national tour cats

Purr-fectly 'timeless': Rejuvenated 'Cats' national tour comes to Ohio Theatre Jan. 11-16

“Cats,” Andrew Lloyd Webber’s feline fantasia, is back on the prowl with a few new pounces and purrs.

The national tour, based on the Tony-winning musical’s Broadway revival, will open Jan. 11 at the Ohio Theatre.

"This ‘Cats’ incorporates a grounded and edgy style including funk and hip-hop," said Kim Craven, resident choreographer of the revival and associate choreographer on tour.

Her work mirrors the 2016-2017 revival’s choreography by Andy Blankenbuehler (a Tony winner for “Hamilton”). His work, in turn, was based on Gillian Lynne’s original choreography for the London and New York blockbuster, the latter of which ran a record-breaking 7,485 performances from 1982 to 2000.

“For Gillian, it was all about being a cat first. For Andy, it’s all about having sensational dance, so we really had to marry the two,” Craven said.

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Craven’s goal was to set the dancing to reflect Blankenbuehler’s contemporary approach.

“When everyone is going, going, going and swiping screens, Andy had to update the dancing with a little punch to the tempo of today,” she said.

'Cats' set a musical standard

Going beyond most dance musicals, “Cats” was the first mega-hit to use movement, along with costumes and makeup, to define animal characters.

“Every cat has a different personality and voice. ... Andy wanted to juice that up and bring his street style to it,” Craven said.

Yet, updating Lynne’s choreography was like “changing the 'Mona Lisa'" because it’s worked so well for so long, she said.

Lloyd Webber initially conceived a song cycle based on T.S. Eliot’s poems in “Old Possum’s Book of Practical Cats.” Additional lyrics were added later by Richard Stilgoe and director Trevor Nunn, who worked with the original cast to develop the story about a tribe of cats gathering to choose who will ascend to the “HeaviSide Layer” to be reborn.

“’Cats’ reflects the genius of Lloyd Webber’s layered, brilliant music, and of Nunn, but also the genius of the exciting and sexy dance,” Craven said.

Even so, the revival received mixed reviews.

In The New York Times, critic Charles Isherwood wrote: “A few tweaks have been made.... But this ‘Cats’ is 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.”

Craven takes such barbs in stride.

“Let’s face it: ‘Cats’ is a bizarre musical. People are being cats and we have to buy into it, but that’s the magic of theater: suspension of disbelief,” she said.

“Cats” — which has earned more than $3.5 billion in productions worldwide — opened Broadway’s doors to other epic British-invasion mega-hits, including “Les Miserables,” “Miss Saigon” and Lloyd Webber’s still-running “The Phantom of the Opera,” which surpassed “Cats” longevity in 2006.

With its immersive theatricality and movement-driven narrative, “Cats” also paved the way for Disney’s “The Lion King,” the other Tony-winning mega-hit about animals.

“’Cats’ is spectacular musically and visually, but it also was a novel idea: For the first time they allowed dance to tell a story for two hours straight,” Craven said.

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Choreography distinctly feline

The choreography incorporates balletic leaps and pirouettes, while arched backs and twisting necks evoke feline movements.

“It’s about how you move as a cat, how it listens and moves. ... Cats sense things differently, with their ears, neck and back,” Craven said.

One distinctively feline movement, especially at the show’s start and end, is the “pounce” — a sudden jump forward and throw of the arm, as hands claw forward and eyes glare, Craven said.

“It challenges the audience, and shows that cats can be dangerous, not just soft and cuddly. ... It’s like ‘don’t forget,’” she said.

With the cast in unitards, the raw physicality is exhilarating, Craven said.

Few characters embody that physicality with more swagger than Rum Tum Tugger.

“For the past 40 years, he’s been iconic. ... the epitome of sex, drugs and rock and roll,” said Zach Bravo, who plays the role on tour.

Inspired by rock stars such as Elvis Presley and Mick Jagger, the cat makes his strutting, hip-swiveling entrance with the song “The Rum Tum Tugger.”

“The song has a hook and such drive. You hear in the lyrics that he’s mischievous, eccentric and out there, enjoying a ‘horrible muddle,’” Bravo said.

The challenge of the signature role, he said, is showing the cat’s naughty and nice sides.

“It’s so easy to portray him like a jerk. I try my best every night to show he actually cares about the tribe of cats. ... But I very much take inspiration from rock stars of the past, like Jagger, Prince or even Elvis,” Bravo said.

Tayler Harris plays Grizabella the Glamour Cat.

“She’s the outcast of the tribe, but she perseveres,” Harris said.

“Grizabella walks with dignity and pride, but you see the hurt in her eyes. She just wants to be part of the community again. ... ‘Cats’ is about unity, community, acceptance and giving everyone grace as the Jellicle tribe comes together,” Harris said.

Grizabella sings Lloyd Webber’s most-recorded song, “Memory,” about aging, loneliness and happiness.

“That’s Grizabella’s big shining moment to share her wisdom, but she feels hope and uncertainty. She’s withering away, singing all alone and turning her face to the moonlight, wondering ‘Do they hear me?'” Harris said.

Growing up watching the 1998 direct-to-video version, Harris and her cousins “drove our parents crazy” singing ‘Memory.’”

Ever since, she’s found “Cats” captivating, with “everyone moving with such grace and felinity,” she said.

As the generation that grew up with the stage musical returns to see it with their children, Harris believes the memorable musical maintains its feline allure for families today.

“’Cats’, such a timeless piece, introduced the magic of theater to millions,” she said. “It never gets old.”

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At a glance

Broadway in Columbus and the Columbus Association for the Performing Arts will present “Cats” at 7:30 p.m. Jan. 11-13; 8 p.m. Jan. 14; 2 and 8 p.m. Jan. 15; and 1 and 6:30 p.m. Jan. 16, at the Ohio Theatre, 39 E. State St. Masks and proof of vaccination or negative COVID-19 test required. Patrons are encouraged to use the Bindle check-in app. Tickets cost $34 to $114 at CBUSArts Ticket Center (614-469-0939,  www.cbusarts.com ) 

As ‘CATS’ national tour prepares to land on its feet in Fresno, a conversation with cast member Lauren Louis

T he national tour of Fresno Lexus Broadway in Fresno’s “CATS” makes a two-night stop at the Saroyan Theatre, opening Tuesday, Oct. 26. It is the first tour to play the city since the pandemic began. Here’s a conversation with cast member Lauren Louis:

Pictured above:Lauren Louis, left, as Demeter, Chelsea Nicole Mitchell as Bombalurina, and the company of the 2021-2022 national tour of ‘CATS.’ Photo: Matthew Murphy

The role: Demeter, a troubled and skittish Jellicle cat best known for her duet with Bombalurina in “Macavity the Mystery Cat.” Lauren Louis also is understudying the role of Grizabella the Glamour Cat.

The costume: Think yellow. Which is a good fit, because “yellow is my favorite color,” Louis says.

The tour: It picks off where the last national tour abruptly ended because of Covid. It started in Rochester, New York. When I speak to Louis a couple of weeks before Fresno’s Oct. 26 opening, the show is in Las Vegas (and will move on to Spokane before settling in at the Saroyan Theatre for a two-night run.) She’s been on the road with this new cast for a month or so, having visited a lot of the Midwest (Iowa, South Dakota, etc.).

The production: It’s based on the 2014 London revival (which later moved to Broadway). The updates from the original production mostly have to do with new choreography by Andy Blankenbuehler throughout the show, featuring more hip hop dance styles and “Gaga Movement.” But it’s still firmly rooted in Gillian Lynne’s original choreography. “It’s a beautiful combination of Gillian and Andy’s work,” Louis says.

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The prep: Louis bumped up against some big names early in the rehearsal process. Chrissie Cartwright, who was Lynne’s assistant, and Sir Andrew Lloyd Webber himself popped up. The cast went through “Kitty Boot Camp” in which actors paced about the room acting nervous, scared, sensual, etc.

The actor: Louis grew up in Tracy and went to Cal State Fullerton in musical theater. She always wanted to be in “CATS.” At age 12, she saw it at the Orpheum Theatre in San Francisco and was hooked. “I would run that old 1980 VHS tape dry with my sisters,” she says. “For my first national tour to be ‘CATS’ is to really come full circle.”

The Fresno connection: Growing up, she was on a competitive dance team. The finals were held at the Saroyan Theatre. It seemed so big to her back then.

The diplomat, Part 1: Louis is artful when it comes to a potentially troublesome topic: the recent movie version of “CATS,” which some — OK, many — people essentially say belonged in the litter box. What do she and her castmates think of the film? “We think the movie is great for what it was, but there’s nothing like the theatrical show,” she says. “It’s definitely a live-show experience.”

The diplomat, Part 2: And, while we’re on the subject, does she ever run into any haters of the stage show? (I know that as a journalist, I sure do.) Again, Louis could join the Foreign Service: “Most of our interactions are with people who are ‘CATS’ fans. We always take in the good energy and release what’s not good for us. If it’s not your cup of tea, it’s not for your cup of tea. But it is for me.”

The takeaway: Louis is thrilled to be back on stage, working, as the Age of Vaccination takes hold. At the tour’s first performance, people in the audience started clapping in the middle of the “Jellicle Ball” number just because they were back in the theater. “I’m so excited for people to feel that joy again,” she says.

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Donald Munro

Covering the arts online in the central San Joaquin Valley and beyond. Lover of theater, classical music, visual arts, the literary arts and all creative endeavors. Former Fresno Bee arts critic and columnist. Graduate of Columbia University and Cal Poly San Luis Obispo. Excited to be exploring the new world of arts journalism.

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‘Cats’ dazzles up an old favorite on tour at the National Theatre

All new lighting design and choreography give the long-running show new life.

I not only saw this show on press night; I am going back two more times, both in full Jellicle costume. Thus begins my unbiased review.

For those unfamiliar with Cats, it’s is a musical composed by Andrew Lloyd Webber, and the majority of the songs are T.S. Eliot poems that poke fun at cats’ egos by suggesting they are indeed as haughty, aristocratic, talented, and/or magical as they seem to think they are — put to music. The show, which initially deterred investors, became the longest-running musical both in London and on Broadway and a phenomenon that established a global market for musical theater and changed the aesthetics, technology, and marketing of the medium and industry.

There was also a movie adaptation in 2019 that was very bad, which made a lot of people think that the musical was also bad. The reasons Cats had such a defining influence on musical theater, being such a quintessentially stage-based piece of art, are the same reasons it failed as a film. The movie fundamentally misunderstood the musical . This show is not that movie.

The current U.S. tour has been publicized for its all-new lighting design by Natasha Katz, new sound design by Mick Potter, and new choreography by Andy Blankenbuehler based on the original production’s choreography by Gillian Lynne and direction by Trevor Nunn. What are the big takeaways from all the newness that you’ll remember after the show?

Instead of those multicolored lights that extend from the stage into the venue and flash during the overture that you may have seen in previous productions, there’s a contraption that almost resembles a jumbotron with 15-ish giant blue spotlights attached that descends from the ceiling. During the overture, the blue spotlights project wildly around the theater, and after the overture, the contraption ascends back into the ceiling. The vertical movement and the flashing lights put the audience through a sensory experience that creates the feeling that you’re being shrunk to the size of a cat, totally selling the suspension of disbelief so crucial to seeing this show. Maybe you’re not becoming a cat — the “Man Over There” line is still present and as wonderfully jarring as ever — but you’re at least cat-size.

Also notable with the new choreography are plenty of new props, especially in “The Old Gumbie Cat” — they roll a huge clockface across the stage now — and in “Bustopher Jones” — the cats carry little plates of food to him, and he has a gigantic napkin bib that reads like a tablecloth. There is extensive new choreography for numbers including “ Mr. Mistoffelees” and “The Old Gumbie Cat” that are just enchanting and joyous to behold. There is also a new brief — like, 30-second — number about Macavity near the end of Act I that I have never heard before and took me totally off guard. It serves to introduce some exposition about the character’s whole deal (beyond Demeter traditionally yelling “Macavity” in between numbers a couple times) that maybe ties the show together a little better — yeah, it sort of does.

Besides the excellent new lighting, sound, and choreography, there were minor issues with some of the actors’ vocals. In moments, Gracie Anderson’s singing as Demeter and Sam Bello’s singing as Sillabub felt tonally mismatched to their musical moments: belty when a moment required seductiveness, or ethereality, relative to each character’s prime moments. Further, while Kade Wright’s physicality and dancing were spot-on as Munkustrap, his vocals were occasionally off. Luke Bernier was also sometimes off-key as the Rum Tum Tugger and didn’t always project, but his boisterous, lovably self-consumed physicality as the iconic Elvis-as-a-biker cat made any issues with his vocals a nonissue.

Cats is at the National Theatre through Sunday, and I implore you to go. Plenty of musicals are about issues we humans have to deal with on a regular basis, like broken bones ( Dear Evan Hansen ) and armed insurrections ( Les Misérables ). But what shows tell us about the things cats have to deal with on a daily basis? That’s what I’m saying.

Running Time: Two hours 20 minutes, including one intermission.

Cats plays through January 22, 2023, at the National Theatre located at 1321 Pennsylvania Ave NW, Washington, DC. Tickets ($65–$135) are available online  or by calling the box office at (202) 628-6161.

The cast of the North American tour of Cats can be found here.

COVID Policy:  Masks are strongly recommended but not required for all ticket holders. For full COVID protocol, go  here .

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Let the Memory Live Again

Experience Andrew Lloyd Webber’s record-breaking musical CATS . Adapted from TS Eliot’s ‘Old Possum’s Book of Practical Cats’, this "groundbreaking musical" (Daily Express) comes together in a sparkling fusion of music, dance and verse.

On just one special night of the year, all Jellicle cats meet at the Jellicle Ball where Old Deuteronomy, their wise and benevolent leader, makes the Jellicle choice and announces which of them will go up to The Heaviside Layer and be reborn into a whole new Jellicle life.

With "timeless music, spectacular sets and a superb cast" (Daily Mirror), breathtaking choreography and of course the unforgettable ‘Memory’ , CATS is a magical musical like no other.

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Following the closure of the Broadway Revival in December 2017, a new 6th US Tour began in January 2019.

The first national tour of the revival of Cats was licensed by The Really Useful Group and produced by The Shubert Organization , James L. Nederlander , The Really Useful Group and Cameron Mackintosh .

Due to the COVID-19 coronavirus pandemic, all performances of the Equity production from the 13th of March 2020 onwards were postponed, then cancelled. The tour re-launched as a non-Equity production on the 21st of September 2021, with the production closing the 18th of June 2023. [1]

• 1.1 Press Announcement
• 1.2 Creative Team
• 2.1 Tour Dates
• 3.1 Tour Dates
• 4 Awards and Nominations
• 5 Trivia (for Equity Tour)
• 7 References

Production Details [ ]

This production was the first tour of the Broadway Revival of Cats . It followed the Revival's blend of new and classic material, with few differences. The most obvious differences were in a slightly reduced cast, and a less elaborate set. Electra and Carbucketty were absent, and young Grizabella appeared in the opening sequence. The production used the NAP 11A "inflatable" set, which required some practical differences to blocking: for example, the car boot did not open, so Jennyanydots was discovered lying on top of the car rather than inside it for the opening of The Old Gumbie Cat .

For the first 18 months the tour was performed under the Equity union standards, with a planned break in the summer of 2020. The tour was then planned to continue from October 2020 with a non-Equity company. The global COVID-19 pandemic caused the Equity union run of the show to close early on the 12th March 2020, and the opening of the non-Equity run was delayed until 21st September 2021. The tour booking for 2021 and 2022 seasons, with many booked performances rescheduled rather than cancelled, closing in June 2023.

Press Announcement [ ]

Cats , the record-breaking musical spectacular by Andrew Lloyd Webber that has captivated audiences in more than 30 countries and 15 languages, is now on tour across North America! Audiences and critics alike are rediscovering this beloved musical with breathtaking music, including one of the most treasured songs in musical theater—" Memory ." Winner of seven Tony Awards, including Best Musical, Cats tells the story of one magical night when an extraordinary tribe of cats gathers for its annual ball to rejoice and decide which cat will be reborn. The original score by Lloyd Webber ( The Phantom of the Opera, School of Rock, Sunset Boulevard ), original scenic and costume design by John Napier ( Les Misérables ), all-new lighting design by Natasha Katz ( Disney's Aladdin ), all-new sound design by Mick Potter , new choreography by Andy Blankenbuehler ( Hamilton ) based on the original choreography by Gillian Lynne ( Phantom ) and direction by Trevor Nunn ( Les Misérables ) make this production a new Cats for a new generation!

Today [2] (October 29th 2018), in celebration of National Cat Day, producers announced casting for the North American tour of the first ever Broadway revival of Cats. The multi-year tour will launch at Providence Performing Arts Center on January 22, 2019 and play 24 cities in its first season.

Creative Team [ ]

• Production Management: Troika Entertainment
• Associate Director & Choreographer to Trevor Nunn and Gillian Lynne: Chrissie Cartwright
• Associate Choreographer to Andy Blankenbuehler : Kim Craven
• Production Musical Supervisor: Kristen Blodgette
• Music Coordinator: Talitha Fehr
• Associate Music Supervisor: Brian Taylor
• Music Director/Conductor: Eric Kang
• Associate Costume Designer to John Napier : Lisa Zinni and Abigail Hahn
• Associate Set Designer to John Napier: Kevin Depinet
• Associate Lighting Designer to Natasha Katz : Craig Stelzenmuller
• Associate Sound Designer to Mick Potter : Adam Fisher

Equity Tour: January 2019 - March 2020 [ ]

The equity tour started in Providence, Rhode Island on the 22nd of January 2019. Due to the COVID-19 pandemic, the tour was cut short, having the final performance on the 12th of March 2020 in Ottawa, Ontario.

Tour Dates [ ]

Most venues followed the pattern of evening shows Tuesday - Friday, and two shows on Saturday and Sunday. However in New Mexico, for example, the show performed a Tuesday evening and Wednesday matinee in Alto, NM, with Thursday - Sunday shows in Albuquerque. This indicated that the show would be able to move venues overnight, install, and tech within 24 hours, despite most of the dates indicating at least one travel day between venues.

Note: This site uses the Day-Month-Year (DD/MM/YY) date format.

As with the 2016 Broadway revival, the "Ensemble" versions of characters such as Old Deuteronomy, Rum Tum Tugger, and Gus had been given names. "Ensemble Tugger" was now "Bill Bailey" - however this is no relation to Bill Bailey the existing character. Although Grizabella was not given an ensemble name, she does take part in the opening number in this production. [3] Electra , who made her first appearance in a US production in the Broadway revival, had been cut from this production, along with Carbuckety (although their costumes are displayed in the theatre lobby at certain stops). However, the twins Coricopat and Tantomile who were cut from the US Tour 5 Troika touring production, were present in this larger scale tour.

Of this cast, few had previous "Cats" credits in full scale productions (excluding regional productions). Swings Erin Chupinsky and Tricia Tanguy had performed in US Tour 5 . Madison Mitchell and Nathan Patrick Morgan had also performed in US Tour 5, in addition to the Broadway Revival , along with Francesca Granell , Maria Failla , and Joshua Burrage . PJ DiGaetano and Maurice Dawkins had performed on Oasis of the Seas as Mistoffelees. Zachary Berger had performed in an Australian production.

Steven Blandino had been contracted to join the cast, however due to the COVID-19 Pandemic he did not get to perform.

Non-Equity Tour: September 2021 - June 2023 [ ]

The non-equity tour started on the 21st of September 2021 in Rochester, New York. It is the second non-equity production since the 5th national tour . It was referred to the 40th anniversary national tour in certain promotions.

Due to the ongoing COVID-19 pandemic, performers no longer left the stage to interact with the audience. For example, during the Overture , “green-eyes” was replaced by lighting that resemble tiny cat eyes that appear throughout the stage. There was an extended dance break during Rum Tum Tugger , and Old Deuteronomy ’s entrance was now from downstage left.

A few other changes were also made from the previous Equity tour. Rather than entering through a rope, Mistoffelees entered from upstage right, lighting a few lights as he comes towards the center before restoring them all. When Grizabella ascended to the Heaviside Layer, she walked on the platform to the left of the stage (audience view) instead of flying on a wire to the right.

In the spring of 2022, a continuation of the tour was announced for the 2022-2023 season, the final dates for the tour.

Awards and Nominations [ ]

Trivia (for equity tour) [ ].

• This tour celebrated their 400th performance on February 2nd, 2020.
• The Hair and Makeup Supervisor Jakey Hicks was awarded BEST MAKE-UP at the 7th annual Make-up Artists and Hair Stylists Guild Awards. [5]
• Celine Dion visited the company while it was in residency at Princess of Wales Theatre in Toronto, Canada.
• Rebel Wilson , who portrays Jennyanydots in the 2019 film version of Cats , attended and met with the cast while the company was in residency at the Pantages on March 10, 2019.
• The tour broke the box office record for the highest-gross of an eight-performance engagement at the Buell Theatre in Denver. [6]
• While at The Fox Theatre in Atlanta, this tour had the highest grossing week ever in the 38-year worldwide history of Cats . [7]
• Playbills: February 2019 , April 2019 (Denver) , April 2019 (Austin) , June 2019 , July 2019 , August 2019 , September 2019 , November 2019 (Nashville) , November 2019 (Toronto) , January 2020
• Reviews: November 2021 (Dayton) .

References [ ]

• ↑ CATS 2019/20 National Tour Announces Early Closing; 2020/21 Tour To Begin Fall 2020 As Previously Planned , broadwayworld.com, April 29, 2020.
• ↑ Broadwayworld.com , 29th October 2018
• ↑ www.blog-waltonartscenter.org
• ↑ Broadway Season at Paramount Theater
• ↑ National Tour of CATS Plays Record-Breaking Engagement In Denver
• ↑ CATS Has Highest-Grossing Week In Show's 38-year History
• 1 The Old Gumbie Cat
• 2 Munkustrap
• 3 Mistoffelees

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Donah ’21 Cast in ‘Cats’ National Tour and Reed ’23 in ‘Waitress’ National Tour

September 13, 2021

Kelly Donah ’21 (Bachelor of Fine Arts in Musical Theatre) is embarking on the national tour of “Cats” playing the role of Rumpleteazer. The tour begins on Sept. 21, in Rochester, New York, and continues through June 2022. Visit www.catsthemusical.com to learn more.

Zoë Reed ’23 (Bachelor of Fine Arts in Musical Theatre) is taking the year off from her studies at Shenandoah Conservatory to go on the national tour of “ Waitress ” in the ensemble and understudying the role of Dawn. Visit waitresstour.com to learn more.

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Andrew Lloyd Webber’s iconic Broadway musical ‘Cats’ purrs into National Theatre

Jason Fraley | [email protected]

January 17, 2023, 12:42 PM

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Growing up in Silver Spring, Maryland, Michelle E. Carter was a fan of National Theatre.

Now, she takes the stage herself in the national tour of “ Cats ” from Tuesday to Sunday.

“I grew up coming into D.C. I saw shows at the National; I saw shows at the Kennedy Center,” Carter told WTOP. “It’s really important and really special to me to be able to bring this show that I’ve been with for two years home to everyone that I care about.”

Based on T.S. Eliot’s 1931 poetry collection “Old Possum’s Book of Practical Cats,” the story follows a tribe of London cats called the Jellicles. On this night, they gather to make the “Jellicle Choice,” deciding which cat will ascend to the Heaviside Layer to be reborn.

“It is actually a very cool story if you can manage to find it when you’re watching it,” Carter said. “All of these neighborhood cats, who form this clan that come together every year, come together on one night a year. It’s sort of the equivalent of their Kitty Christmas, if you will, to see who will be picked by the tribe’s leader to ascend to this higher level.”

Carter plays Jennyanydots, one of the many unique cats, including Rumpleteazer, Rum Tum Tugger, Skimbleshanks, Mungojerrie, Old Deuteronomy and, of course, Grizabella.

“Other shows at the time were these big dance musicals where the ensemble dances backup to the leads,” Carter said. “‘Cats’ is truly an ensemble piece. The entirety of every single dancer is working towards telling the story on stage. There are no backup parts. … An entire ensemble of 30-whatever people in unitards was new for Broadway at the time.”

In addition to the detailed feline costumes, the urban backdrops envelop audiences into a gritty back-alley vibe bathed in moonlight and filled with oversized junkyard objects.

“It was one of Broadway’s first truly immersive pieces of theater where the audience was invited in to bear witness to this night,” Carter said. “The lighting really immerses you into the junkyard. … We have life-size Coca Cola bottles, we have Pepsodent bottles, we have radiators, we have tires, we have a big paint can that’s life-size that we get to play with.”

It’s all set to Webber’s unforgettable songbook, namely the iconic showtune “Memory.”

“Grizabella has been with this tribe for a long time and has fallen on really tough times in her life and she comes back yearning to be accepted again and sings this heartbreaking song of yearning, begging them that if no one accepts her, this will be her last night on earth,” Carter said. “She’s messed up in her life, but she needs them, she’s begging them.”

The 1981 West End production won two Olivier Awards, including Best New Musical. The 1982 Broadway show won seven Tonys, including Best Musical, breaking the record of “A Chorus Line” as the longest-running Broadway show. Today, it ranks fourth behind “The Phantom of the Opera” (1988), the revival of “Chicago” (1996) and “The Lion King” (1997).

“The intention was for it to be the rundown streets of London, but the really cool thing about ‘Cats’ is that it’s very interpretive,” Carter said. “That’s part of the reason why it’s existed for 40 years. People in their minds can transform it into whatever they want. You see the junkyard and you say, ‘Oh, this could be in New York, this could be in D.C.”

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Hailed by The Washington Post for “his savantlike ability to name every Best Picture winner in history," Jason Fraley began at WTOP as Morning Drive Writer in 2008, film critic in 2011 and Entertainment Editor in 2014, providing daily arts coverage on-air and online.

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• Runtime : 2 hours 20 minutes
• Intermissions : 1
• Age Recommendation : 5+

Audiences and critics alike are rediscovering this beloved musical with breathtaking music, including one of the most treasured songs in musical theater — “Memory.” Winner of seven Tony Awards® including Best Musical,  Cats  tells the story of one magical night when an extraordinary tribe of cats gathers for its annual ball to rejoice and decide which cat will be reborn. The original score by Andrew Lloyd Webber ( The Phantom of the Opera ,  School of Rock ,  Sunset Boulevard ), original scenic and costume design by John Napier ( Les Misérables ), all-new lighting design by Natasha Katz ( Aladdin ), all-new sound design by Mick Potter, new choreography by Andy Blankenbuehler ( Hamilton ) based on the original choreography by Gillian Lynne ( Phantom ) and direction by Trevor Nunn ( Les Misérables ) make this production a new  Cats for a new generation!

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• Original London Cast Recording (CD)
• Original London Cast Recording (MP3)
• Vocal Selections
• Cats: The Musical (DVD)
• Old Possum’s Book of Practical Cats  by T.S. Eliot
• Jellicle Songs For Jellicle Cats
• The Old Gumbie Cat
• The Rum Tum Tugger
• Grizabella: The Glamour Cat
• Bustopher Jones: The Cat About Town
• Mungojerrie And Rumpleteazer
• Old Deuteronomy
• The Jellicle Ball
• Gus: The Theatre Cat
• Skimbleshanks: The Railway Cat
• Macavity: The Mystery Cat
• Mr. Mistoffelees
• The Ad-Dressing Of Cats

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• ^ Rescheduled from the 2019/2020 season
• # Rescheduled from the 2020/2021 season
• ‡ Part of venue’s 2021/2022 season
• # Rescheduled to the 2021/2022 season
• + Rescheduled to the 2022/2023 season
• ^ Rescheduled to the 2020/2021 season
• # Rescheduled to the 2021/2022 season

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DEVELOPING: Trump is safe following gunshots in his vicinity, campaign says

How AI images of cats and ducks powered the pet-eating rumor mill in Springfield, Ohio

The rumor mill about immigrants attacking household pets got its start in thinly sourced anecdotes shared at government meetings and on social media. But it really got going when AI-generated images and video that memeified the stories went viral. 

Early this week, even before former President Donald Trump shocked debate viewers Tuesday night with talk of immigrants “eating the pets,” the topic gained momentum because high-profile accounts, including tech billionaire Elon Musk’s, shared the cartoonish images made with artificial intelligence. 

Using various AI apps including Musk’s Grok service and a Chinese-owned app, people made cutesy and sometimes racist images and videos in seconds in order to push the idea that Trump would protect animals while Vice President Kamala Harris would not. 

And once those images and videos were shared and reshared, some of them piled up tens of millions of views and made their way to Trump’s own social media accounts.

Some of the images shared by social media users were openly prejudiced, showing Black people chasing after cats. In one often-shared example, an AI-generated Trump is seen running through a field with a cat under each arm while two shirtless Black men run after him. 

This year, many AI experts worried that realistic deepfakes would be a major threat to public discourse because of the ability to create believable audio or video of presidential candidates, but for the most part, the election has being shaped by obviously fake, AI-made joke images, pumped out quickly to accompany various lines of attack, real or not. These images and videos often create a more engaging and shareable post — regardless of whether  they’re based in truth.

A.J. Bauer, an assistant professor of journalism at the University of Alabama who studies conservative media, said the images show how meme-making has been further democratized.

“You no longer have to know a little bit of Photoshop,” he said, referring to the popular photo-editing software made by Adobe.

“That certainly has sped up the memeification of this ‘eating cats and dogs’ trope,” he added. “Whereas it might have taken a little bit longer or it might have spread a little less far without AI, I think AI is allowing it to spread much more quickly at scale.”

Bauer said that in this case, AI was particularly useful because Trump is famously not a fan of pets , so there are relatively few real photographs of him with animals. Unlike all other recent presidents, he didn’t have a pet in the White House.

The claims about Haitian immigrants abducting and eating household pets are baseless , but they’ve had real-world consequences including in Springfield, Ohio, the epicenter of the rumor mill. Local schools and government offices have been targeted by bomb threats , and some Haitian immigrants have said they’re scared for their safety .

But cat-related memes have a unique and long-standing power on the internet: from Grumpy Cat to “ I Can Has Cheezburger? ”

“Encoding the demonization of immigrants into cute cat content causes people who aren’t necessarily open to demonizing immigrants to get in on the game,” Bauer said. “Who doesn’t like a cute cat, right?”

The memes of AI-generated pets were notable for their variety. There were cats holding military-style rifles to defend themselves, cats holding up political signs, cats and ducks sitting side-by-side, AI-generated humans holding cat-related signs and cats and ducks being cuddled by Trump.

And it came as a tsunami, with countless videos and images being uploaded starting last weekend on social media platforms such as Reddit, X, TikTok and Instagram.

Some of the videos and images had captions to explain the meme: “Donald Trump saving the kittens of Springfield, Ohio,” one post on X said. Others were more subtle, with text such as “Save them!” Still others had no explanation.

Pro-Harris AI-generated images related to pets appeared to be relatively rare, but social media users did share some such as one with Harris holding a dog and a sign saying “Dogs for Harris.”

Imran Ahmed, CEO of the Center for Countering Digital Hate, an anti-hate nonprofit organization, said the memes revealed who likes to have fun at the expense of racial minorities.

“The reactions from racists is delight. The reaction from most normal people is confusion or outright anger and opposition, depending on how immersed they are in arcane internet culture,” Ahmed said.

He said the memes were also a warning sign about the state of media.

“We can’t afford for our democracy to be reduced to fake images driving discourse,” he said.

Late last Sunday on X, far-right activist Jack Posobiec posted an AI image of Trump running with a cat and a duck in his arms chased by a group of Black men. That post had 1.3 million views as of Friday. He also posted a six-second video of Trump carrying a cat with a group of zombies after him, which got 3.5 million views. Posobiec did not respond to a request for comment.

On Monday morning, several accounts on X posted yet another AI image of Trump being chased by Black men, this time holding two kittens. The image made its way to the account @LibsofTikTok on Tuesday in a post that received 4.8 million views. That image also eventually made it onto late-night host Jimmy Kimmel’s show , after the presidential debate. The @LibsofTikTok account did not respond to a request for comment.

An X account belonging to House Judiciary Committee Republicans had perhaps the most widely viewed post Monday: an image of Trump chest-deep in water hugging both a duck and a cat. It had more than 87 million views as of Friday. Committee Republicans did not respond to a request for comment.

On Tuesday, Rep. Eric Swalwell, D-Calif., printed out that post on a large display board and showed it at a committee hearing where he asked Republicans, “My God, are you OK?”

Trump himself ended up posting several of the AI images to his feed on his social media app Truth Social on Tuesday and Thursday. They included an image of Trump sitting in a private jet, surrounded by animals.

The Trump campaign did not respond to a request for comment. 

“Anyone with access to generative AI can spin up dozens of these images in no time at all,” said Alice Marwick, director of research at the nonprofit research organization Data & Society.

Marwick compared the images and videos to a kind of instant comic book, with bright colors, extreme detail and an easy-to-consume message. And for most people, AI-generated content is still a novelty, adding to its appeal.

“They have this incredibly wide reach and huge viral potential,” she said. But, she added, “in order to read that image, you need to have this sense of immigrants as dangerous.”

Marwick said the whole episode is in some ways a continuation of the strategy that Trump and his allies used in 2016 to catapult him into the White House initially.

“Since 2016, we’ve been sort of working in a meme economy in politics,” she said.

Consumers now have a wide array of AI image generators to choose from to create pictures with a simple text command, and while many of them have rules in place to guard against election misinformation — such as not allowing people to make images of Harris or Trump — some AI image generators have no such rules.

At least two of the widely viewed AI videos of Trump and animals were made using the software of Chinese AI startup MiniMax, according to watermarks on the videos.

One of them, posted on X on Sunday afternoon, was a video of Trump kissing and nuzzling a duck on the back of the head with the caption, “I love you. I would never let the Haitians eat you.” It had 2.4 million views as of Friday.

MiniMax and X did not respond to requests for comment on their services allegedly being used to create such images.

David Ingram is a tech reporter for NBC News.

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