Estate / Collection: Property of Technical Production Manager Jake Bell

CATS

A stage-used newspaper and much promotional material from Cats. Includes a stage-used fabric newspaper used as part of the "junk yard" scenery and made of scrim material, about 30 x 36 inches with irregular edges; the printed large-format Cats Chorus Book, 1982, being a reproduction of the manuscript of the score, 13 x 11 inches, this likely for cast use, tears and small losses, the spine tape repaired, stain to first leaf; a Cats Now & Forever plastic tray, 18 x 11 inches; a large format program; a rehearsal photograph; a felt Cats bag with marbles; two Cats watches in cases; the Playbill from show 6,138 when Cats overtook A Chorus Line as the longest running show in Broadway history; the Playbill from Cats last performance on September 10th, 2000; and a Playbill from a Chicago performance; a luggage tag; a signed show poster from the last performance of Cats in September 2000, framed, 22 x 14 inches; a poster from an early tour; an assembled cast photograph, framed; and handwritten note from choreographer Gillian Lynne dated 2006.

Technical Production Manager Jake Bell's memories of Cats:

Created by Andrew Lloyd Webber, Cats was first produced in London by Cameron Mackintosh, directed by Trevor Nunn, choreographed by Gillian Lynne, and designed by John Napier. It opened on Broadway in 1982 at the Winter Garden Theatre. Based on T.S. Eliot’s poetry collection Old Possum’s Book of Practical Cats, at the time Cats was conceptually groundbreaking in that, unlike traditional musical,s it was not about human characters - it was about cats - and the story was told entirely through music, dance, and poetry, with no spoken dialogue.

The set was an oversized junkyard, designed to make the human actors appear cat-sized. Key set pieces included a giant sneaker, the trunk of a broken-down car (often used as a cat slide), an enormous Heinz Baked Beans can, and a large tire—creating an immersive, whimsical playground for the feline characters. Audience interaction was another defining element. Select tickets were sold for onstage seating, allowing some audience members to be a direct part of the performance. The onstage seating allowed these guests to experience their own immersive "theater in the round." During intermission, other audience members were invited onstage to explore the set and interact with Old Deuteronomy, who remained seated on the oversized junkyard tire.

Cats was arguably the introduction of the "mega-musical" to the world, delivering an unprecedented visual and theatrical spectacle that stunned audiences, particularly those in middle America, who had never seen anything like it before.

Beyond Broadway, Jake worked on four national tours of Cats. Unlike the Broadway production, where the theater was physically renovated to accommodate the show, the touring companies had to adapt to each venue. The team pre-surveyed theaters across the country, modifying the set to fit within different proscenium sizes while covering existing architecture to create a seamless illusion. The orchestra pit was concealed, and the set decoration pieces were mounted on a frame customized to each specific theater. As on Broadway, the orchestra itself was positioned offstage.

Cats was one of the first Broadway productions to fully embrace wireless microphone technology. Every principal character wore a wireless microphone, which was discreetly embedded into their wigs—an innovation at the time. The hydraulic lift for the giant tire, which carried Grizabella to the "Heaviside Layer," was the single most expensive item in the production budget. However, just as crucial to the show’s identity were its elaborate makeup and costuming. A Makeup Bible was created for all Cats productions worldwide. Each actor’s makeup design, paired with a handmade wig (crafted from yak hair), was carefully documented with a photograph and matched to John Napier’s original sketches. Napier, who designed not only the scenery and props but also the costumes, hair, and makeup, ensured that this signature look remained consistent across all productions.

Cats was the first show to completely rethink the layout of an entire theater, from the audience seating to the back wall of the stage. The Winter Garden Theatre was permanently remodeled to accommodate the production. Seats were removed, the orchestra pit was eliminated, and the proscenium arch was taken down. The orchestra itself was relocated offstage, positioned upstage left in the wings. The immersive junkyard set extended out into the audience, enveloping theatergoers in the world of the show. This was particularly exciting for children, who felt as if they were truly inside a cat's domain. Even the dry ice used to mask the hydraulic lift as it raised Grizabella floated into the front rows, further blending the stage with the audience. The cast frequently entered from the rear and sides of the house, reinforcing the illusion that the entire theater was part of their world.

When the Broadway production of Cats closed in 2000 after 18 years and 7,485 performances, the stage and house crews had to restore the Winter Garden Theatre to its original state. The removed seats were reinstalled, the orchestra pit was rebuilt, and the proscenium was reconstructed to prepare the venue for future productions.