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#cats musical
Top 5 musical characters that relate to you the most?

Wow okay let’s seeeeeee

1. Beetlejuice from Beetlejuice. My top number one fear is being completely forgotten cause I truly think once you’re forgotten you’re basically dead. Also being alone for to long and having no friends or family is another fear of mine I basically fear abandonment. So BJ being a character thats been alone for a millennia and in return, is afraid of people leaving him is BIG RELATABLE.

2. Grizabella from Cats. Another character that kinda ties into the whole fear of abandonment and taps into another fear of mine: being disliked enough TO BE forgotten. She left the tribe to do her own thing, went through hell and in return nobody likes her. She’s basically a myth and when she shows up the cats are basically like “what the fuck is this bitch doing back?” and all the kittens who want to touch her are basically told not to and to leave her alone. Of course at the end she gets a happy ending but still….

3. The main character from A Strange Loop. I’ve never seen this musical and I don’t even know the main characters name but I heard the song Inner White Girl and FELT THAT ENTIRE SONG. The main character is a gay black man and the song is about how white girls can get away with stuff that black men, especially gay black men, can’t (from the lyrics of the song: being precious, being able to fanatsize, being vulnerable). And how black men must obey societies standards for how a black man must act otherwise they’re seen as criminals by non black people or useless by the black community. I RELATE TO THAT SO HARD cause I feel like this especially with white gay men. It seems like they get to have it all. Almost every lgbtq+ movie is made for them, every gay bar is made for them in mind and they will literally look at you like you’re a freak if you’re not a conventionally attractive white guy, and almost every lgbtq+ space is made for them. Sometimes I feel like if I was a gay white guy instead of a black queer girl some of my problems would go away and maybe if I was then I wouldn’t be looked at whenever I walk into a gay bar in my town or seen in lgbtq+ movies etc.

4. Mortiz Steifel from Soring Awakening. I don’t even like this musical all that much but as a person who was very suicidal as a teen because of bad grades and problems in school I can relate. Especially when he sings about the faux concern adults have when faced with a suicidal teen.

5. Mrs Lovett from Sweeney Todd. We just have the same kind of sense of humor and we’re both ADHD ridden and our minds kinda move faster then we can speak. I don’t kill anyone lol but I love her.

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I just imagined Munkustrap having one of those dreams where you wake up and start your day, except his morning schedule just becomes so hectic because he’s somehow late and nobody is doing anything right… only to wake up in a complete panic and realize he freaked out for no reason.

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Just for the record…

This is NOT a solely Cats blog! I just happen to have fond memories of the musical from my school days, absolutely love the music and am looking forward to seeing the new film (despite the issues I have with the visual direction). I’m indulging in a little nostalgia on my illustration/inspiration account and surely can be forgiven for that!

Secondly, thank you to everyone who has been showing such kind appreciation of my random illustrative output on the subject. These characters are so very addictive and have been long-neglected! 😊

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Hyper-realistic scenes cut from the Cats musical that should be in the 2019 movie…

(From an article in The New Yorker by Sarah Hutto, dated December 2018)

Rum Tum Tugger is transfixed by his owner’s new down comforter. He urinates gleefully and with abandon all over the goose-scented blanket, after which his human locks him in a dark closet for fifteen minutes. While in the wardrobe dungeon, he sings a sad, soulful ballad called “Bird Smell’s Got Me Down.”

Bustopher Jones magically manages to get on top of the refrigerator when no one is looking. From his perch, he plots the deaths of each human and animal below. He then systematically pushes every object off the top of the fridge, delighting as they smash on the tile floor. He concludes his mischief with the ten-minute tap-and-beatbox routine “You Can’t Have Nice Things, You Fuckers.”

While languishing on the porch, Grizabella is distracted by something small and airborne. Eventually, she catches and devours her prey with great zeal. Over the next thirty-seven minutes, a closeup of Grizabella on a twelve-hundred-dollar couch documents her glassy-eyed, queasy gaze. Ominous timpani punctuate a horrible guttural sound paired with cadenced convulsions as, with relief, she vomits up a large yellow jacket in weirdly immaculate condition.

Skimbleshanks is left alone in the kitchen and proceeds to eat an entire loaf of bread. He becomes dangerously ill and is rushed to the vet by his owners, where he receives an X-ray that costs eight hundred dollars. As the vet speaks to his family, he sings a sorrowful aria, “I Eated the Bread, All of It, and It Didn’t Fit in Me.” The vet tells his owners that he’ll require emergency surgery. They agree to the procedure, from which he fully recovers, and spend the next two years paying off the vet bill, which they must refinance their mortgage to afford. They also invest in a locking bread box that Skimbleshanks habitually pushes off the counter and pees on, all while performing a rousing jazz number called “Piss on This, Ta-Da!”

Griddlebone is briefly petted by a member of her human family and then takes a two-hour bath, spending an alarmingly long time on her nether regions, which were not touched at all. While she bathes, we hear only the sound of her licking and a solitary triangle, struck erratically. She eventually approaches another human, jumps onto his lap, and bites his hand when he attempts to pet her, drawing blood. All the cats join in for a rendition of “That Sweet, Sweet Hand Blood” while kicking cat litter all over the floor in a spirited chorus line.

Bombalurina goes into heat and spends most of Act II yowling and shamelessly offering herself to every nearby mammal, and also a potted ficus tree, which she knocks over. She escapes by clawing a hole in a window screen and joins an unsettling cat orgy in an alley behind a dumpster. The participating cats sing the risqué anthem “Let’s Get This Cat Pregnant.” For the finale, she goes into labor on an old towel in a garage while the other cats perform a dance number titled “It Pays to Get Spayed.”

Magical Mr. Mistoffelees is given a new toy but is unaware that it is filled with catnip. He’d sworn off “the nip” a decade ago, after a two-month bender landed him in the pound, where he contracted ringworm and learned to fight raccoons. The catnip sends him into a downward spiral of vivid hallucinations and pausing woozily in front of his owner’s legs as she’s descending stairs. The latter antic eventually results in his owner falling down the stairs at 2 a.m.. Typically, Mr. Mistoffelees would howl until he caught the attention of a passerby. But instead he cavorts around the house belting a sinister hard-rock canticle, “Look Who’s Magical Now, Bitch!” Without medical assistance, his owner unfortunately dies at the foot of the stairs. After missing one feeding, Magical Mr. Mistoffelees eats her face.

Now that I think about it, a ‘realistic’ production would bring a whole new angle of uncanny to the Jellicle Cats.

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