A full performance of The Rum Tum Tugger from the Vienna Revival in 2022, with Alex Snova covering the titular role.
With Anastasia Bertinshaw as Jemima, Susannah Murphy covering Victoria, Vicky Riddoch as Electra, Anneke Brunekreeft covering Bombalurina, Stephen Martin Allan as Mistoffelees, Anneka Dacres as Cassandra, Ricardo Sinisi covering Admetus, Nathan Luke covering Carbucketty, Rhys Batten as Coricopat, Petra Ilsa Dam as Tantomile, George Maniadis as Alonzo, Barbara Obermeier as Jellylorum, Florian Fetterle covering Munkustrap, Anna Carina Buchegger as Rumpleteazer, Jan-Eike Majert as Mungojerrie, Tommie Luyben covering Skimbleshanks, Giulia Vazzoler as Demeter, Katharina Lochmann as Jennyanydots, Matthew Levick as Bill Bailey, and Felix Martin as Asparagus.
So, for a long time Alexander Auler (Vienna Munkustrap) had, as the thumbnail for his Cats insta highlights, an image that looked like it might be him in Bill Bailey makeup, but it was too small and blurry to be sure.
Well, in his farewell post (😭), he dropped the whole photo—and it's even better than expected!
He and his partner Matt Levick swapped faces and did each other's makeup as their own cat!
"This event was made possible by Jack Trueax, their sound technician and tour manager, who facilitated our communication with the band and assisted in compiling their answers; and Trevor, aka CATZ, a member of our server who kindly shared the server with Jack in the first place. We'd also like to express our immense gratitude to their sound engineer Kyle Smith and the rest of the band for generously taking the time to answer our questions, as well as for their continuous involvement with, acknowledgment, and support of the community. We seriously can't thank y'all enough, it was a dream come true."
Written, compiled and formatted by @starfunkbonnibel over on rateyourmusic.com! All credit goes to her - this post is simply meant to facilitate reading and sharing.
Join the Kiltro server here:
https://discord.gg/M67HjF9C9V
The following is a transcript of a Q&A session with the band hosted on our Discord server, around July 28th, 2023. With the exception of certain typos and emojis, the questions and answers remain intact. Enjoy!
Introduction
Kiltro is an indie latin folk rock project created by Chilean-American musician Chris Bowers Castillo while working as a walking tour guide in Valparaíso, a formerly prosperous port city northwest of Santiago, Chile. After the opening of the Panama Canal, the city transformed into an elusive haven of bohemians and stray dogs - or "quiltros", Chilean slang for "mutt". Inspired by the liminal nature of Valparaíso, Chris wrote a series of short stories that would later evolve into the material of the band, using the symbol of the stray dog as both a metaphorical vehicle and an empowering term for his mixed identity and music, ultimately naming the band after them. Subsequently, he would reunite with an old college friend, Will Parkhill, who would go on to join as the band's bassist, alongside Michael Devincenzi as their drummer. Together, they would shape the sound of Kiltro, reanimating Chris's stories into the mysterious characters, melodic allure, and intangible soundscapes that comprise and lurk beneath their debut album Creatures of Habit. Later on, affected by the quarantine, the band took a more introspective approach, deciding to use cats as a motif for their sophomore record, Underbelly, inspired by their solitary and contemplative nature. Around this time, Fez García joined the band as a second percussionist for concerts, completing the lineup as we know it today. (Carroll, 2019) (Mitchell, 2023)
Info sourced from:
Carroll, E. (2019, 13th November). Here, There and Everywhere: Kiltro’s Mutt Rock. Westword.
https://www.westword.com/music/kiltro-frontman-chris-bowers-castillo-talks-mutt-rock-11494843
Mitchell, M. (2023, 1st June). Kiltro Go Behind the Scenes on Underbelly Track By Track. Paste Magazine.
https://www.pastemagazine.com/music/kiltro/underbelly-track-by-track
Q (regulus_di): What's the best show the band has ever had, or alternatively the most special?
WILL: the last run of tour had the most special shows in a while, especially the navy pier in Chicago, Vienna, and Brooklyn. The growth and excitement has been extremely exciting to see.
CHRIS: The show on the staircase outside of a friend’s restaurant, in Valparaiso, Chile.
MICHAEL: the shows in which there are zero expectations about the city have been the best. Every time we arrive in a town that we know nothing about, we are blown away by the hospitality that we receive. Towns like Columbus, Phoenix, Richmond, Vienna, and Detroit come to mind.
FEZ: can’t decide. He says it’s like asking him what his favorite meal of all time is, “they all filled my tum tum” 😂
SOUND CREW: the Hollywood theater in Vancouver, BC, and Baby’s Alright in NY have sounded the absolute best
From Chris's favorite show 😱
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Q (goodman873): Chris solo album?
A: Currently the focus is Kiltro, if a song is written that seems out of place for the current state of the project, it’s often left on the shelf to return to at another time. There are a handful of songs that were planned for Underbelly that ultimately didn’t make it onto the final version for one reason or another, the possibility of them being included on a future album always exists. If a song appears that categorically falls outside of the vision of the band, then a solo project might be considered, but the ultimate goal is to experiment and push musical boundaries.
Q (evantheblank): Favorite unreleased / scrapped song, and is it planned to be available at some point?
A: There are tons of demos that have silly working titles, some of the songs that make it into the final version often don’t have a legitimate name until close to the end of the writing process.
CHRIS: the song Alpaca that was written as the same time as Guanaco, different energy but in the same vein and style. Never played live
WILL: Sin Salida that was included in an Instagram reel with a bunch of Super 8 footage
MICHAEL AND FEZ: Tambach
Q (allisawr): Any plans to record a live album?
THE BAND: we try to capture every show 😉
SOUND CREW: We are currently multitrack recording every live show for reference purposes and our personal archives. If a particular recording stands out, then it will be heavily considered for a live release.
Q (syd1288): What's with the cover art of Creatures of Habit?
A: The cover was a collaborative piece done by Markus Puskar and Julian Brier, heavily inspired by the work of M.C. Escher
The songs on CoH have a lot to do with the monotonous liminal spaces in our everyday lives, and the lyrics are very character driven. The art is meant to invoke the illusion of a society that feels like it is going in loops and circles, in which we are becoming “creatures of habit.”
Q (regulus_di): What games are the guys into atm/pre-tour?
A: We love to play giant jenga and a card game called “Hanabi,” we also invented a pool game called “twenty ball” in which Will is the (heavily disputed) champion.
Chris is currently working through another play through of Dark Souls, he’s been tearing through it on the switch in the van. We’ve also played The Legend of Zelda: Tears of the Kingdom, Mario Kart 8 Deluxe, Super Smash Bros. Ultimate, and a lot of Super Mario 3D World + Bowser's Fury. Stardew Valley and Roller Coaster Tycoon Classic are also big hits on the iPad.
Q (kalamaroe): What inspired the visuals in the If I Lead music video? I've always found it very hypnotising
A: Generally the band doesn’t like to be too specific with the meaning of the artistic content and likes to leave it more to interpretation from the audience. At the time that the video was shot, the band was interested in experimenting with old school classroom projectors, spinning images, double exposures in Will’s photography, and super 8 film footage. The goal was to add visual content to live shows, and a lot of the footage came from that effort.
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Here’s some behind the scenes footage from that video courtesy of Will 😱
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Q (happidragon): What are the band members' favorite songs to perform?
WILL: it’s hard to pin down and is always changing based upon each performance, but Guanaco is always up there
CHRIS: it really depends on the show, Softy has been a favorite recently because of how dynamic it is, and Lovers of death is another that has been a longtime standard in the sets for that same reason.
MICHAEL: Underbelly, Softy and Lovers of death are all favorites. The dynamics and drum progression allows for a lot of exploration in each performance.
FEZ: Crazy because of the shaker and wood blocks, there are a lot of fun little percussion parts
SOUND CREW: Errasuriz is the most fun to mix, and is always right in the middle of the set when we really have things dialed in.
Q (gumibearheart): How do you guys approach music and the moving parts of it?
A: The writing process is slightly different for each song but tends to coalesce in a similar way, with lyrics typically coming later on in the process. Many songs that start as musical loops get jammed on in rehearsal and recorded as practice demos, the most exciting material eventually evolves into something worth returning to.
Q (starfunkbonnibel): What has been your approach in connecting all these sounds with the themes and stories of your songs? And are there any plans to do one continuous narrative in an album?
CHRIS: I think the soundscapes and by extension the “story” comes from whatever I’m interested in or experiencing at the time of writing. I start in one place, whether it’s a chords progression or an interesting ambient loop, and move in whatever direction feels most compelling and true. I find that a lot of ideas begin to link together because I tend to cycle back on ideas multiple times throughout the process. Because I’m working it out for myself. That goes for sounds, samples and progressions too. Overarching themes or the recurring “character” of the sounds and the places they evoke emerge as the process goes on, and in that is often a kind of story. Or many stories in a similar setting. I visualize things a lot when I’m writing.
In a sense, I think we already work “narratively,” it’s just that there’s not necessarily a script or a series of events. I’d like to make albums that exist in a specific space and create the context for meanings and patterns to emerge. Not a narrative per se. There are bands that do that well but I like to keep things more abstract.
Q (goldengoldstar): Although we know of the influence artists like Víctor Jara, Violeta Parra and Atahualpa Yupanqui have had on the music of Kiltro, are there any other artists or bands you might mention as big influences or inspirations?
A: Thanks to everyone who listens to and shares the Kiltro playlist!
This is a stream of consciousness list from all the guys in the band in no particular order: Manu Chao, Deerhunter, Devendra Banhart, Ween, Talking Heads, Jorge Ben, Radiohead, Damon Albarn, Thelonious Monk, Damu the Fudgemunk, Moses Sumney, Animal Collective, John Coltrane, Boards of Canada, Chico Trujillo, OutKast, Teke Teke, Travel Kit, New Order, Kraftwerk, Stereolab, Broadcast, Jack Canaan, Charles Mingus, Sonic Youth, Polo y Pan, Andrew Bird, Marvin Gaye, Metronomy, Sade, YĪN YĪN, Fela Kuti, Tortoise, Cocteau Twins, Air, and Erlend Øye.
Q (goldengoldstar): Are there any plans to play in Latin America?
A: No plans currently, but it’s definitely a long-term goal
Q (starfunkbonnibel): What are your favorite moments of experimentation during the making of Underbelly?
KYLE: During the production/recording process of Curicó (being one of the first songs Chris, Will, and I dove into, if I remember correctly) I was in the studio with Chris focusing on the song’s momentum. I believe this may have been before real drums were put down? Idk, can’t completely remember… but my goal in that session was to add excitement and some kind of uplifting drive to the song. In one moment, I was trying to think of a way to show Chris how we “could” add a particular energy to the song to see if he liked the idea/direction. I decided to give Chris an example by grabbing a shitty/lofi mic and shouting “HEY! HEY! HEY!.. etc” into the mic along with what we had recorded so far. And I was like, “that’s the kinda of energy I’m thinking we can add,” and then Chris was basically like… we should just keep that hahahaha. In that moment I personally felt like we or I at least had figured out a key to the energy of that song, and also my creative flow with Chris, Will, and so forth going forward. Not to mention the beginning of a great friendship 🙂 this was fun to write about! Thanks to everyone here for being a part of their music ✨🐕
This wasn’t about Underbelly, but it’s what the question made me think of lol sorry
But still fits a vibe of how I think we all have fun working together on all the music 🙂
Thank you for reading!
Event managed by: Kamsthetics , MartixArtist, GoldenGoldstar, and StarfunkBoogie / @starfunkbonnibel.
Transcript revised by: plantboyfriend / @plumerii
Format inspired by silvershr0ud_'s interview
I Swear: Politics is Messier Than My Minivan - Katie Porter
Bold = Highly Recommend
Italics = Worth It
Crossed out = Nope
Thoughts:
This was a really good reading month, but will stand in infamy as the month that my Queen’s Thief obsession started. I am so glad I finally got around to starting the series. Thank you to everyone that yelled about it. You were not wrong.
I enjoy a mute!Misto but I think Misto having the 'terrible bore' line is like... vital in terms of his and Tugger's relationship and shouldn't be given to other characters unless Misto's actor is physically not given a mic. So that one probably.
6. Worst personality trait
Misto deliberately acts like an annoying little bastard on purpose to piss people off all the time, but being that he does that on purpose I feel like I can't list it.
Due to his competitive nature he has a tendency to want to at least feel like the smartest person in the room pretty much all the time and can tend to treat perfectly normal interactions like competitions or a game of one-upmanship. He tends to get on best with other cats who don't really care about his (in)superiority complex and let him posture.
8. Unpopular opinion about them
UHHHHHHHHHHHHH
ACTUALLY I have one! The fact that 2019!Misto was awkward wasn't that bad. I see people all the time being like 'they ruined Misto! He's supposed to be a dramatic confident showoff!!!!!' but that's not necessarily true. Misto being insecure is a thing in plenty of tours-- in some (shiki, vienna, and maybe moscow I believe? Off the top of my head?) even have a moment where, after he pulls the tarp off of Deuteronomy, he whirls away and faces the audience while Tugger greets Deut-- this moment is in every production, but while most performances show him grinning or excited here, the above productions can sometimes show him looking afraid or upset, especially when Tugger starts singing again in a serious tone-- he thinks he failed. And even in 98 you see Misto fail to light a firecracker or two during the song, and immediately turn for Tugger for reassurance. Misto being insecure or uncertain of his powers is not even remotely new!
The issue with 2019!Misto is that they let that trait screw with the song. In all of those above examples, Misto's insecurity is characterized without even pausing the song for a second. In 2019, not only is the song kind of ruined when they turned it into a bout of .. . . .spoken word.... . poetry? Or a rap? Or whatever it was? BUT he also constantly fails to do the trick, dragging it out for forever. He just shouldn't have sang the song himself. They didn't want to pay Jason Purrulo the big bucks to sing another number; fine, have Munk do it. Or Victoria. Anyone other than Misto!
16. Deepest darkest secret they won’t even admit to themselves
Ooooooh, I don't know! Misto is generally pretty frank with himself, and holds himself to a high standard; while he can be an enigma to the other cats, those who know him well know him well, so there aren't many aspects of his character that at least 1 or 2 members of the tribe aren't aware of.
I will say that in a fake-dating tuggoff fic I've been writing, when Misto discovers that he's developed a crush on Tugger, he immediately resolves to take that shit to his fucking grave.
43. 3 favorite foods and 3 they despise
Human Misto grew up in a very health-inclined household and never really had much snacks or junk food, so he tends to dislike sweet or greasy or snackie type foods. He does love lemonade and dark chocolate, and tends to eat a lot of protein due to his career/hobby as a dancer.
Le plein de super (Fill 'er Up with Super) | Alain Cavalier | 1976
Angel's Egg | Mamoru Oshii | 1985
The Anniversary | Roy Ward Baker / Alvin Rakoff | 1968
Punk Samurai Slash Down | Gakuryû Ishii | 2018
Abel (AKA Voyeur) | Alex van Warmerdam | 1986
Suicide Club | Sion Sono | 2001
Blank Generation | Ulli Lommel | 1980
Behind Her Eyes | TV | Erik Richter Strand | 2021
The Strange Case of the End of Civilization as We Know It | Joseph McGrath | 1977
The Sunday Woman | Luigi Comencini | 1975
Enys Men | Mark Jenkin | 2022
Electric Dragon 80.000 V | Gakuryû Ishii | 2001
La cicatrice intérieure (The Inner Scar) | Philippe Garrel | 1972
Ava | Léa Mysius | 2017
The Fall | TV | Allan Cubitt / Jakob Verbruggen | 2013 - 2016
Films Watched in May 2023
The Devil's Trap | Frantisek Vlácil | 1962
The Week Starts on Friday (Short) | Elmar Klos | 1962
Beauty and the Beast | Juraj Herz | 1978
Frantisek Hrubín (Short) | Tomás Skrdlant | 1964
The People Next Door | David Greene | 1970
Celia | Ann Turner | 1989
Renfield | Chris McKay | 2023
Luminous Procuress | Steven Arnold | 1971
Dragon's Return | Eduard Grecner | 1968
The Man on the Roof | Bo Widerberg | 1976
Coach to Vienna | Karel Kachyna | 1966
She Dies Tomorrow | Amy Seimetz | 2020
Justine | Stewart Mackinnon | 1976
Yakuza Graveyard | Kinji Fukasaku | 1976
The Bride Wore Black | François Truffaut | 1968
The Haunting of Julia | Richard Loncraine | 1977
The End of the F***ing World | TV | Various | 2017-2019
Yellowjackets | Season 2 | TV | Various | 2023
The Cat Creeps | Erle C. Kenton | 1946
Me, Natalie | Fred Coe | 1969
Bold = Top Ten
Some notes: I’ve been going through one of those periods where I just wasn’t feeling it maaaan with regards to films and tumblr. Other things consumed my attention (Auriel's Bow isn't going to fetch itself from the Forgotten Vale) and at times it felt a struggle to watch and post. Still...
Anyway here’s one of those fancy two month Film Logs last seen in August/September 2022 only this time there’s a Top Ten compiled from both months. A few TV things make it into the list. I’m sometimes unsure about putting TV in the *Film* Log but The End of the F***ing World is great and I was very taken with Behind Her Eyes because it actually surprised me in the direction it took, such an unusual experience nowadays, plus the two female leads were very attractive. Hey, I’m only human, like Phil Oakey.
📌 What was Cats 2019’s biggest mistake, in your opinion? (OTHER than 'bad cgi’) If you don’t think it made any notable mistakes, what’s your favorite thing about it?
I guess I could say how the music itself was absolutely butchered. Because Tom Hooper had them sing live (if I remember correctly), and sing how they wanted, and then the orchestra played later, going off of how the actors sang, and it just didn't match up AT ALL. I'd also say the absolute DESTRUCTION of Bustopher Jones's and Jennyanydots's characters. I HATE what that movie did to them. I could go on ALL fuckin' day about how their numbers were ruined and everything. If I had ONE positive about the movie, it was Skimbleshanks's number and thats it.
🧵 What’s your favorite production and why?
Based off of clips/bootlegs I've seen, I'd say the Vienna Revival production. It was one of the first productions to make me fall absolutely head first in LOVE with Cats. And I just absolutely love the way the songs sound in German. I bought their CD, and I still listen to it a lot! And I love most of the makeup designs from that production too, give or take a couple of them.
Going based off of design alone, if you know me you'll know what I'll say, but Mexico tour 2018/2019. Absolutely the best. In love with most all of those looks.
❤️ What’s your favorite romantical ship?
Taking out the obvious one (Tuggoffelees) and I'm going straight for Pouncoffelees! I ADORE!! THAT SHIP!!! SOMUCH!!!
Also a fan of Tugger/Bomba and Munk/Alonzo/Demeter (or just Munk/Demeter or Munk/Alonzo)
Ahahahahahahahaha this one is going to shock everybody ahhahaahahahahahhaha it's the Vienna 2019-2022 revival. (I know nobody would have guessed 😅)
It was just absolutely gorgeous: the lighting, the orchestra, the people on stage. Ugh, perfection. The stage was so tiny that it really facilitated the actors all being piled on top of each other and playing with tails and wigs and just being super sweet (also just having that many people dancing with such little space - amazing).
I will never be over Vienna T^T
🔥 Share one (1) hot take/opinion about the show/fandom/etc
I am not sure that I really have one? I don't really think "there is no canon in cats, it wholly depends on production and cast" is a hot take.
Hi, my name is Catharine in this is my Cats side blog. (Main) (Lady Knight side blog)
I became a Cats fan in 2021 because of the Vienna Revival and the 1998 movie.
Productions I’ve seen live:
Vienna Revival (2019-2022)
International/UK Tour (2022-2023)
Budapest (1983-now)
Il Sistina (2022-2024)
Productions I wish I could (have) see(n) live:
Asia Tour (2022-2023)
Favourite characters atm: Cassandra, Demeter, Bombalurina and Alonzo, as well as Electra, Etcetera, Rumpleteazer, Mungojerrie, Victoria and Mistoffelees.
I’m mostly here for the fanart but also for the updates on the different productions.
I wished that they cast a black or Asian actors to play munkustrap and rum Tum Tugger. Could that ever happen?
for anyone seeing this: this list is very long, so i'm apologizing in advance if i've missed any actors!! i've gone through the entire cats wiki for both characters and did my best to compile a thorough list, but ofc let me know if there's any mistakes!
Tugger:
Richard Lloyd King (1980s London)
Tee Jay (1980s London)
Yuichiro Yamaguchi (1980s Tokyo Tugger)
Mayo Kawasaki (1980s Tokyo)
Gregory McKinnon (1980s Vienna Tugger - Cover)
Takanori Shimomura (1995 Tokyo)
Eric Clausell (1993 Australia)
Masaru Yamaki (1999 Nagoya, Osaka 2001)
Tsutomu Arakawa (1995 Tokyo, 1999 Nagoya, Osaka 2001, Tokyo 2004, Yokohama 2009)
Kiyomichi Shiba (1995 Tokyo, 1999 Nagoya Osaka 2001, Tokyo 2004, Yokohama 2009, Fukuoka 2014)
Shoichi Fukui (Tokyo 2004, Yokohama 2009)
Shinya Tanabe (Tokyo 2004, Yokohama 2009, Sapporo 2015, Osaka 2016)
This isn't a production I've followed because it wasn't one I was ever going to see. But I know many of the cast have been with the show since 2019 and stayed through multiple lockdowns over the course of the pandemic, and I want to say I admire their dedication and how much these characters, this show, and their relationships with each other must mean to them. And I don't want that to go unacknowledged.
So, a replica is a production that's licensed by RUG (= Really Useful Group = ALW's company) to perform CATS with full official regalia: that is, they are allowed to use Gillian Lynne's choreo and Napier's designs and so on, but they are also obliged to follow the official rules for whatever a current official production is meant to do.
However. 'Current' here means 'current at the time the licence was issued'.
Shiki (Japan) is replica in that it's fully licensed from RUG. But since they started in 1983 and have followed their own design path since then (with occasional external influences from more Western productions), they are actually more different from more modern replica productions than some modern non-replicas.
Similarly (though more recently), the Oasis production got its licence just before the UK and US revivals, and that licence is apparently still current, so it preserves some pre-revival performance traditions (and is, so far, immune to the new rules about makeup that came in with the new international and asia tours).
Other replica productions of the 80s and 90s (like OG Vienna, Amsterdam/Paris, Zurich/Euro, Hamburg) also developed their own traditions - and the Australasian traditions (starting in the late 1990s) persisted until the 2014 asia tour.
And that's a pertinent example: the australasian productions were not a continual production, so they had to renew their license for each 'season' (2014, 2015, 2017, 2020, 2022, etc). So they reflect the vagaries of ALW's revival trends, even while their production company (and often a lot of their cast) stay the same.
A non-replica, otoh, may be influenced by the traditional/replica productions, but they might get into trouble if their designs and choreo are too recognisable. For example, the 2013 and 2018 mexico revivals were a) based on the original Latin American productions in the 1990s - some of the cast and production team returned to lead the designs - and b) in the case of 2018, they were adapted to include elements of hte Broadway revival.
The end result was something that's much more recongisable as an extra-saturated version of Gillian/Napier's production, but. Though I don't know the terms of their contract. I know that the fact that they had that much of the original production gave them less freedom in terms of their contract, and that the 2018 production was obliged to close down in preparation for the release of teh 2019 film.
I would say that's symptomatic of ALW/RUG's increasing pedantic control over the appearance of The Brand of CATS and resistance to having any alternative versiosn around, but. That attitude isn't really new. According to some conversations I've had with old CATS alumni, 'omg ur doing ur own thing??? STOP THAT RIGHT NOW!!!' was basically the reason that the Hamburg production (1986–2001) was closed down.
and RUG's insistence on THERE IS ONLY ONE TRUE PRODUCTION comes in waves: most of the original productions and their various traditions were shut down in the late 90s and early 00s, and then, after regional US productions started to burgeon in the late 00s and on until the revivals, they cracked down on non-replicas again in the wake of the European and Broadway revivals.
tl;dr the definition of non-replica is about licensing and degree of freedom/control, with originality as a secondary consideration.
Well, Cats 98 feels like the obvious answer. I got into cats through it, watched it the most times, love the cast. But there are elements in 98 i dislike, and I HAVE been going absolutely apeshit about the vienna revival. ANDDD i do love everything the bway revival did with macavity..........
I have to say cats 98. but its close!
🎶 Who's your favorite ensemble cat and why?
ARGHHH THIS ONE IS EVEN HARDER
I know victoria/demeter/bomba kinda live in this weird 'are they song cats or ensemble cats' space because they dont ever sing their own song specifically. But I do love all three of them.
But setting them aside, probably Cassandra. Love her design, love her style of movement, love how well she's characterized without really having any 'essential role' in the show.
🔥 Share one (1) hot take/opinion about the show/fandom/etc
This is just me, but I DO think ALW/RUG was on the right track that Cats needs to be ''''modernized''' to some extent. The world is very different than it was in the 80s and musical theater holds a different place in the entertainment world. I do think some of the choreography looks a little goofy and could stand to be updated (im sorry gillian lynne 🙏), there's the Racial Elements™ that need to be scorched from the earth, and i think modern audiences are less accepting of 'shits just weird man' than they were in the 80s. (unfortunately. BUT luckily i think that's been changing lately with all of the exhaustion re: 'gritty realistic' remakes)
ALL OF THAT SAID THOUGH i think they went about the idea of 'modernizing' cats in the worst way possible. I'll die happily if ALW's white old british ass never thinks or speaks about the entire concept of rap ever again, most of the bway revival choreo changes were downgrades in my opinion, SO MUCH of the writing in Cats 2019 makes me want to beat my head against the wall, AND SO ON. Terrible work, everyone!
(My advice to them is maybe next time you want to 'modernize' an older piece of media maybe show it to some Youths and ask them what they think of it instead of pulling a 'hello fellow kids' parkour move and fucking it up so hard you throw out your back in the process.)