Ten minutes into the production, I was in love. Experiencing the choreography, costumes, makeup and music, I instantly realized why “Cats” has become an international phenomenon. Sure, it has its issues — it’s not an emotional rollercoaster like “Dear Evan Hansen” or a global game-changer like “Hamilton — but it’s an undeniably fun and entertaining show.

Of course, I left the theatre with some questions, both for the actors and the creative team. Here are eight questions I kept thinking about on the subway home that you’ll probably also think when you see “Cats” for the first time:

1. How Do The Actors Not Go Crazy?

While I loved the music, it took me roughly three weeks to get “Jellicle Songs for Jellicle Cats” out of my head. Whether I was getting ready, at work or sleeping, I was entrapped by the catchy tune. Imagine singing it eight times a week for a year? Yep, I’d go crazy. That’s definitely some musical theatre overload.

2. How Do The Cats Keep Their Makeup Intact?

If you didn’t already know, “Cats” is an incredibly dance-heavy show. From flips to turns to every trick in the book, it’s one of the most physical shows on Broadway. Yet somehow, each cat’s extensive makeup stays intact throughout the entire production. Literally, how? It must be some of that Broadway magic.

3. Am I Mungojerrie or Rumpleteazer?

Mungojerrie and Rumpleteazer have one of my absolute favorite numbers in the show. And while the thieving duo are quite similar, they both have their quirks. The question on hand is, am I a Mungojerrie or a Rumpleteazer? Either way, nothing’s as fun as a mischievous evening in the junkyard.

4. Will I Ever Get ‘Memory’ Out of My Memory?

Much like “Jellicle Songs for Jellicle Cats,” Grizabella’s eleven o’clock number, “Memory,” is one of the most memorable songs of the musical. While it’s a gorgeous tune, I once again found myself stuck with her shrieks for love running through my ears wherever I went. At this point, I’ve accepted my fate. I am turning into a “Cats” jukebox.

5. Where Is Macavity?

‘Nuff said.

6. Where Is the Heaviside Layer?

At the end of the show, one of the cats is chosen to ascend to the Heaviside Layer to start its new life. Confusing? Yes. But the real question is, where exactly is the Heaviside Layer? Heaven? The North Pole? Who really knows?

7. How Are the Performers Still Alive?

Seriously, though. “Cats” is an incredibly demanding show. My knees were aching from just watching it. While all Broadway dancers have to take care of their bodies, the actors in “Cats” take a healthy living to a whole new level. Shoutout to them.

8. Can I Be a Jellicle Cat?

Please, Andrew Lloyd Webber. There’s truly nothing I want more.  

What questions did you have after you saw “Cats?” Let us know in the comments below…

The post 8 Questions You Ask After Seeing ‘Cats’ For The First Time appeared first on Theatre Nerds.

Considering its long-lasting popularity on Broadway and the West End, fans of the show (such as me) often wonder whether the hate for the show is really justified. Call me crazy, but I’ve never thought so. Allow me to explain why there is more to “Cats” beneath all the Jellicle flair.

“Allegorical Cats, Metaphorical Cats…”

The most common criticism I’ve heard for “Cats” is that there is “simply no plot.” I beg to differ, since the audience learns in the beginning about the Jellicle Ball, when “Old Deuteronomy just before dawn … announces the cat who can now be reborn.” The trip to the Heavyside Layer is the core of the show, and it is the motive for all the cats to introduce themselves and display their various talents while competing to enter the layer.

Another theory I find compelling is that “Cats” can be seen as an allegory for the LGBTQ community’s hardships during the 1980s. The musical’s characters are outsiders in a human-dominated world, just as LGBTQ people are a minority in a heteronormative society. Remember, the musical premiered in the early ‘80s, when the AIDS crisis was just starting to affect the gay and trans community.

Grizabella, whom the other cats shun until she sings “Memory,” is similar to people who have HIV/AIDS and are shunned by people who aren’t educated enough about the virus. In the same way that knowledge about a condition normalizes the presence of the people it affects, the other cats finally accept Grizabella as one of their own after they understand her better. The idea of an LGBT allegory especially resonates in real life, since many LGBT actors in “Cats” (such as Timothy Scott, Reed Jones and Michael Scott Gregory) all succumbed to AIDS-related illnesses. This idea makes “Cats” a surprisingly relevant show, even today.

“Singing at Astronomical Heights…”

Another criticism I want to dispel is the so-called “mediocre” score. Like every composer, Lloyd Webber has his detractors, but his musicals are still frequently revived and popular among crowds. What Lloyd Webber’s score lacks in complexity (something his contemporary, Stephen Sondheim, indulges in), they compensate in accessibility. The frequently heard motifs throughout the show — chiefly those that are introduced in the overture — make the melodies easy to remember.

Furthermore, the music in “Cats” is more broad and contemporary than that of your typical ‘80s pop opera. Unlike “The Phantom of the Opera” or “Les Misérables,” the score in “Cats” is inspired by opera (“The Ad-Dressing of Cats”), pop (“The Jellicle Ball”), rock (“The Rum Tum Tugger”) and jazz (Mccavity”).

Moreover, I am continually fascinated by the appeal that “Cats” has to children, especially in community theatre productions of it that feature children. Being a show that is so accessible in terms of both music and production value, it’s no wonder why “Cats” has stood the test of time.

Unashamed Felinity

Speaking of production value, “Cats” was an innovative show for its time. It pushed the boundaries for makeup, prosthetics and costumes and featured demanding, animalistic choreography. The wildly flamboyant looks for “Cats” preceded the designs for the fantastical characters of musicals such as “Wicked” and “Bat Boy.”

Its marketing and publicity on Broadway were also clever, relying less on star power and heavily on word-of-mouth, mostly by the curiosity surrounding posters of the iconic logo. The original Broadway production won seven Tony Awards and was also the longest-running Broadway musical from 1997 to 2006.

“Cats” may sharply divide critics, but the musical has unequivocally left its mark (dare we say … paw?) on musical theatre. I hope the musical’s influence around the world continues to make lasting memories for all those who experience it.

Have any other thoughts about “Cats?” Let us know in the comments below…

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