fashioned music hall number ("Gus: The Theatre
Cat").[16] Many of the songs are pastiches 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
in Cats move beyond the straightforward "Elvis" pastiche
of Joseph 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.[75]
Lloyd Webber also employs various techniques to help connect
the pieces. Namely, the score relies heavily on recurring motifs as
well as the use of preludes and reprises.[76] 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 characterize Grizabella and foreshadow her
final number.[77][78] Similarly, Lloyd Webber introduces a fugue 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.[79]
The musical also features an unusual amount of "group-
description" numbers. According to musicologist Jessica Sternfeld,
such numbers are usually relegated to the prologue and nothing
more, as seen in "Another Op'nin', Another Show" from Kiss Me,
Kate and "Tradition" from Fiddler 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.[80]
Choreography[edit]

Gillian Lynne

Dance plays a major role in Cats as the creative team had

specifically set out to create "England's first dance
musical".[81] Before Cats, 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".[82] Making Lynne's job more
challenging was the fact that the music in Cats is unceasing and
the majority of the cast remains onstage throughout nearly the
entire show.[82]
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.[81] The resulting choreography blends ballet, modern
dance, jazz and tap, interspersed with acrobatic displays.[16] Lynne
also trained the cast to evoke the movement, physicality and
behaviour of actual cats.[83] 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".[81][84] 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.[81][84]
Staging[edit]
The original staging of Cats at the New London Theatre was
considered revolutionary[85] and "one of the first truly immersive
theatrical experiences".[34] Instead of a conventional proscenium,
the theatre was quasi-in-the-round with a central revolving
stage.[15][86] 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 the stalls onto the theatre's 60 ft
(18 m)[87] revolve such that the audience moved along with the
stage.[16] When the show was brought to Broadway, the Winter
Garden Theatre was given a similar $2 million makeover;[88] its
proscenium stage was converted into a thrust, and a part of its
roof was torn through to allow for the effects of Grizabella's
ascension to the Heaviside Layer.[89]
Nunn was also adamant that the orchestra for Cats be hidden
backstage — out of the audience's view — so as not to break the
immersion.[90] 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.[80][91] In the original Broadway
production, catwalks were built to connect the stage to
the boxes and balcony so as to give the cast access to the entire
auditorium during the show.[92]
Set and costume design[edit]
Napier began designing the set in November 1980, wanting "a
place where cats might congregate together, which also included
maximum room for dancing".[93] The set of Cats consists of a
junkyard filled with oversized props to give the illusion that the cast
are the size of actual cats;[94] 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][95]
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.[93] The
costumes generally consist of a unitard, a wig that is fashioned to
suggest the presence of feline ears, patches resembling body fur,
and arm and leg 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 design motif is custom-painted by hand onto a plain
unitard to line up with their performer's individual body. In order to
reproduce the "hand-drawn aesthetic" of Napier's original design
sketches, costume painters in the original Broadway production
used squeeze bottles to apply the paint. Due to the amount of
dancing in Cats, most of the costume did not last longer than a
few months.[96]

Production history[edit]
Cats has been translated into over 15 languages and produced
professionally in more than 30 countries.[97]
London[edit]

Cats at the New London Theatre (1999)

Cats premiered in the West End at the New London Theatre on 11

May 1981. The musical was produced by Mackintosh and Lloyd
Webber's Really Useful Group, with direction by Nunn,
choreography by Lynne (who also served as the associate
director), set and costume design by Napier, lighting design
by David Hersey, sound design by Abe Jacob and music direction
by Harry Rabinowitz.[98] 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
in Covent Garden for fans who could not acquire a
ticket.[99] Cats held the record as London's longest-running musical
from 1989, when it surpassed Jesus Christ Superstar,[100] until 8
October 2006, when it was surpassed by Les Misérables.
The musical returned to the West End in 2014 for a planned 12-
week limited run at the London Palladium. Beginning on 6
December, the revival starred Nicole Scherzinger as Grizabella,
and featured the original creative team, with direction from Nunn,
choreography by Lynne and design by Napier.[62] Lloyd Webber
was also involved and rewrote "The Rum Tum Tugger" for the
revival.[101] The run was later extended through April 2015 and an
additional 100,000 tickets were released, with Kerry Ellis replacing
Scherzinger as Grizabella.[68] The musical returned once again to
the London Palladium for another limited run lasting from 23
October 2015 to 2 January 2016, starring Beverley Knight as
Grizabella.[102]
Broadway[edit]
 Broadway revival of Cats at the Neil Simon Theatre

Cats debuted on Broadway on 7 October 1982 at the Winter

Garden Theatre with a record-breaking $6.2 million in ticket pre-
sales.[27] Most of the original creative team remained, with Martin
Levan replacing Jacob as the sound designer and Stanley
Lebowsky replacing Rabinowitz as music director. The musical
was co-produced by the original London production team, along
with David Geffen and The Shubert Organization.[60] It was the
most expensive Broadway show ever mounted at the time with a
production cost of $5.5 million,[103] though it recouped its
investment in less than 10 months.[100] On 19 June
1997, Cats overtook A Chorus Line to become the longest-running
show in Broadway history with 6,138 performances.[104] 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.[95] A June closing
date was announced in early 2000 but was subsequently pushed
back after a resulting surge in ticket sales.[105] The show closed on
10 September 2000 after a total of 13 previews and 7,485
performances.[60] One actress, Marlene Danielle, performed in the
Broadway production for its entire 18-year run.[72] Its Broadway-run
record was surpassed on 9 January 2006 by The Phantom of the
Opera, and Cats remains Broadway's fourth-longest-running
show of all time. Overall, the original Broadway production
grossed approximately $388 million in ticket sales.[106]
Encouraged by the reception to the first West End revival,
producers began looking to bring Cats back to Broadway in early
2015.[107] The Broadway revival opened on 31 July 2016 at the Neil
Simon Theatre.[31] It featured new choreography by Andy
Blankenbuehler, with Nunn and Napier from the original creative
team returning to direct and design respectively.[108] Scherzinger,
who played Grizabella in the 2014 West End revival, had originally
agreed to reprise the role on Broadway but later
withdrew.[109] Leona Lewis was cast as Grizabella instead and was
ultimately succeeded by Mamie Parris in October 2016. The
Broadway revival closed on 30 December 2017 after 16 previews
and 593 performances.[31]
North America[edit]
Following its Broadway debut, Cats has been staged extensively
across North America. The first US national tour, Cats National I,
launched at the Shubert Theatre in Boston in December 1983 and
closed in November 1987. The opening night cast included Laurie
Beechman playing Grizabella and Charlotte d'Amboise playing
Cassandra; later replacements included Victoria Clark and Jessica
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.[110][111] Cats National II, a
separate sit-down production at the Los Angeles Shubert Theatre,
ran from January 1985 to November 1986, and starred Kim
Criswell and George de la Peña in the roles of Grizabella and
Mistoffelees respectively.[112][113] A third US touring company, Cats
National III, ran for two years from September 1986 to September
1988. Notable performers in the third tour included Jonathan
Cerullo as Skimbleshanks (1986) and Bill Nolte as Old
Deuteronomy (1987).[114]
The fourth national company, Cats National IV, toured the United
States for 13 years from March 1987 to December 1999.[115] It
overtook the first national tour of Oklahoma! in November 1997 to
become the longest-running tour in theatre history, and played its
5,000th performance in July 1999.[116] Notable performers in the
fourth tour included Amelia 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), and Lena Hall as
Demeter (1998).[115] By June 1997, the North American touring
companies had grossed over $400 million.[88]
After the show's closure on Broadway in 2000, Troika
Entertainment obtained the touring rights for Cats and launched
the show's first non-Equity national company.[117] After a try-out
at Harrah's Atlantic City in July 2001, the production toured North
America for 11 years from August 2001 to June
2012.[118][119][120] Performers in the non-Equity tour included Julie
Garnyé as Jennyanydots (2001)[121] and Dee Roscioli as Grizabella
(2002).[122][123] In January 2019, a new North American Equity tour
based on the 2016 Broadway revival opened at the Providence
Performing Arts Center in Rhode Island, and is scheduled to run
through June 2020.[124]
Meanwhile, the first Canadian national production premiered in
March 1985 at the Elgin and Winter Garden
Theatres in Toronto, Ontario. It moved to Montreal 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.[116][125] A second Canadian
touring company began in 2013, 28 years after the first one
launched.[126]
The musical first played in Mexico from April 1991 to November
1992;[118] the Spanish-language production performed over 400
shows and starred María del Sol as Grizabella,[127] Manuel
Landeta as Munkustrap,[128] Susana Zabaleta as Jellylorum, Maru
Dueñas as Sillabub and Ariel López Padilla as Macavity.[129] A
revival premiered at the Teatro San Rafael in May 2013, with an
opening night cast that included Filippa Giordano as Grizabella,
Landeta, and Maru Dueñas.[130] After a total of 350 performances,
the show closed at the Teatro San Rafael in June 2014,[131] and
then toured over 36 cities in Mexico until December
2014.[132][133] Other performers who later joined the production
included Lisset,[134] Rocío Banquells,[135] Lila Deneken and Myriam
Montemayor Cruz, all of whom played Grizabella.[136] Another
Mexican revival was launched at the Coyoacán Centennial
Theater in October 2018, with Yuri as Grizabella and Landeta as
Old Deuteronomy.[128][137] The revival marked its 200th performance
in May 2019.[138]
United Kingdom[edit]
The first UK and Ireland tour opened in May 1989 at the Opera
House Theatre in Blackpool. The cast for this tour included Marti
Webb as Grizabella, Rosemarie Ford as Bombalurina and John
Partridge as Alonzo.[118] Following a six-month engagement in
Blackpool that broke the theatre's box office record and was seen
by around 450,000 people,[139] the production moved to
the Edinburgh Playhouse for three months, before closing in May
1990 after another two months at the Point Theatre in Dublin.[118] A
second national tour launched in June 1993 at the Bristol
Hippodrome,[140] featuring Rosemarie Ford as Grizabella, Robin
Cousins as Munkustrap, Simon Rice as Mistoffelees and Tony
Monopoly as Old Deuteronomy.[141] The tour closed at
the Manchester Opera House in December 1995.[142]
Following the closure of the original West End production, a
nationwide tour embarked in 2003 with Chrissie
Hammond starring as Grizabella,[143][144] until Dianne Pilkington took
over the role in 2006.[145] Hammond reprised the role on tour again
from 2007 to 2008.[146][147]
A UK and Ireland tour of Cats launched in February 2013 at the
Edinburgh Playhouse with Joanna Ampil as
Grizabella.[148][149] Susan McFadden took over the role from Ampil
during the tour's three-week stop in Dublin.[150] The production ran
through 2014 before transferring to the West End.[151] In between
its limited West End runs, the musical returned to the Blackpool
Opera House Theatre in 2015, this time starring Jane
McDonald as Grizabella.[152][153] After the second West End revival,
the production toured the UK in 2016 with Anita Louise Combe as
Grizabella and Marcquelle Ward as Rum Tum Tugger.[154][155]
Japan[edit]
The CATS Theatre in Shinagawa, Tokyo (2008)

The Japanese-language production of Cats by the Shiki Theatre

Company has been playing continuously since it premiered
in Shinjuku, 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.[156][157] An initial investment of ¥800 million
(US$3.4 million in 1983) was required to bring Cats 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.[158] 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.[159]
As of 2019, the show is performed at the purpose-built CATS
Theatre in Tokyo.[156][160] The production has played over 10,000
performances to over 10 million audiences.[161]
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.[162][163] In 1998, the Japanese
production underwent major revisions to the choreography,
staging and costume designs.[164] Following further revisions in
2018,[165] 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.[166]
There have been numerous notable performers in the Japanese
production, including Shintarō Sonooka as Munkustrap (original
1983 cast),[167] Kanji Ishimaru as Skimbleshanks
(1992),[168] Masachika Ichimura, and Mayo Kawasaki.[169] 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.[169]
Vienna[edit]
Under the direction of Peter Weck, the first German-language
production of Cats opened in September 1983 at the Theater an
der Wien in Vienna, Austria. In 1988, the show transferred to the
newly-renovated Ronacher Theatre where it ran for another two
years before closing on its seventh anniversary in September
1990.[110][170] The Vienna production played a total of 2,040
performances to more than 2.3 million audiences.[171]
The original Viennese cast included Ute Lemper who played
Bombalurina, Steve Barton who played Munkustrap, and Robert
Montano who played Pouncival.[110] Pia Douwes was also a
member of the cast from 1987 to 1989, covering several different
characters including Grizabella.[172] The Vienna production also
performed limited runs at the Komische Oper Berlin in East
Germany in 1987,[173] and at the Moscow Operetta Theatre in
the Soviet Union in 1988.[174]
An ongoing revival by the Vereinigte Bühnen Wien production
company opened at the Ronacher Theatre in September 2019.[175]
Germany[edit]

The Operettenhaus where Cats played for 15 years

Influenced by the show's success in Vienna, a German production

by Stella Entertainment premiered in April 1986 at the newly-
renovated Operettenhaus in Hamburg.[170][176] It closed in January
2001 after 15 years, having played over 6,100 performances to
6.2 million audiences.[176][177] 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.[177] The musical was also a
huge boost for tourism in Hamburg, particularly the subdivision
of St. 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.[176]
Cats redefined musical theatre in the German-speaking part of the
world, turning an industry which consisted of repertory 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 in countries like
Switzerland.[170][177] It also led to a "construction boom" in Germany
as new theatrical venues such as the Schmidt Theater were
enacted all around the country.[177][178] Germany has since grown to
become the third largest musical market after the US and UK, with
Hamburg as its "musical capital".[170][177]
After Hamburg, the German production transferred
to Stuttgart where it played from 2001 to 2002.[179][180] Stage
Entertainment took over the production mid-2002 and moved the
show to Berlin (2002–2004)[181][182] and later Düsseldorf (2004–
2005),[183] before touring other cities until 2006.[184][185] Mehr-
Entertainment launched a separate tour of Cats that ran from
December 2010 to June 2013, performing in a travelling purpose-
built tent theatre.[177] Besides Germany, this company also made
stops in cities in Luxembourg, Switzerland and Austria.[186]
Europe[edit]
Beyond the UK, Vienna and Germany, Cats is also produced
frequently in the rest of Europe.
1980s and 1990s[edit]
The first non-English production of Cats premiered in March 1983
at the Madách Theatre in Budapest, Hungary, with direction by
Tamás Szirtes and choreography by László Seregi.[187] 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.[188][189]
November 1985 saw the premiere of a Norwegian-language
production at Det Norske Teatret in Oslo. It closed in January
1987 and included performers such as Øivind Blunck, Brit
Elisabeth Haagensli and Øystein Wiik.[116][190] Jorma
Uotinen directed and choreographed a Finnish production at
the Helsinki City Theatre that ran for over two years from
September 1986 to December 1988, and featured Monica
Aspelund as Grizabella, Heikki Kinnunen as Gus, and Kristiina
Elstelä as Jennyanydots/Griddlebone.[191] A Swedish version of the
musical opened in 1987 at the Chinateatern in Stockholm. The
production was seen by 326,000 audiences before it transferred to
the Scandinavium in Gothenburg two years later.[192]
Meanwhile, the Carré Theatre in Amsterdam, Netherlands, staged
the musical in 1987 (with Ruth Jacott as Grizabella[193]), 1988 and
from 1992 to 1993.[194] Cats made its French debut at the Théâtre
de Paris from February 1989 to April 1990,[118] with an original cast
that included Gilles Ramade as Old Deuteronomy.[195] The show
was also produced in Zürich at the ABB Musical Theatre from
1991 to 1993,[196] while a production by Joop van den Ende and
the Royal Ballet of Flanders was staged at the Stadsschouwburg
Antwerpen in Belgium in 1996.[197] An English/German-language
"Eurotour" production also toured the region from May 1994 to
December 1995.[171]
21st century[edit]
 The first non-replica production of Cats was staged at the Teatr
Muzyczny Roma in Warsaw, Poland (2007).

The show was staged at the Det Ny Teater in Copenhagen,

Denmark, in the 2002–2003 season.[198] This Danish production
was translated by Adam Price and was one of the largest
theatrical productions ever mounted in the country at the time with
100 performers, musicians and stagehands.[199] The first non-
replica production of Cats was approved for a Polish production at
the Teatr Muzyczny Roma in Warsaw.[200] Set in an abandoned film
studio instead of a junkyard, the Polish version opened in January
2004 and closed in 2010.[201][202][203] The Gothenburg opera
house staged a production with a Swedish-language script
by Ingela Forsman; this version was reimagined to take place in
an abandoned fairground and played from September 2006 to
February 2007.[204] Other productions were also staged at the
Divadlo Milenium in Prague from 2004 to 2005,[185] and a
Norwegian revival at the Chat Noir in Oslo in 2009.[205] The first
Italian-language production began touring Italy in 2009.[206]
The Dutch live entertainment company Stage Entertainment has
been responsible for several European productions of Cats. The
company produced the musical at the Coliseum Theatre
in Madrid from December 2003 to January 2005, with a cast that
included Víctor Ullate Roche as Mistoffelees.[207][208] They then
staged a Russian-language production at the Moscow Palace of
Youth from 2005 to 2006, with a cast that included Ivan
Ozhogin as Munkustrap.[209][210] A Dutch production under the same
company toured the Netherlands and Belgium from 2006 to
2007,[202][211] featuring several performers in the role of Grizabella
including Pia Douwes and Anita Meyer.[212][213] A Paris revival by
Stage Entertainment ran at the Théâtre 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.[214][215]
English-language touring companies have also toured the
European region extensively. International tours in the early to late
2000s included stops in Sweden,
Norway,[216] Finland,[217] Greece,[185] Portugal,[218] Germany,[219] and
Italy.[220] The 2013–2014 UK tour visited cities in
Belgium,[211][221] Greece, Italy,[222] Monaco, and Portugal.[151] 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.[223] These European
tours have featured several notable performers in the role of
Grizabella, including Pernilla Wahlgren (Sweden;
2003),[224] Katarína Hasprová (Slovakia; 2016)[225] and Jenna Lee-
James (Netherlands; 2018–2019).[226]
Oceania[edit]
The first Australian production ran from July 1985 to August 1987
at the Theatre Royal in Sydney. The original cast included Debra
Byrne as Grizabella, John Wood as Old Deuteronomy, Marina
Prior as Jellylorum, Jeff Phillips as Rum Tum Tugger, David
Atkins as Mistoffelees, and Anita Louise Combe as
Sillabub.[116][227] 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
to Melbourne, including $725,000 to refurbish the old Her
Majesty's Theatre.[228] The Melbourne run played from October
1987 to December 1988, with an opening night cast that
included Megan 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 and Seán Martin Hingston as
Plato/Macavity.[116][229] From 1989 to 1990, the company toured
the Festival Theatre in Adelaide,[230] His Majesty's
Theatre in Perth,[231] Civic Theatre in Newcastle, Lyric
Theatre in Brisbane, and the Aotea Centre in Auckland.[116] This
was followed by a second national tour from 1993 to
1996,[232] during which Delia Hannah made her debut as Grizabella
in 1994.[233] A professional circus adaptation of Cats, titled Cats
Run Away to the Circus, had a national tent tour from 1999 to
2001, with Hannah once again starring as
Grizabella.[234][235] Hannah reprised her role for another production
that toured Australia and Asia in 2009 and 2010.[236]
In July 2014, Australia's Harvest Rain Theatre Company staged
the biggest production of Cats in the Southern Hemisphere with
over 700 performers. Produced by Tim O'Connor, the production
was performed at the Brisbane Convention & Exhibition Centre.
Callum Mansfield directed and choreographed it, and its cast
included Marina Prior as Grizabella and Steven Tandy as
Bustopher Jones and Gus.[237][238] From October 2015 to May 2016,
a revival toured Australia with stops in Sydney, Hobart,
Melbourne, Brisbane, Adelaide, and Perth.[239][240] The revival
featured singer-songwriter Delta Goodrem as Grizabella,[241] before
Delia Hannah took over the role during the Adelaide and Perth
seasons.[233][242]
The musical played in Auckland from 1989 to 1990,[243] and for a
limited run in 2015.[244] A New Zealand national tour played across
16 cities in 2019, with a reimagined setting in a
derelict Victorian theatre that was inspired by post-
earthquake Christchurch.[245]
Asia[edit]
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 actress Jacintha
Abisheganaden as Grizabella),[246] Hong Kong and South
Korea.[247] Cats returned to Asia from 2002 to 2004, when an
international touring company performed in Malaysia,[248] South
Korea,[249] Shanghai,[250] Taipei and Beijing;[251][252][253] the 2004 cast
included Slindile Nodangala in the role of Grizabella.[252] A touring
company visited Asia again between 2007 and 2010, including
stops in Taiwan,[202] Macau, and Thailand in 2007;[254] South Korea
from 2007 to 2008;[255] China in 2008;[256] Singapore and Hong
Kong in 2009 (with Delia Hannah playing
Grizabella);[236][257][258] and Manila in 2010 (with Lea Salonga as
Grizabella).[259] Cats toured Asia again from 2014 to 2015, making
stops in South Korea, Singapore and Macau.[260] Two years later,
another Asian tour was launched and is scheduled to run through
2020, with visits to South Korea from 2017 to 2018,[261] Hong
Kong[262] and Taiwan in 2018,[263] China in 2018 (with Joanna
Ampil as Grizabella) and 2019,[264][265] and planned stops in the
Philippines and Singapore in 2019, and Malaysia in
2020.[265] 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.[266]
The musical has also been translated and staged nationally in
Asia. From September 2008 to May 2009, a Korean-language
production toured South Korea, with Shin Youngsook and Ock
Joo-hyun alternating as Grizabella, Kim Jin-
woo and Daesung alternating as Rum Tum Tugger, and Kim Bo-
kyung as Rumpleteazer.[267] This production was revived and
toured South Korea from 2011 to 2012, with Insooni and Park
Hae-mi taking turns to portray Grizabella.[268] The first Chinese-
language production began touring various cities in China in
2012.[269]
Others[edit]
Spanish and Portuguese-language productions of Cats have been
staged in South America, with productions in Argentina in 1993
(with Olivia Bucio as Grizabella),[174] in Chile in 2006 (at the Arena
Santiago)[270] and 2014,[271] in Colombia in 2009,[272] and in Brazil in
2010 (with Paula Lima as Grizabella).[273] Other countries that the
musical has been performed in include South Africa (2001–
2002),[248] Lebanon (2002),[274] Qatar (2003, 2017),[275][276] Turkey
(2013),[277] Israel (2014),[278] and the United Arab
Emirates (2017).[279]
Royal Caribbean International announced in April 2014 that a full-
length production of Cats will be performed regularly for guests
aboard the cruise ship Oasis of the Seas.[280] The production began
playing in autumn 2014 and the cast is rotated every nine
months.[280][281]
Regional and amateur[edit]

A school production of Cats in Bangalore, India (2014)

Cats has been produced by various professional regional theatre

companies. Broadway Sacramento staged the musical in 2003
and 2009 at the Wells Fargo Pavilion. Both productions
featured Ken Page reprising his role as Old Deuteronomy from the
original Broadway production, along with Jacquelyn Piro
Donovan as Grizabella and Jeffry Denman as Munkustrap.[282][283] A
2010 amphitheatre production at The Muny starred Page as Old
Deuteronomy, Stephanie J. Block as Grizabella and Lara
Teeter as Munkustrap.[284] The La Mirada Theatre for the
Performing Arts staged the musical in 2014, with a cast that
included Todrick Hall as Rum Tum Tugger.[285]
Nick Winston directed and choreographed a production at
the Kilworth House Theatre in 2019 with a cast that
included Emma Hatton and Helen Anker. Set in a
dilapidated London Underground station during World War II, this
production was given a 5-star review by The Stage for its "radical"
reimagining of Cats.[286]
The musical is also available for school and amateur licensing
through The Musical Company.[287] On 24 March 2013, the largest-
ever staging of Cats was performed by 3,000 students
from Stagecoach Theatre Arts schools at the National Indoor
Arena in Birmingham, UK.[288]

Film adaptations[edit]
Further information: Cats (1998 film) and Cats (2019 film)
Steven Spielberg's former animation studio Amblimation had
planned an animated adaptation of the musical in the 1990s. The
film was to be set in war-torn London during World War II, but the
project was abandoned with the studio's closure in 1997.[289] The
following year, a direct-to-video film was released. The film was
directed by David Mallet and was shot at the Adelphi Theatre in
London. It starred Elaine Paige as Grizabella, John Mills as
Gus, Ken Page as Old Deuteronomy, and Michael Gruber as
Munkustrap.[290]
A film adaptation directed by Tom Hooper for Universal
Pictures, Amblin Entertainment and Working Title Films is
scheduled to premiere on 20 December 2019. The film will
star Jennifer Hudson as Grizabella, Taylor Swift as
Bombalurina, James Corden as Bustopher Jones, Judi Dench as
Old Deuteronomy, Jason Derulo as Rum Tum Tugger, Idris
Elba as Macavity, Ian McKellen as Gus, Rebel Wilson as
Jennyanydots and Francesca Hayward as Victoria.[291]

Reception[edit]
Box office[edit]
Cats was a mammoth commercial hit. Its worldwide gross of over
$2 billion by 1994 made it the highest grossing musical in history
at the time.[292] In 2012, the New York Post reported that the
musical's grosses had reached $3.5 billion.[293]
Critical reception[edit]
London[edit]
The original London production received mostly rave reviews, with
critics hailing it as a watershed moment in British musical
theatre.[294] Michael Billington of The Guardian lauded Cats 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.[295] The show received similarly
glowing reviews from The Sunday Times' Derek Jewell and The
Stage's Peter Hepple. Jewell proclaimed it to be "among the most
exhilarating and innovative musicals ever staged",[294] while Hepple
declared that with Cats, "the British musical has taken a giant leap
forward, surpassing in ingenuity and invention anything Broadway
has sent us".[296]
There were a few lukewarm reviews, most notably from Irving
Wardle of The Times. Wardle enjoyed Lloyd Webber's
compositions but found the visual spectacle too
overwhelming.[294] Robert Cushman's review for The
Observer concluded that Cats was flawed but unmissable.[297]
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.[298][299] Critics generally found the revivals to be enjoyable
and invigorating, though Mark Shenton was disappointed that the
new staging lacked the immersiveness of the original.[298][300]
Broadway[edit]
Reactions to the original Broadway production were mixed.[301] In
his review for The New York Times, Frank Rich noted that 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 talented cast.
Rich found many of Lloyd Webber's songs to be "cleverly and
appropriately" pastiche, and was impressed with how Lynne and
Nunn distinguished each character through personalised
movement. However, he panned Lynne's choreography and felt
that the musical failed in its vague attempt to tell a story. Overall,
he wished that the show had more "feeling to go with its most
inventive stagecraft."[302] Clive Barnes of the New 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."[303]
The 2016 Broadway revival received a similarly mixed review
by Charles Isherwood of The New York Times. Isherwood
concluded that the revival was "fundamentally the Cats you knew
and loved when you were first bit by the musical-theater bug. Or
it's the Cats you knew and snickered at when you first
encountered it."[304]
Awards and nominations[edit]
Main article: List of awards and nominations for the musical Cats
Cats has received many international awards and nominations.
The original London production was nominated for six Laurence
Olivier Awards in 1981, winning two awards including Best New
Musical.[305] Two years later, the original Broadway production won
seven Tony Awards, including Best Musical, out of eleven
nominations.[306] The London and Broadway cast recordings were
nominated for the Grammy Award for Best Musical Theater
Album, which the latter won.[307][308] In 2015, the London revival was
nominated for — but did not win — two Olivier Awards,
including Best Musical Revival.[309]

Legacy and cultural impact[edit]

This is how they divide history: BC — Before Cats — and AD —
Andrew Dominant.

— Mark Steyn on the history of musical theatre.[310]

Despite mixed reviews when Cats opened in New York in 1982,
critics agreed that it was innovative and visually spectacular in
ways that Broadway had never seen before.[303] The musical
became a cultural phenomenon and has had a profound influence
on the medium.[311] Cats established musical theatre as a global
commodity,[312][313] marking the beginning of a new era in the
industry that is characterised by huge global stakes for potentially
even huger global profits.[312] It led the shift in the Broadway market
towards big-budget blockbusters and shows that appeal to families
and tourists,[88][314] which in turn left smaller productions struggling
to compete.[313] Cats also ushered in a "golden age of British
musicals" which saw West End exports dominate the industry for
nearly two decades.[315][316] Musical theatre historian Vagelis
Siropoulos asserted that in terms of impact, the "seminal
Broadway opening" of Cats was "comparable only to Rodgers and
Hammerstein's Oklahoma! thirty nine years ago."[312]
Ultimately, critics are polarized on whether Cats 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 the Cats phenomenon as the theatrical equivalent of the rise
of the megabudget Hollywood action film. For them, Cats is a
soulless money machine."[303]
Influence and innovations[edit]
As the "first true megamusical",[317] Cats pioneered a genre of
musical theatre that is produced on a grand and global scale. It
paved the way for later megamusicals — including Les
Misérables (1985), The Phantom of the Opera (1986) and Miss
Saigon (1989) — that have dominated the industry
since.[318] 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 raised light and sound design into the
status of art in their own right. It also paved the way for the
constant revolutionization of stage technology.[319]

The cat's-eyes logo and the "now and forever" slogan were used to
advertise the musical at the New London Theatre (1999).

Cats introduced a marketing strategy that set the template for

subsequent megamusicals. Early advertisements for the musical
did not feature traditional pull quotes (despite many positive
reviews) or any of the cast, focusing instead on 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.[320] The cat's-eyes logo was the first globally
marketed logo in musical theatre history,[88] and was paired with
a tagline ("now and forever") to create what The Daily
Telegraph called "one of musical theatre's greatest
posters".[321] Such branding emblems proved equally effective for
later megamusicals, as seen with the waif Cosette for Les
Misérables and the Phantom's mask for The 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.[320]
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 official Cats t-shirt became the
second-best-selling t-shirt in the world in the 1980s, second only
to the Hard Rock Cafe t-shirt. Merchandising has since become an
important source of income for the industry.[312][322]
Beyond the megamusical, Cats also led the Broadway trend for
musicals aimed at families and tourists, which would later take the
form of the Disney Theatrical Productions and jukebox
musicals.[314][323] The marketing campaigns for the musical targeted
family audiences at a time when this demographic was not a
consideration in the industry.[323] Composer Joe 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."[324] 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.[320][313] Billington also specifically traces the rise of the
jukebox musical genre back to Cats, citing the latter's disregard for
dramatic text in favour of an all-encompassing theatrical
experience.[325]

Radio microphones have become the norm in live theatre since Cats.[326]

The musical's fantasy setting and disregard

for verisimilitude allowed for groundbreaking experimentations in
lighting and audio technology. The original London and Broadway
productions featured David Hersey's pioneering use of automated
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 of fast cutting in film
editing.[16] The original London production of Cats was also the first
known instance in which an entire cast was individually outfitted
with radio microphones.[326] 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.[327] This
practice transformed sound design and has since become the
norm in live theatre.[326]
Cats opened new regional, touring and international markets that
the industry continues to capitalise on.[313] Recognising the global
potential of his show, Mackintosh replicated the original production
worldwide with an unprecedented degree of
standardisation.[312] 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.[328]
In the 1980s, the success of local productions of Cats in
Tokyo,[159] Sydney,[329] Vienna, Hamburg,[170] and Toronto were
turning points that established these cities (and their respective
countries) as major commercial markets in the global theatrical
circuit.[330] The musical was also a boon for the Broadway touring
industry. In 1997, The New York Times credited the regional and
touring productions of Cats with "almost single-handedly reviv[ing]
the sagging road business".[331] 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
of Cats 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.[332]
"Memory"[edit]
Main article: Memory (Cats song)
"Memory" is the standout hit song from Cats. By 2002, the song
had been played over two million times on radio and television
stations in the US.[99] 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 as Barbra
Streisand, Barry Manilow, Judy Collins, and Johnny Mathis, in
covers ranging from easy listening to techno.[333] According to
Sternfeld, it is "by some estimations the most successful song
ever from a musical."[317]
Creators[edit]
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[315]
Despite moderate hits with Jesus Christ Superstar and Evita,
Lloyd Webber was still relatively unknown to the general public
before Cats, especially in the US. With Cats, he became a big
celebrity in his own right.[317] The musical also established the
theatrical careers of the original creative and production team.
Following Cats, they collaborated on other global blockbusters
including Starlight Express (composed by Lloyd Webber, directed
by Nunn and designed by Napier), Les Misérables (directed by
Nunn, designed by Napier and produced by Mackintosh), and The
Phantom of the Opera (composed by Lloyd Webber,
choreographed by Lynne and produced by Mackintosh).[1][334]
The New London Theatre, where the original London production
of Cats 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.[335]
By 2012, the royalty payments from Cats to the Eliot estate had
totaled an estimated $100 million.[293] Valerie Eliot used a portion of
this money to establish the literary charity Old Possum's Practical
Trust, and to set up the T. S. Eliot Prize which has since become
"the most coveted award in poetry".[336][337] Cats also turned things
around for the independent British publishing house Faber and
Faber. As the publisher of Old Possum's Book of Practical Cats,
royalties of up to £1 million annually[315] kept the then-struggling
Faber afloat during the 1980s.[338] Moreover, the musical led to a
surge in the sales of Eliot's book.[1] The success of Cats led Faber
to turn another of their literary properties, Ted Hughes' The Iron
Man, into a 1989 musical of the same name.[339]
In popular culture[edit]
Cats has been referenced many times on screen; from the
films Six Degrees of Separation[292] and Team America: World
Police,[340] to the sketch comedy Saturday Night Live, and
animated series like Family Guy, The Simpsons and BoJack
Horseman,[341] as well as live action comedies including The
Golden Girls, Caroline in the City, Glee and Unbreakable Kimmy
Schmidt.[342][343] An episode of the musical television series Crazy
Ex-Girlfriend, titled "I Need Some Balance", parodied Cats by
having all the songs sung by anthropomorphic cats who "introduce
[themselves] over '80s Broadway beats".[344]
Stage parodies of the musical have also been mounted in the
West End and Off-Broadway. CAT – (THE PLAY!!!), a one-man
show written by Jamie Beamish and Richard Hardwick, is a dark
comedy about the fictitious life of Dave, a cat who was fired from
the original London production of Cats on opening night.
Starring Gerard McCarthy as Dave and with choreography
by Arlene Phillips, the musical premiered at the 2014 Edinburgh
Fringe Festival;[345] it performed at various regional venues before
 making its West End debut at the Ambassadors Theatre in April
2017.[346] Katdashians! Break the Musical!, a parody mashup
of Keeping Up with the Kardashians and Cats by Bob and Tobly
McSmith, premiered Off-Broadway at the Elektra Theatre in June
2016.[347] All the song parodies of Cats were later removed after
accusations of copyright infringement from Lloyd Webber's
representatives, who claimed the songs were being used "to
parody another subject matter entirely".[348] Other stage shows that
satirise Cats include Six Degrees of Separation,[343] Angels in
America,[292] and The Musical of Musicals (The Musical!).[349]
Madame Tussauds New York features wax figures of several
characters from the musical, including one of Grizabella that sings
"Memory" through the use of projection
mapping technology.[350] Similarly, a wax figure of Rumpleteazer is
displayed at the Panoptikum wax museum in Hamburg,
Germany.[351]
A Cats postage stamp was issued by the United States Postal
Service in 2000 as part of its Celebrate 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.[352] Beginning in March 2019, the Rinkai Line in
Tokyo, Japan, uses two songs from the musical for its train
departure melodies at the Ōimachi Station; the train to Ōsaki
Station uses a jingle of "Memory", while the train to Shin-Kiba
Station uses a jingle of "Skimbleshanks: The Railway Cat".[353]

Recordings and music video[edit]

Cast recordings[edit]

List of cast recordings, with selected chart positions, sales figures and certifications

Peak chart positions

Certificatio
Cast Album details A N
Sales
G JP N U ns
US U E
[354][
ER N Z K
[36 [361
355] T [357] [358] D
[356] [359] 0] ]

 Released: 1 July  UK:

1981 (UK),[362] July Silver
1982 (US)[363] (1981);[3
Origin 62]
Gold
al  Label: PolyGram (U 2
86 7 6 (1993)[36
Londo K),[362] Geffen 1 5]
n cast Records (US)[363]
 SWI:
 Formats: LP, cassett Platinu
e, 2-disc CD[364] m[366]
  Released: 26
Origin January 1983
al (US)[367][368]  WW:  US:
13 1
Broad  Label: Geffen 5 >2,000 Platinu
1 7
way Records (US)[368] ,000[95] m[367][368]
cast  Formats: LP,
cassette, CD
 AUT:
Platinu
Origin  Released: 1983 m[370]
al  Label: Polydor  SWI:
 1 24
Vienne Records[369] Platinu
se cast  Formats: CD m[366]
 GER:
Gold[371]
Origin
al  Released: 1985[372]
Austral  Label: EMI 
ian  Formats: CD
cast
 Released: 21 April
Origin 1985[167][373]
al  Label: Pony Canyon 
Japane
 Formats: CD
se cast
 Live recording
 Released: 6 October
Origin 1986[374]
al  Label: Polydor
 12
Hambu Records
rg cast  Formats: LP,[375] CD
 Live recording
 Released: 1987[376]
Origin  Label: Mercury
al Records  72
Dutch
 Formats: CD
cast
 Live recording
Origin
al  UK:
Londo  Released: 1989[377] Silver
n cast  Label: Polydor (1993)[37
 8]
(Highli Records
ghts  Formats: CD  SWI:
from C Gold[366]
ats)
 Released: 8
Japane February 1989[167][379] 
se cast
 Label: Pony Canyon
  Formats: CD
 Released: 1989[195]
Origin  Label: Polydor
al Records

French  Formats: LP,
cast cassette, CD
 Live recording
Origin  Released: 1991[380]
al  Label: Polydor

Mexic Records
an cast  Formats: CD
 Released: 12
Origin January 2004[381]
al
 Label: Universal 
Polish
Music Polska
cast
 Formats: CD
 Released:
December 2006[382]
Dutch  Label: Universal

cast Music
 Formats: CD
 Highlights
 Released: 26
Origin January 2010[383]
al  Label: Compagnia

Italian della Rancia
cast  Formats: CD
 Live recording
 Released: 24 April
2019[167]
Japane
 Label: Universal  13
se cast
Music Japan[384]
 Formats: CD

Music video[edit]

Title Year Director(s) Details Ref.

Starring original Broadway cast

member Terrence Mann as Rum Tum Tugger, the
"The Rum [385][386]
1985 Jeff Lee musical number was re-arranged and re-staged
Tum Tugger"
for a music video. It was the first music video
created to promote a Broadway show.
Revisions and cut material[edit]
The stage production of Cats 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.[387] 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.[104]
"Growltiger's Last Stand"[edit]
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
more slapstick humour.[95][388] This new version was eventually
incorporated into all other productions of Cats.[95]
"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".[32] The number also originally
involved the cast putting on "Asian accents" to portray the
Siamese cats.[304] In the 1998 video version, the entire scene
featuring Growltiger was cut.[389] By 2016, "Growltiger's Last Stand"
had been removed completely from the US and UK productions of
the show.[32]
Mungojerrie and Rumpleteazer[edit]
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 between vaudeville-style
verses and a "manic patter" 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.[390]
Rum Tum Tugger[edit]
The 2014 London revival introduced several modernizations to the
show. Rum Tum Tugger was reworked and changed from a
ladies-man rockstar to a breakdancing street cat. His eponymous
musical number was also turned into a rap.[391][392] The 2015
Australian tour and 2015 Paris production also used the new
version of the character; however, the 2016 Broadway revival did
not.
Choreography[edit]
The 2016 Broadway revival featured new choreography by Andy
Blankenbuehler, who introduced more hip hop and cool
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".[304]

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