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";s:4:"text";s:4708:"[180], 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. Whether Jellicle moon is a special kind of moon, or just the moon for Jellicle cats is unknown. [15][87] 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. [203] The first non-replica production of Cats was approved for a Polish production at the Teatr Muzyczny Roma in Warsaw. Lloyd Webber's compositions employ an eclectic range of musical styles so as to magnify the characters' contrasting personalities. In 1997, The New York Times credited the regional and touring productions of Cats with "almost single-handedly reviv[ing] the sagging road business". For the original Broadway production, the Ballad was replaced with "In Una Tepida Notte", a parody of Italian opera with more slapstick humour. [337] According to Sternfeld, it is "by some estimations the most successful song ever from a musical."[321]. He is the so-called "Napoleon of Crime" who always manages to evade the authorities. [324] The cat's-eyes logo was the first globally marketed logo in musical theatre history,[89] and was paired with a tagline ("now and forever") to create what The Daily Telegraph called "one of musical theatre's greatest posters". Characters who are featured singers and/or dancers: Other characters who have appeared in multiple notable productions include: Notable replacements from the musical's West End and Broadway runs: Cats is completely told through music with no dialogue in between the songs,[74] although there are occasions when the music accompanies spoken verse. [298] Robert Cushman's review for The Observer concluded that Cats was flawed but unmissable. [83] Making Lynne's job more challenging was the fact that the music in Cats is unceasing and the majority of the cast remains on-stage throughout nearly the entire show. This production was based on the 2014 London revival and also featured a new song written especially for the French show by Lloyd Webber. ISBN 978-0-253-34793-0. The production was seen by 326,000 audiences before it transferred to the Scandinavium in Gothenburg two years later. [296] In 2012, the New York Post reported that the musical's grosses had reached $3.5 billion. Lloyd Webber was happy to oblige given her credentials and so Dench joined the company in the dual roles of Grizabella and Jennyanydots. [309] Two years later, the original Broadway production won seven Tony Awards, including Best Musical, out of eleven nominations. Within his song, a whole steam train engine is assembled out of objects in the junkyard. It has also been translated into multiple languages and performed around the world many times. Old Deuteronomy takes Grizabella by the hand and, as the other Jellicles follow behind them, leads her onto the tire, which ris… 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. 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. Starring Gerard McCarthy as Dave and with choreography by Arlene Phillips, the musical premiered at the 2014 Edinburgh Fringe Festival;[349] it performed at various regional venues before making its West End debut at the Ambassadors Theatre in April 2017. [325] 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. At the end of the Jellicle Ball,the Jellicle Leader chooses what cat can go to The Heaviside Layer and be reborn into a different Jellicle life. 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. [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". "[307], The 2016 Broadway revival received a similarly mixed review by Charles Isherwood of The New York Times. It is a statement of musical theater that cannot be ignored, should prove controversial and will never be forgotten. 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