Photos: Inside Andrew Lloyd Webber's Visit to CATS: THE JELLICLE BALL

Andrew Lloyd Webber made a visit to CATS: THE JELLICLE BALL at PAC NYC, and met with the company after the show. We spoke to the production's music supervisor, William Waldrop, about Webber's visit.

The full company features Baby (Victoria), Jonathan Burke (Mungojerrie), Tara Lashan Clinkscales (Ensemble), André De Shields  (Old Deuteronomy), Shelby Griswold (Understudy), Sydney James Harcourt (Rum Tum Tugger), Antwayn Hopper (Macavity) Dava Huesca (Rumpleteazer), Dudney Joseph Jr. (Munkustrap), Capital Kaos (DJ), Junior LaBeija (Gus), Dominique Lee (Understudy); Robert "Silk" Mason (Mistoffelees), “Tempress” Chasity Moore (Grizabella), Shereen Pimentel (Jellylorum), Primo (Tumblebrutus), Xavier Reyes (Jennyanydots),  Nora Schell (Bustopher Jones), Bebe Nicole Simpson (Demeter), Emma Sofia (Skimbleshanks),  Phumzile Sojola (Ensemble), Kendall Grayson Stroud (Ensemble), Frank Viveros (Ensemble), Garnet Williams (Bombalurina) and Teddy Wilson Jr. (Sillabub).
 
The creative team features directors Zhailon Levingston and Bill Rauch, Choreographers Arturo Lyons and Omari Wiles, Rachel Hauck (Scenic Design), Qween Jean (Costume Design), Adam Honoré (Lighting Design), Kai Harada (Sound Design), Brittany Bland (Projection Design), Nikiya Mathis (Hair/Wig Design), Rania Zohny (Make up design), Josephine Kearns (Dramaturg & Gender Consultant),  William Waldrop (Music Supervision and Music Direction), David Lai (Music Coordinator), Trevor Holder (Beats Arrangement), Capital Kaos (Ballroom Consultant), Skylar Fox (Magic and Illusions), Hannah "Rock" Roccisano (Fight Director), Ann James (Intimacy Coordinator), X Casting/ Victor Vazquez CSA, and Sujotta R. Pace CSA (Casting).
 
This PAC NYC production (Bill Rauch, Artisic Director, Khady Kamara Nunez, Executive Director) is a radical reimagining of Andrew Lloyd Webber’s iconic dance musical Cats based on Old Possum’s Book of Practical Cats by T. S. Eliot.  Inspired by the Ballroom culture that roared out of New York City over 50 years ago and still rages on runways around the world, it will be staged as a spectacularly immersive competition with all new Ballroom and club beats, runway ready choreography, and an edgy eleganza makeover.  Come one, come all, and celebrate the joyous transformation of self at the heart of Cats and Ballroom culture itself.

Did you know that Andrew Lloyd Webber was coming to see the show?

Waldrop: We did know he was coming, yes. It was sort of like solidified closer to time. But we were all hoping that he would be coming out at some point once we'd opened. And yes, so we were excited to have him.

What was the sort of the mood backstage knowing that he was going to be in the audience?

Waldrop: Well, I think some people knew, and some people didn't. You know, some of the Cats don't want to know who's here. So, I think there was definitely buzz among the people who knew. Everyone we've been working closely with was excited to tell us he was coming.

We were asking when he would be here and who would be with him. There was definitely excitement, as there is anytime he comes. I've been involved in several of his productions on Broadway and other places. It's always thrilling because he's so passionate about all of his shows and scores. We all just want to have him there to see what we've created because of him.

What was his reaction to the show?

Waldrop: His reaction was very positive. He was very happy. I think he was blown away by the audience. He always enjoys being able to sit in the theater and feel the audience. He was very complimentary to us about how it sounded, the energy of the cast, the casting, and just the overall production.

He didn't say this, but we all could feel that he understood what we feel every night. There's this palpable joy inside the building because this production is so different. So, he was very happy.

You've conducted the show for Andrew Lloyd Webber before (during the last Broadway revival) - did it feel different this time?

Waldrop: You know, I tell this a lot about this production—how I feel different things as I conduct this version of the show because of how clear, not that the other version wasn't clear, but how clearly we've created this specific story. There are some very moving parts that I always loved conducting. For instance, conducting "Gus: The Theatre Cat" with Junior LaBeija has such poignancy, relevance, and power because of Junior's legacy in the ballroom world and how amazingly it fits with the material.

The moments we found as a creative team to help shape the world of ballroom and the story we're trying to tell within the parameters of the score are where I feel a lot of it as I conduct the show. It just works, you know, and it feels like we've hit upon the right notes for every part of the show.

Photo Credit: Andy Henderson