Review of: Musical Cats

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On 22.10.2020
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Musical Cats

Cats zählt bis heute zu den erfolgreichsten Musicals überhaupt. Von Andrew Lloyd Webber komponiert basiert es auf Gedichten von T. S. Eliot. Nun erscheinen. Cats ist ein Musical, basierend auf T. S. Eliots "Old Possum's Book of Practical Cats", in einem Akt, aus der Feder von Andrew Lloyd Webber (Musik), Trevor. Der Text des Musicals basiert auf dem erschienenen, in England sehr populären Werk Old Possum's Book of Practical Cats, einer.

Musical Cats Musical CATS in Wien

Cats ist ein revueartiges Musical von Sir Andrew Lloyd Webber mit Texten von T. S. Eliot. Es zählt zu den erfolgreichsten Musicals aller Zeiten. Der Text des Musicals basiert auf dem erschienenen, in England sehr populären Werk Old Possum's Book of Practical Cats, einer. CATS im Wiener Ronacher – Wegen großen Erfolgs verlängert. Sichern Sie sich jetzt die besten Plätze für das erfolgreichste Musical aller Zeiten! Cats the Musical • Official Website and Tickets. The official home of Andrew Lloyd Webber's world-famous, family favourite musical CATS. Cats ist ein Musical, basierend auf T. S. Eliots "Old Possum's Book of Practical Cats", in einem Akt, aus der Feder von Andrew Lloyd Webber (Musik), Trevor. CATS Musical – Andrew Lloyd Webbers Meisterwerk. Das Musical CATS tourt durch Deutschland und lädt zu einem fantasievollen Abend mit Tanz und. Cats zählt bis heute zu den erfolgreichsten Musicals überhaupt. Von Andrew Lloyd Webber komponiert basiert es auf Gedichten von T. S. Eliot. Nun erscheinen.

Musical Cats

CATS Musical – Andrew Lloyd Webbers Meisterwerk. Das Musical CATS tourt durch Deutschland und lädt zu einem fantasievollen Abend mit Tanz und. Cats Musical, Bericht über die Entstehungsgeschichte des Musicals von Andrew Lloyd Webber, Startschuss für den Musicalboom in Deutschland, bei. Cats ist ein Musical, basierend auf T. S. Eliots "Old Possum's Book of Practical Cats", in einem Akt, aus der Feder von Andrew Lloyd Webber (Musik), Trevor. Musical Cats

Musical Cats Navigation menu Video

'Mr. Mistoffelees' - Cats The Musical

Kijk hier voor een voorproefje. Een kleine greep uit de lof die de musical mocht ontvangen:. Het bleek het begin van een triomftocht die bijna 40 jaar later, nog steeds niet ten einde is.

Inmiddels hebben meer dan 81 miljoen mensen in meer dan steden in 20 landen de productie gezien. Geen enkele andere musical biedt al bijna 40 jaar zoveel energie en spektakel.

De show boeit toeschouwers van alle leeftijden en alle culturen. Am Andrew Lloyd Webbers Meisterwerk, das bis heute als Meilenstein in der Geschichte des Musiktheaters gilt, ist somit ab sofort wieder in Wien zu sehen!

Die Pandemie hat das Leben in der Theaterwelt grundlegend verändert. Dennoch haben wir stets versucht, uns nicht entmutigen zu lassen.

Der lang erwartete Start in die neue Musicalsaison im September hat uns allen Hoffnung gegeben. Die Kultur ist für die Gesellschaft ein wichtiges und unverzichtbares Gut.

Wenngleich — wie wir hoffen — nur für einen beschränkten Zeitraum, um danach den Spielbetrieb so schnell wie möglich wieder aufnehmen zu können.

Aufgrund der aktuellen Ereignisse und der Verordnung der österreichischen Bundesregierung werden daher im Ronacher ab sofort bis November keine Vorstellungen mehr stattfinden.

BesucherInneninformation: Veranstaltungen im November Stephen Martin Allan MR. Birgit Arquin Bombalurina. Alexander Auler Munkustrap.

Anna Carina Buchegger Rumpelteazer. Astrid Gollob Jemima, Cover Victoria. Ana Milva Gomes Grizabella. 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.

Jewell proclaimed it to be "among the most exhilarating and innovative musicals ever staged", [] 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".

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.

The reviews for the and London revivals were positive as well, with critics giving both productions an average of 4 out of 5 stars.

Reactions to the original Broadway production were mixed. 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.

It is a statement of musical theater that cannot be ignored, should prove controversial and will never be forgotten. 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. Cats has received many international awards and nominations. Despite mixed reviews when Cats opened in New York in , critics agreed that it was innovative and visually spectacular in ways that Broadway had never seen before.

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. As the "first true megamusical ", [] Cats pioneered a genre of musical theatre that is produced on a grand and global scale.

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. 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, instead branding the show itself as the star.

This advertising method had the additional effect of diminishing the importance of critical reviews, popularising the so-called "critic-proof" status of megamusicals.

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 s, second only to the Hard Rock Cafe t-shirt.

Merchandising has since become an important source of income for the industry. Beyond the megamusical, Cats also led the Broadway trend for musicals aimed at families and tourists, which later took the form of the Disney Theatrical Productions and jukebox musicals.

People do want a theatrical experience for their children. 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. Cats opened new regional, touring and international markets that the industry continues to capitalise on.

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.

In the s, the success of local productions of Cats in Tokyo, [] Sydney, [] Vienna, Hamburg, [] and Toronto were turning points that established these cities and their respective countries as major commercial markets in the global theatrical circuit.

In , The New York Times credited the regional and touring productions of Cats with "almost single-handedly reviv[ing] the sagging road business".

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.

By , the song had been played over two million times on radio and television stations in the US. As of , the song had been recorded around times by artists such as Barbra Streisand , Barry Manilow , Judy Collins , and Johnny Mathis , in covers ranging from easy listening to techno.

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. With Cats , he became a big celebrity in his own right.

This made Lynne the first non-royal woman to have a West End theatre named after her. Eliot Prize which has since become "the most coveted award in poetry".

Stage parodies of the musical have also been mounted in the West End and Off-Broadway. Starring Gerard McCarthy as Dave and with choreography by Arlene Phillips , the musical premiered at the Edinburgh Fringe Festival ; [] it performed at various regional venues before making its West End debut at the Ambassadors Theatre in April Break the Musical!

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.

The musical was chosen as one of fifteen "outstanding artifacts, events and activities" from the s to be commemorated with its own stamp design.

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.

Lloyd Webber performed this song at the show's 6,th Broadway performance, when it broke the record to become the longest-running Broadway show.

The "Growltiger's Last Stand" sequence has been changed multiple times over the course of the show's history. For the original Broadway production, the Ballad was replaced with "In Una Tepida Notte", a parody of Italian opera with more slapstick humour.

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 ".

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.

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.

The London revival introduced several modernizations to the show. Rum Tum Tugger was reworked from a ladies-man rockstar to a breakdancing street cat.

His eponymous musical number was also turned into a rap. The Broadway revival featured new choreography by Andy Blankenbuehler , who introduced more hip hop and cool jazz elements to the movements and dances.

From Wikipedia, the free encyclopedia. Logo by Really Useful Group. In the original London and Broadway productions, she climbs up a stairway that emerges from the ceiling.

In the s and s scaled-down touring productions, she ascends via a flying saucer -like vessel. Mistoffelees" — Mr. Main article: Jellicle cats.

Further information: Cats film and Cats film. Main article: List of awards and nominations for the musical Cats. Main article: Memory Cats song.

The Hollywood Reporter. Archived from the original on 20 May Retrieved 12 April Archived from the original on 17 April Retrieved 17 April Chicago Tribune.

The New York Times. Archived from the original on 15 May Retrieved 15 May Archived from the original on 27 March Retrieved 27 March The Daily Telegraph.

Retrieved 2 May Los Angeles Times. Retrieved 17 May Beaufort, John 2 December The Christian Science Monitor. Retrieved 24 April Rozmiarek, Joseph T.

The Honolulu Advertiser. Archived from the original on 3 April Retrieved 3 April Internet Broadway Database. Retrieved 20 August The Musical Company.

Archived from the original on 11 April Retrieved 11 April The Independent. Retrieved 16 May Archived from the original on 25 March Retrieved 20 March Archived from the original on 30 March Retrieved 30 March Retrieved 4 April Archived from the original on 19 March Retrieved 1 July Retrieved 30 June Backstage at the Broadway Revival".

Dance Magazine. Archived from the original on 29 March Retrieved 29 March Really Useful Group. Archived from the original on 15 August Retrieved 23 August Retrieved 19 May Archived from the original on 7 April Retrieved 1 May Archived from the original on 26 March Retrieved 26 March Archived from the original on 19 April Retrieved 20 April Retrieved 26 October Archived from the original on 28 March Retrieved 28 March The Guardian.

Archived from the original on 12 December Female First. Archived from the original on 2 April Retrieved 2 April Toronto Star.

Retrieved 28 November The Sydney Morning Herald. Archived from the original on 23 May The Washington Post. Archived from the original on 19 May Archived from the original on 13 March Hartford Courant.

Retrieved 10 June — via Newspapers. Retrieved 20 May Archived from the original on 24 March Retrieved 24 March Retrieved 14 June Archived from the original on 4 August Retrieved 4 August Archived from the original on 12 May Retrieved 7 June Archived from the original on 24 May Retrieved 24 May Retrieved 4 July Retrieved 14 May Archived from the original on 22 May Retrieved 22 May Cats Revival Sets Broadway Dates".

Retrieved 7 May Retrieved 25 March Tampa Bay Times. Troika Entertainment. Archived from the original on 27 May With New Dates".

Retrieved 15 April Archived from the original on 13 April Archived from the original on 2 October Retrieved 9 April The Morning Call.

Archived from the original on 11 July Retrieved 11 July CTV News. Proceso in Spanish. Retrieved 25 March — via PressReader. El Universal in Spanish.

Archived from the original on 3 June Retrieved 3 June El Informador in Spanish. Forbes Mexico in Spanish. Vanguardia MX in Spanish. El Sol De Mexico in Spanish.

Revista Escenarios in Spanish. The Stage. Retrieved 28 May — via British Newspaper Archive. Retrieved 25 May — via British Newspaper Archive.

Lancashire Telegraph. Archived from the original on 8 April Archived from the original on 5 February Croydon Guardian. Bucks Free Press. Archived from the original on 14 January Retrieved 3 March Archived from the original on 25 May The Herald.

Retrieved 7 August Archived from the original on 25 August Digital Spy. Retrieved 18 May The British Theatre Guide.

Musical Theatre News. Shiki Theatre Company. Retrieved 7 April Sankei Shimbun in Japanese.

De Engelstalige Londense West End productie met bijna 60 medewerkers bevat o. De voorstelling wordt in het Nederlands en Frans boventiteld. Boek nu de allerbeste plaatsen en beleef het dit voorjaar zelf in Antwerpen!

Kijk hier voor een voorproefje. Een kleine greep uit de lof die de musical mocht ontvangen:. Het bleek het begin van een triomftocht die bijna 40 jaar later, nog steeds niet ten einde is.

Get some streaming picks. Watch the game. A tribe of cats called the Jellicles must decide yearly which one will ascend to the Heaviside Layer and come back to a new Jellicle life.

Looking for something to watch? Choose an adventure below and discover your next favorite movie or TV show. Visit our What to Watch page.

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Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews.

User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. The musical includes the well-known song " Memory " as sung by Grizabella.

As of , Cats remains the fourth-longest-running Broadway show and the sixth-longest-running West End show. Lloyd Webber began setting Eliot's poems to music in , and the compositions were first presented as a song cycle in Producer Cameron Mackintosh then recruited director Trevor Nunn and choreographer Gillian Lynne to turn the songs into a complete musical.

The London production ran for 21 years and 8, performances, while the Broadway production ran for 18 years and 7, performances, making Cats the longest-running musical in both theatre districts for a number of years.

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 year run at the Operettenhaus in Hamburg that played over 6, performances, as well as an ongoing run in a purpose-built theatre in Japan that has played over 10, performances since it opened in Cats started the megamusical phenomenon, establishing a global market for musical theatre and directing the industry's focus to big-budget blockbusters , as well as family- and tourist-friendly shows.

The musical's profound but polarising influence also reshaped the aesthetic, technology, and marketing of the medium. Cats was adapted into a direct-to-video film in , and a feature film adaptation directed by Tom Hooper in Cats is based on T.

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 s.

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.

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.

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".

Lloyd Webber began composing the songs in late 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 , Lloyd Webber began to consider using his musicalization of Eliot's poems in the same vein for a televised concert anthology.

Practical Cats , as the show was then called, was first presented as a song cycle at the summer Sydmonton Festival.

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.

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.

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.

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.

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. 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. 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.

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 , 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 easy-going 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. 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 musical's title was thus shortened to just Cats. The musical was scheduled to open on 30 April , 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 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.

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. 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.

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.

The development of Cats was also plagued by financial troubles. 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. 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. 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".

She tries to dance along, but her age and decrepit condition prevent her from doing so "Memory Prelude ". 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".

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. 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.

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.

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. 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.

Based on the definitive piece licensed version. Cats is an ensemble show with a large supporting cast and no leads. 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.

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.

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.

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.

These numbers allow the cats to celebrate their tribe and species as a whole, in between the ones that celebrate individual members.

Regarded as "one of the most challenging shows to dance in musical theatre history", [81] dance plays a major role in Cats as the original creative team had specifically set out to create "England's first dance musical".

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".

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.

The original staging of Cats at the New London Theatre was considered revolutionary [86] and "one of the first truly immersive theatrical experiences".

Napier began designing the set in November , wanting "a place where cats might congregate together, which also included maximum room for dancing".

Over 2, of these scaled-up props were used to fill the whole auditorium in the original Broadway production. 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.

As with the contrasting music and dance styles, the costumes and make-up are used to bring out each character's distinct personality.

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 costumes did not last longer than a few months. The plot of Cats revolves around a tribe of cats vying to go to the "Heaviside Layer", which is used as a metaphor for rebirth.

Cats has been translated into over 15 languages and produced professionally in more than 30 countries.

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.

The final performance was broadcast live on a large outdoor screen in Covent Garden for fans who could not acquire a ticket.

The musical returned to the West End in for a planned 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.

The musical was co-produced by the original London production team, along with David Geffen and The Shubert Organization.

Encouraged by the reception to the first West End revival, producers began looking to bring Cats back to Broadway in early Following its Broadway debut, Cats has been staged extensively across North America.

This production was a "slow tour" that had lengthy engagements lasting for several months in each of the nine cities it visited. After the show's closure on Broadway in , Troika Entertainment obtained the touring rights for Cats and launched the show's first non- Equity national company.

It moved to Montreal two years later and then toured other parts of Canada. Following the closure of the original West End production, a nationwide tour embarked in with Chrissie Hammond starring as Grizabella, [] [] until Dianne Pilkington took over the role in The Japanese-language production of Cats by the Shiki Theatre Company has been playing continuously since it premiered in Shinjuku , Tokyo, in November This production is a "slow tour" with engagements lasting for several years in each of the nine cities it has visited.

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.

Similar to the original London staging, the set of the 1,capacity CATS Theatre is built on a revolving stage floor such that during the overture, the stage and sections of the stalls revolve approximately degrees into place.

In , the show transferred to the newly renovated Ronacher Theatre where it ran for another two years before closing on its seventh anniversary in September Influenced by the show's success in Vienna, a German production by Stella Entertainment premiered in April at the newly renovated Operettenhaus in Hamburg.

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. 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 Switzerland.

After Hamburg, the German production transferred to Stuttgart where it played from to The production was seen by , audiences before it transferred to the Scandinavium in Gothenburg two years later.

The Dutch live entertainment company Stage Entertainment has been responsible for several European productions of Cats.

This production was based on the London revival and also featured a new song written especially for the French show by Lloyd Webber.

English-language touring companies have also toured the European region extensively. International tours in the early to late s included stops in Sweden, Norway, [] Finland, [] Greece, [] Portugal, [] Germany, [] and Italy.

It was credited with revitalising the then-stagnant musical genre in Australia. The musical played in Auckland from to , [] and for a limited run in 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 to when it played in Singapore with local actress Jacintha Abisheganaden as Grizabella , [] Hong Kong and South Korea.

The musical has also been translated and staged nationally in Asia. Spanish and Portuguese-language productions of Cats have been staged in South America , with productions in Argentina in with Olivia Bucio as Grizabella , [] in Chile in at the Arena Santiago [] and , [] in Colombia in , [] and in Brazil in with Paula Lima as Grizabella.

Royal Caribbean International announced in April that a full-length production of Cats will be performed regularly for guests aboard the cruise ship Oasis of the Seas.

Cats has been produced by various professional regional theatre companies. Broadway Sacramento staged the musical in and at the Wells Fargo Pavilion.

Block as Grizabella and Lara Teeter as Munkustrap. The musical is also available for school and amateur licensing through The Musical Company.

Steven Spielberg 's former animation studio Amblimation had planned an animated adaptation of the musical in the s. Cats is a commercial blockbuster.

The original London production received mostly rave reviews, with critics hailing it as a watershed moment in British musical 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.

Jewell proclaimed it to be "among the most exhilarating and innovative musicals ever staged", [] 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".

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.

The reviews for the and London revivals were positive as well, with critics giving both productions an average of 4 out of 5 stars.

Reactions to the original Broadway production were mixed. 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.

It is a statement of musical theater that cannot be ignored, should prove controversial and will never be forgotten.

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. Cats has received many international awards and nominations.

Despite mixed reviews when Cats opened in New York in , critics agreed that it was innovative and visually spectacular in ways that Broadway had never seen before.

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. As the "first true megamusical ", [] Cats pioneered a genre of musical theatre that is produced on a grand and global scale.

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. 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, instead branding the show itself as the star.

This advertising method had the additional effect of diminishing the importance of critical reviews, popularising the so-called "critic-proof" status of megamusicals.

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 s, second only to the Hard Rock Cafe t-shirt.

Merchandising has since become an important source of income for the industry. Beyond the megamusical, Cats also led the Broadway trend for musicals aimed at families and tourists, which later took the form of the Disney Theatrical Productions and jukebox musicals.

People do want a theatrical experience for their children. 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. Cats opened new regional, touring and international markets that the industry continues to capitalise on.

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.

In the s, the success of local productions of Cats in Tokyo, [] Sydney, [] Vienna, Hamburg, [] and Toronto were turning points that established these cities and their respective countries as major commercial markets in the global theatrical circuit.

Er selbst sieht sich wohl als Sprecher der Jellicles und bezieht, nach Old Deuteronomy, auch eine Anführerposition und wird in dieser respektiert, auch wenn sich die Kätzchen manchmal Das Bessere Leben Stream sein stolzes Gehabe lustig machen und ihn imitieren. Artikel lesen. Konzeptalbum engl. Es ist Macavity, der einzige Bösewicht unter den Katzen. Erst Charlie Tahan Klugheit des Old Deuteronomy hilft ihr, die verlorene Anerkennung wieder zu erlangen. Der Jellicle-Ball kann beginnen. Es zählt zu den erfolgreichsten Musicals Kickboxer Vengeance Stream Zeiten. Vielmehr sollten die Handlungen der Katzen das Leben der Menschen widerspiegeln. Start Suchergebnisse Impressum Forum. Musical Cats

Musical Cats Inhaltsverzeichnis Video

Memory (Reprise) Jetzt ist sie alt geworden, humpelt, ist arm und verzweifelt. Die 2. Es lohnt sich, die beiden auf der Bühne im Blick zu haben, Sendung Verpasst Zdf Mediathek sie machen nur Blödsinn. Als sich Cats nach fast 15 Jahren ununterbrochener Spielzeit aus Hamburg verabschiedete, konnte das Musical mit rund Vorstellungen mehr als 6 Millionen Besucher verzeichnen. Danach erklären sie, wie schwierig es ist, einen geeigneten Namen für die Katzen zu finden Die Namen der Katzen. Daher zaubert er auch Old Deuteronomy Gerrit Klein herbei. Allerdings erschien ihre Rolle nicht in allen Länderproduktionen. Musical Cats Cats Musical, Bericht über die Entstehungsgeschichte des Musicals von Andrew Lloyd Webber, Startschuss für den Musicalboom in Deutschland, bei. Musical Cats New York Post. Rosemarie Ford. You've changed my life!! Archived from the original on Sexkino Köln May Color: Color. Archived from the original on 25 December Hartford Courant. MTV Uutiset. Die aufwendigen Perücken werden für jeden Darsteller aus Büffelhaar handgeknüpft. Anything Netflix Bad Moms. Unsere Webseite verwendet Cookies. Studio Cast Broadway Cast dt. Die Schlüsselfigur im Musical Cats ist Grizabella. Webber und Julia Meynen kooperierten bei der Ausarbeitung einer schlüssigen Handlung weiter mit Valerie Eliot, die sie mit Material aus Eliots Dahoam Ist Dahoam Sendung Verpasst versorgte. Macavity: ist der Bösewicht unter den Katzen und versetzt die Jellicles mehrmals durch sein Erscheinen in Angst und Schrecken.

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