EDUCATION PACK

1981 - 2013

www.catsthemusical.com
WELCOME
CATS is a unique and inspirational musical; a blend of
Andrew Lloyd Webber’s music, T S Eliot’s poems and
Contents
the creative talents of Trevor Nunn, Gillian Lynne and
John Napier. CATS first appeared on the London stage Introduction to CATS 02
in 1981 and went on to become the longest running
musical both in the West End and on Broadway. Synopsis 03

The cats gather together for the Jellicle Ball, and one Introduction Activities 05
by one tell their stories for the entertainment of Old
Deuteronomy. Despite interruption from Macavity, the Background to CATS
mystery cat, the cats end their celebration with the
journey of one of their number to the Heavyside Layer. n TS Eliot – his life and writings 08
n Context 09
The magic of CATS makes it an ideal inspiration for n The Creative Team 09
classroom activity. This pack offers a range of n The Design 11
activities to introduce your pupils to the story and n Creating a Cat 12
characters of CATS before seeing the show, plus in- n CATS Facts 14
depth background information, follow up activity ideas n Reviews of CATS 14
and useful resources. The Pack is generally aimed at
pupils from Key Stage Two and Three, but can be Follow up Activities 16
adapted for any age or ability. The Pack is fully
photocopiable for classroom use. Resources 20

The CATS Education Resource Pack was written by Appendix 21

Su Newell, Head of Education & Outreach at the
Liverpool Empire Theatre. With thanks to Keith Kenny,
Tony Pinhorn, Sally Bayes and the cast and company
of CATS.

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INTRODUCTION TO CATS
Old Possum’s Book of Practical Cats – on which the
musical CATS is based – was written by T S Eliot
during the 1930’s and first published in 1939 by Faber
and Faber. Although Eliot generally intended his cat
poems to be for children, they were also appealing and
amusing to adults.

With a little adaptation Andrew Lloyd Webber used

Eliot’s poems as lyrics and set them to music to create
the musical CATS. The inclusion of elements of
Rhapsody on a Windy Night and some of Eliot’s
unpublished writings enabled the character of
Grizabella the glamour cat to be used and so a
storyline emerged that formed a shape for the poems
and a basis for a musical.

A set was designed by John Napier – to cat scale –

creating a place where the cats could congregate for
the Jellicle Ball and dance pieces were choreographed
by Gillian Lynne to enable the performers to move and
express themselves as cats.

CATS first opened in May 1981 at the New London

Theatre and went on to become a huge success
throughout the world, influencing not only future
musical theatre but also the development of future
performers and creators of musicals.

Over sixty years after Eliot wrote his poems and twenty
years after CATS first appeared as a musical the story
and characters still hold immense appeal for audiences
of any age or background. CATS takes you into a
world of fascinating creatures, with stories to tell and
journeys to take, expressed through music, song and
dance.

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SYNOPSIS
Midnight. Not a sound from the pavement. Suddenly old leader Old Deuteronomy arrives. The cats adore
an explosion of music and lights reveals a larger-than- and respect him. ‘And now that the Jellicle leader is
life junkyard. Probing car lights tear across the here, Jellicle Cats can all rejoice!’
darkened landscape of bottles and boxes, briefly
catching the darting image of a running cat. Tonight is They entertain him with a special show that
the one special night each year when the tribe of Munkustrap narrates, The Awefull Battle of the Pekes
Jellicle Cats reunites to celebrate who they are. and the Pollicles together with The Marching Song of
the Pollicle Dogs. The cats dress up as the two rival
They emerge singing of their unique abilities and dog factions who bark ceaselessly at each other until
special traits. The cats are at first suspicious and they are frightened away by the great Rumpus Cat, a
reluctant to allow the audience into their domain. They sleek and powerful feline.
are proud, however, and in The Naming of Cats explain
to their human visitors who they are and reveal that Yet another crash from the villainous Macavity is heard,
cats have three different names: the one the family which sends the cats scurrying. Old Deuteronomy
uses daily, a more dignified name and, finally, a secret soothes them as they come back one by one. It is time
name. It is the contemplation of these secret names for The Jellicle Ball, the great annual dance in which all
that keeps cats deep in thought. of the cats celebrate.

Victoria, a young white cat, dances to signal The Grizabella appears once more, wanting to rejoin her
Invitation to the Jellicle Ball. Munkustrap, a large grey family and be a part of the celebration. She is left to
tabby, explains that the Jellicle Cats meet once a year contemplate her Memory of the time before she left the
to rejoice! They are waiting for their leader, the wise tribe. She stretches out her hand behind her, hoping
Old Deuteronomy, who will choose which one of the another cat will touch her. She is still not accepted and,
Jellicle Cats will journey to the Heavyside Layer to be disappointed, slinks off into the night.
‘reborn’ into a new life!

Jennyanydots, The Old Gumbie Cat, sleeps and

Interval
lounges all day long. ‘She sits and sits and sits and
sits, and that’s what makes a Gumbie Cat!’ After the Jellicle Ball, the cats rest and contemplate
The Rum Tum Tugger is a contrary character that the The Moments of Happiness before introducing more
female cats find extremely attractive, and who enjoys cats. Gus the Theatre Cat is an aged stage actor who
being the centre of attention. worked with the greatest actors of his day. Gus tells of
Grizabella, the glamour cat, is shunned by the rest of his greatest theatrical triumphs, and yearns to perform
the tribe despite being a Jellicle Cat. She left the tribe again.
years ago to explore the outside world and now wants
to return. Skimbleshanks the Railway Cat introduces himself. A
Bustopher Jones is a large ‘twenty-five pounder’, friendly uncle to all of the cats, Skimbleshanks attends
always clad in his signature white spats. He spends the trains he rides, and makes sure every detail is
his time eating and eating in one of the many English perfect.
pubs and clubs that he frequents.
A third crash interrupts the celebration, and this time
Suddenly a thunderous crash, followed by the sound of the villainous Macavity appears. Two of his henchmen
police sirens and flashing red lights signals that the invade the proceedings and kidnap Old Deuteronomy.
villainous cat Macavity is on the loose! The cats Demeter and Bombalurina sing of what they know of
scatter, leaving an empty stage. Macavity, whose evil deeds have resulted in his being
dubbed ‘the Napoleon of crime’.
Two off-stage giggles signal the entrance of
Mungojerrie and Rumpelteazer, a fun loving, frolicking Macavity returns, disguised as Old Deuteronomy, but
team of pranksters who are always getting in trouble he is exposed and battles with Munkustrap and the
with the family with whom they live. other male cats. Tired and almost defeated, Macavity
rigs an electrical explosion that puts out all the lights,
The entire tribe re-enters as their benevolent and wise leaving the Jellicles in the dark.

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But they still have to find Old Deuteronomy. The Rum Grizabella reappears. Again she recalls her Memory of
Tum Tugger calls in Mr Mistoffelees, the conjuring cat, how things used to be. This time the cats accept her
to use his magical powers to bring back their leader. back into the tribe and it is she who is chosen to
Mistoffelees succeeds in reinstating the lights, locating Journey to the Heavyside Layer and be reborn.
Old Deuteronomy and showing off his magic tricks,
including his infamous conjuring turn. The Jellicle Ball has come to a conclusion, but first Old
Deuteronomy instructs the human spectators in The
At last the time has come for Old Deuteronomy to Addressing of Cats. For all of their unique qualities and
make the Jellicle Choice and decide which cat will be differences, he says, ‘cats are very much like you’.
reborn into a new Jellicle life. At that moment,

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INTRODUCTION ACTIVITIES
Before taking your class to see CATS there are a
number of Introduction Activities you can work through
1. Introducing the story and
to introduce them to the story and characters, give characters and CATS
them an understanding of Eliot’s poems and also to
allow them to discuss their ideas and expectations Old Possum’s Book of Practical Cats does not tell a
about the musical. single story, but the stories of many of the Jellicle Cats
– each poem standing alone as an individual story.
It is suggested that you select from the activities below When creating the musical Andrew Lloyd Webber and
those most suitable to the age and ability of your Trevor Nunn felt it needed a narrative thrust, a way of
pupils. If you are working to a limited timescale then linking the poems together so that the audience could
the activity introducing and exploring the story is most fully engage with the characters and understand the
important – some of the other activities can be returned environment they live in. A combination of the idea of
to after you have seen the show. the Jellicle Ball and the story of Grizabella (from an
unpublished poem) and a fragment of an idea from
If possible you should try and see the show before Eliot about the Heavyside Layer came together to form
embarking on these activities with your class (or at the narrative thread Andrew Lloyd Webber and Trevor
least watch the video or listen to some of the music on Nunn were looking for – that the cats gather together
CD), so you have a clear idea of the story and content once a year for the Jellicle Ball, a chance to share
of the show and are able to tackle some of the stories and entertain one another, with the added
questions your pupils may ask. This pack will also inducement that one fortunate cat will be chosen to
provide you with some of the answers. travel on to the Heavyside Layer. The audience have
been ‘allowed’ in to witness this magical and secret
Below is a list of suggested resources you may find ceremony in order that they will come to more fully
useful when undertaking the Introduction Activities. understand the nature of cats.

Suggested Resources It is a good idea to introduce your pupils to this before

Old Possum’s Book of Practical Cats they see the show, to enable them to recognise
CD recording of CATS elements of the story – and certain characters – so
Poster and/or leaflet for CATS they can more fully enjoy and appreciate the
Video or DVD of CATS performance, and also take more away from the
(Full details of these resources can be found on page 27) experience that they can develop through the Follow
Up Activities.

To introduce the story discuss with your pupils any cats

they own as pets – what are their names, what
personalities do they have, what do they imagine they
get up to when they are out of sight? Introduce the
Introduction Activities character of Munkustrap to the class (see the CATS
Character guide in the Appendix) and tell the story of
1. Introducing the story and characters and CATS the musical as if it were told by him (see Appendix for
2. Exploring Eliot’s poems an example). Once the story is told have a discussion,
3. Creating a CATS environment raising any issues your pupils may not have
4. Discussing CATS in the theatre understood, explaining Eliot’s vivid imagination and,
also, the historical context (Eliot was writing in the
1930’s).
Keep a copy of Munkustrap’s story on display in the
classroom, at this point you may wish to ask your class
to choose a character (see the CATS Character guide
in the Appendix) and either write a short descriptive
piece, illustrate their chosen character or write a short
story about them before you do any in-depth work on
the poems themselves.

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Read and display your class’ work and tell the story of to behave. After a short time share and discuss the
the musical again at least once before your trip to the improvisations – how do the depictions of
theatre to see the show. Jennyanydots differ? Read the poem again and decide
which is the most accurate.
2. Exploring Eliot’s poems n Macavity: the mystery cat
Read the poem aloud and discuss any unfamiliar
It is important to introduce your pupils to some of Eliot’s language.
poems before seeing CATS as it will give them an As a class make a spider diagram of words and
opportunity to explore the stories, language, rhythms phrases on the board or a large sheet of paper that
and structure of the poems leading to a familiarity with describe Macavity. What do your pupils think about
the songs and characters when they see the show. Macavity – is he an exciting character or do they
Four poems have been selected, with linked activities disapprove of him?
for each one, but you can choose which poems you Make a second spider diagram of words and phrases
feel most suitable for your pupils to study and adapt the to describe the character of a detective cat who could
activities accordingly. Each activity begins with reading track Macavity down and capture him. Think of a name
the poem and discussing the content, any language for the detective cat.
your pupils are not familiar with (Eliot often made up his Using the spider diagram for ideas ask your class to
own words to use in his poems!) and the characters each write a short story about the detective cat who
described. hunts for Macavity. Use information from the poem
about Macavity’s crimes, and explain how, eventually,
n The Naming of Cats
Macavity is caught.
Read the poem aloud and discuss any unfamiliar Read some of the completed stories aloud and display
language. them all with the poem.
The poem explains each cat has three names – the
one used by their human owner, one of their own n Gus: the theatre cat
choosing and one secret name that no one ever Read the poem aloud and discuss any unfamiliar
knows. language.
Discuss with the class why names are so important, is Discuss the types of roles Gus has played in the
there anyone who would change their name – to what theatre, the performances he has seen or been in –
and why? – do they think it is a good idea to have three and others he may have, such as Puss in Boots – with
names, especially if they can choose one of them your class, remembering that Gus is a cat from
themselves? Victorian times. Talk about the differences in theatre a
Ask them to work in pairs and choose one of the cat hundred years ago, for example in the sets and
names from the poem, for example Alonzo, and write a lighting.
short description together of the cat’s appearance and Gus’ favourite character that he ever played – and his
character suggested by the name. greatest triumph – was Fiorefrorefiddle, the Fiend of
Read some of the descriptions aloud and display them the Fell. Ask your class to imagine who or what that
all with the poem. character was and do an illustration of Gus as
Firefrorefiddle to accompany the poem.
Display the illustrations with the poem.
n The Old Gumbie Cat
Read the poem aloud and discuss any unfamiliar
language.
Ask your class to describe the two different sides to
Jennyanydot’s character – by day and by night.
Working in groups of five or six ask your class to
improvise scenes depicting Jennyanydot’s night time
activities with the mice and cockroaches, or any other
creatures they think she might discipline, like spiders or
woodlice. They should think about Jennyanydot’s
character and how she gets the mice and cockroaches

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 3. Creating a CATS environment
To encourage your class to think about cats and their
many different ways and habits, create a CATS
Environment in your classroom.
Collect together pictures of and books about cats to
start a display and ask your pupils to bring in photos of
their own cats and any newspaper or magazine stories
or articles they may find.
There are many other cats in fiction (such as Six
Dinner Sid, Orlando the Marmalade Cat, Gobbolino the
Witches Cat, etc). Your pupils may enjoy searching the
library for other stories and poems about cats, which
can be added to the display and may be useful for your
follow up work.
Any work that your pupils produce whilst you are
working on CATS (especially from the previous activity)
can also be added to the display. You can obtain
posters and leaflets for the show from your theatre to
put on your display.

4. Discussing CATS in the theatre

Before you see the show you may wish to discuss the
visit to the theatre with your class.
Discuss - What they expect to see.
How they think the performers may be
dressed or made-up.
What they think they might hear.
You can look at posters and leaflets advertising the
show and listen to one or two of the songs on the CD
(perhaps choosing the ones from Activity 2: Exploring
Eliot’s Poems). Is the music the same or different from
what they expected?
Ask your pupils to write down their thoughts and
feelings about CATS before they see the show, either
as a collection of words, a letter to a friend or even a
poem! You can then return to these after your trip to
the theatre and discuss how their expectations were
right or wrong.

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BACKGROUND TO CATS
TS Eliot – his life and writings Timeline
1888 T S Eliot born in Saint Louis, Missouri, US
Thomas Stearns Eliot is widely regarded as one of our
1906-1909 Undergraduate at Harvard University
greatest writers, whilst mostly noted for his poetry, he
also wrote verse plays and a range of literary and 1909-1910 Post-graduate studies at Harvard. Early writing,
social criticism. He received many honours and including the beginning of Prufrock
distinctions for his writing, including the Nobel Prize for
Literature and a posthumous Tony Award for CATS 1910-1911 Studied at the Sorbonne in Paris and in
(1983). Germany. Completed Prufrock

1911-1914 Returned to study at Harvard

Eliot had a lifelong affection for cats, often sending
letters and poems about his own cat to his godson, 1914-1915 Further study in Germany interrupted by the
Tom Faber and making up unusual or outlandish First World War. Continued studying at Merton
names for cats for friends – and complete strangers! College, Oxford. Prufrock (verse) published in
Practical Cats was originally going to include poems Chicago
about consequential dogs as well and ‘Mr Eliot’s Book 1915 Married to Vivien Haugh-Wood
of Pollicle Dogs and Jellicle Cats’ was advertised in
Faber & Faber’s 1936 Spring catalogue. Eliot felt, 1915-1920 Settled in England and taught in two schools
however, that it would be “impolite to wrap cats up with before working for Lloyds Bank and as a magazine
dogs” and the book became only about cats. The assistant editor. Eliot continued to write whilst
working for the bank. In 1917 The Love Song of
reason the book was eventually titled Old Possum’s
Alfred J Prufrock (verse) was published in London.
Book of Practical Cats, is that Possum was Eliot’s alias
amongst his friends. 1921-1922 Worked as a correspondent for ‘The Dial’.
Founded ‘The Criterion’, which he edited until 1939
Most of the poems were written between 1936 and
1938. Many of the cats were modelled on other literary 1922 The Wasteland (verse) published, his most famous
work.
figures (Macavity is styled on Moriarty, the infamous
villain who challenged Sherlock Holmes and 1927 Confirmed in the Church of England and became a
Skimbleshanks on a work by Rudyard Kipling – The naturalised British Citizen
Long Trail) and some poems Eliot wrote with music in
mind (The Marching Song of the Pollicle Dogs was 1930 Ash Wednesday (verse) published
written to the tune of ‘The Elliots of Minto’). Grizabella,
1932 Selected Essays (literary criticism) published
the glamour cat remained incomplete and unpublished
as Eliot felt it was becoming too sad for his intended 1935 Verse play Murder in the Cathedral commissioned
youthful audience. for the Canterbury Festival

Old Possum’s Book of Practical Cats was first 1939 The Family Reunion (play), Old Possum’s Book of
Practical Cats (verse) and The Idea of a Christian
published in October 1939, with illustrations by Eliot
Society (social criticism) published
himself on the cover, at 3 shillings and sixpence a copy.
Today they are recognised as classics, and have been 1943 The Four Quartets (verse), generally regarded as
translated into many other languages. Macavity, the his masterpiece, first published as a single work
mystery cat was selected as number 66 in a BBC poll
of the Nation’s favourite poem in 1995, and the 1947 Death of Vivien, Eliot’s wife after a long illness
popularity of the musical CATS has sustained the 1948 Received the Order of Merit – bestowed by King
worldwide interest in the original poems. George VI. Awarded the Nobel Prize for Literature

On the right is a timeline of T S Eliot’s life, featuring key 1957 Married Valerie Fletcher
events and his most important writings.
1958 The Elder Statesman (play) published

1965 January – Eliot died in London. There is a

memorial to him in Poet’s Corner, Westminster
Abbey.

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CONTEXT THE CREATIVE TEAM
In order to help understand some of the complexities CATS was the idea of Andrew Lloyd Webber, who
that surround the musical CATS it is useful to explore composed the music to T S Eliot’s poems. Once he had
the context and timescale of the journey from T S begun to create the show Andrew Lloyd Webber
Eliot’s poetry to the London stage. gathered a number of other people together to work on
CATS, including Trevor Nunn and Gillian Lynne.
T S Eliot was born in America in 1888 but became a
British citizen in 1927 after twelve years of living in the Andrew Lloyd Webber
United Kingdom. His writing would have been Andrew Lloyd Webber has written
influenced by the different cultures he grew up with, the some of the world’s best-known
long years he spent studying at different universities musicals in the world, including
and the political and social changes he experienced, Jesus Christ Superstar, Evita and
including the First World War. Sunset Boulevard. He has also
composed film scores and a setting
Eliot wrote Old Possum’s Book of Practical Cats during for a Latin Requiem Mass. He has
the late 1930’s and it was published in October 1939, won numerous awards for his work
just after the outbreak of the Second World War. – from Tonys, Grammys and
Laurence Olivier Awards to an Oscar and a Golden
Eliot was writing of cats during a time when cats were Globe. In 1982 he became the first person to have
owned to be useful – to keep down mice – as much as three musicals running simultaneously in the West End
pets. A time when a different class system existed and and on Broadway. In 1992 he was knighted and in
when the pace of life was very different to the early 1996 received the Richard Rodgers Award for
21st Century. His cat poems were mainly set in Excellence in Musical Theatre. In 1997 he was
London, but one that we would not recognise, a elevated to the peerage as Lord Lloyd Webber of
London of theatre, gentlemen’s clubs and public Sydmonton.
houses, telling of a bygone age with nostalgia and
fondness. Gus the theatre cat mentions Henry Irving, Late in 1977 Andrew Lloyd Webber began setting the
a great actor in the Victorian era, Skimbleshanks poems from T S Eliot’s Old Possum’s Book of Practical
travels on steam trains and Mungojerrie and Cats to music. He knew the poems well from his
Rumpelteaser live in a house with a cook and other childhood and wanted to attempt writing music to lyrics
servants to attend to their owners. already set, rather than the other way around, which
was his normal practise. Initially the idea was as much
Andrew Lloyd Webber was born in 1948 and enjoyed for his own interest as for public performance, although
reading Eliot’s cat poems as a child. He began writing he did feel that it may form the basis for a concert
CATS in the late 1970’s, after the success of Joseph piece. In 1980 some of the songs he had set to music
and the Amazing Technicolor Dreamcoat, Jesus Christ were performed at his annual Sydmonton Festival.
Superstar and Evita, on which he collaborated with Tim They were seen by Valerie Eliot, T S Eliot’s widow, who
Rice. CATS opened in 1981, forty-two years after the generously gave access to many of his unpublished
poems were published and was a close collaboration writings and enabled the creation of CATS to move on
with Trevor Nunn and Gillian Lynne, who had to a different level.
previously worked together at the Royal Shakespeare
Company. All these different people, with their different Creating a musical is a collaborative process and
backgrounds in the arts and various ideas had an Andrew Lloyd Webber knew he had to have the right
influence when creating the show. team working with him to make CATS work. He initially
approached producer Cameron Mackintosh with the
The current tour of CATS (2003/4) brings both the idea that CATS could form a double bill with Variations
poetry and the musical to new audiences, over half a but it was soon decided that it should form a complete
century since the poems were written and twenty-two musical on its own. It was vital to find the right director
years since the musical was first produced. Once and choreographer to work with Andrew Lloyd Webber
again the attitudes and viewpoints of audiences has and Trevor Nunn was approached as director, followed
changed and it is the nature of the enduring quality and by choreographer Gillian Lynne who had collaborated
charm of both the poems and the musical that they still with Trevor Nunn (at the RSC) and Cameron
remain so popular today. Mackintosh before.

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Trevor Nunn Possum’s book of Practical Cats. She had never read
Trevor Nunn was Artistic Director of the RSC for the poems, so quickly bought a copy to read on the
eighteen years and his work there included a great train on her way to the meeting. He played her some
number of Shakespeare plays, alongside Restoration of the music he had composed and she was instantly
Comedy and new writing. With his colleague John very excited by it and became involved in the creative
Caird, he co-directed Nicholas Nickleby and Les process. She worked with a small team (dance
Miserables. He has also directed Starlight Express, assistant, dance captain and one boy and one girl
Aspects of Love and Sunset Boulevard for Andrew dancer) and put together ideas for movement and
Lloyd Webber and a number of operas for choreography for three quarters of the show, which
Glyndebourne and the Royal Opera house. He spent was then presented to Andrew Lloyd Webber and
several years as Director of the Royal National Trevor Nunn. She observed her own cats in
Theatre, has directed many television productions and developing the dances, often creating completely new
three films. steps and movements and helped Andrew Lloyd
Webber develop some of the music, especially for the
Trevor Nunn was intrigued by the premise of CATS but Jellicle Ball, as he had never written music purely for
felt that some sort of narrative was vital to making the dance before. Once rehearsals began, she worked
piece work. When Valerie Eliot sent the fragment of with the cast, alongside Trevor Nunn developing the
Eliot’s poem Grizabella, the glamour cat to Andrew piece and making sure all the dancers were of the
Lloyd Webber, Trevor Nunn felt it was the key to the same standard, fit and flexible enough to cope with a
whole piece and could be used to form a story that the show that demanded two and a half hours of
other poems and dance would fit in to. He worked exhausting dancing. There were only five weeks
alongside Andrew Lloyd Webber creating the musical available for rehearsal and when they began there
and even contributed lyrics – in the structure of the were still some songs incomplete and constant
song ‘Memory’. CATS was difficult to cast. At the changes to the music. Many characters were
beginning there was no script and few of the cat developed through the way that they moved, with
characters had names. Trevor Nunn knew Judi Dench constant reference back to the poems.
from his work with the RSC and she expressed an
interest – asking if there was a sleepy old cat that she
could play. She was cast as the Old Gumbie Cat, and As rehearsals progressed the show began to come
also as Grizabella, and gradually the rest of the cast together more. It was a challenging time for everyone
came together, including Paul Nicholas as the Rum – a show like this had never been seen before and
Tum Tugger. Initially rehearsals were spent working on there was great scepticism about whether it would work
the dancing and also improvisation and character – even to the extent that the New London Theatre,
development. Several days into rehearsals, after a chosen as the venue, had to be persuaded not to pull
lunch time spent in the pub, Trevor Nunn was able to out at the last moment. Then disaster struck when Judi
come up with sixteen cat names (all from the poems) Dench snapped her Achilles tendon during rehearsals
and allocate them to the different performers based on and had to go into hospital. An anxious wait to see if
the improvisation work they had done, and so enable she would recover in time ensued, but when she
each cat to have a character and begin to tell their returned to rehearsals she fell off the stage and injured
individual story. herself again and it was obvious she would have to be
replaced. Elaine Paige, who had starred in Evita,
Gillian Lynne agreed to save the day and, with minimal rehearsal,
Gillian Lynne has been involved in over fifty West End was ready for the first preview, even though the song
and Broadway shows as either director or she has become famous for – ‘Memory’ – wasn’t.
choreographer, as well as working extensively in film The show continued to be changed and developed
and television. She was instrumental in the throughout the previews but was receiving a favourable
development of Jazz Dance in Great Britain and is response from the audiences. On opening night CATS
recognised world-wide for her groundbreaking was well received by the critics and soon queues
choreographic style. began to form at the box office. Broadway producers
expressed an interest and CATS went on to become a
Gillian Lynne was asked to go and see Andrew Lloyd world-wide phenomena, changing opinions and ideas
Webber regarding a new project based on Old about musical theatre along the way.

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THE DESIGN
Once the New London Theatre, previously used as a walk influenced the design of his coat – and also
television studio, had been chosen as the venue for elements of the cats names suggested the colours and
CATS London opening, a designer had to be found to textures of their costumes. Every cat had to have a wig
transform it into a unique setting for CATS. as well as a costume and make-up was used to unify
the two and support the personality and character of
John Napier the cat. John Napier’s involvement extended to doing
John Napier has designed Starlight Express, Les everything, especially in the final run up to the first
Miserables, Miss Saigon, Sunset Boulevard and the preview – cutting wigs, spraying costumes and
recent revival of Jesus Christ Superstar. He has demonstrating to the performers how to apply their
created numerous other designs for theatre and the make-up, often working all night to get everything right.
Steven Spielberg movie Hook.
John Napier’s designs have had to be adapted and
John Napier came on board due to his long working developed for different theatres around the world,
relationship with Trevor Nunn. He found the concept of especially when the show goes on tour and must travel
the musical a strange idea and had the unique from theatre to theatre in six forty-foot trucks. CATS
challenge of designing a show with no script to work has now appeared in all types of theatre, including
from. Trevor Nunn wanted him to create an proscenium arch and thrust stage and each time the
‘environment’ for the cats to exist in, and he was same magical environment is created, enabling the
inspired by seeing a derelict site, with a fallen billboard musical to come alive.
and scrapped cars, which formed a wasteland that
could be a playground for cats. He was also aware he
needed to produce designs featuring a flat open space
for dancing and lots of different levels and places
where the cats could hide away or appear from. He
decided to scale everything up, so that the human
performers would appear as cat sized, and have items
around on the rubbish dump that could be used as
props or costumes for performing the different poems.
The New London Theatre itself influenced the design,
the stage is virtually in the round, there is no
proscenium arch and the stage has a revolve, so all of
this was incorporated in to the design, so the whole
theatre became part of the cats environment not just
the stage.

The theatre and the design itself threw new challenges

at Gillian Lynne as there were no wings or sides of the
stage where the dancers could easily go on or off and
regroup for different numbers. This was especially
difficult in the Jellicle Ball, which is nearly fifteen
minutes long. The choreography had to be tailored to
work within the design, so one group of cats would
dance to take the focus of the audience off another
group of cats while they rested or regrouped on
another part of the stage.

John Napier became very involved in the collaborative

process of the show alongside everyone else. Many of
the costume designs were influenced by watching
rehearsals, the dancers in their motley collections of
dance wear, leg warmers and gloves, the way certain
characters moved – for example Bustopher Jones’

www.catsthemusical.com 11
CREATING A CAT
run-through of act one and act two is run by the end of
How Jemima came to be… week three. In week four rehearsals moved to
Plymouth, where the tour would begin. The rehearsal
Creating a cat is a long process involving an individual, space at Plymouth is the same size as the stage, so
dedicated performer and a great many other people that rehearsals can take place in as ‘real’ an
besides. environment as possible. This last week is spent
working on run-throughs and going over and over any
The process begins with auditions. Sally was lucky – parts of the show that aren’t working. Time must also
hers were all on one day – some cast members had up be found for costume and wig fittings and for the
to three separate auditions. Sally was called by her performers to be instructed how to apply their make-
agent and asked to go along to a dance audition. The up.
next day she auditioned alongside about fifteen other
dancers. They were taught the opening of a dance The rehearsal period is very intensive, with lots of new
number from the show by Chrissie Cartwright (who things to learn and absorb. A number of the cast have
would be recreating the show for the tour). They been in CATS before, but it was a totally new
danced a number of times all together and then in experience for Sally. Particular attention was paid to
pairs. Chrissie gave them notes on their performance getting into behaving and thinking like a cat, often a
and then they tried again. Next they had to summon whole morning or afternoon of rehearsal would be
up the energy to sing. Sally had prepared a song in the dedicated to this. They would begin by lying on the
style of the musical and was then asked to sings bits floor with their eyes closed whilst Chrissie talked to
from the classic ‘Memory’. She was asked to go back them about the different sensations of being a cat, for
that afternoon and sing again for instance how it feels to have fur
the Musical Director and other all over your body. They would
people. They obviously liked her,
Sally Bayes then begin to physicalise this,
as the very next day she was Sally is from Melbourne, Australia. thinking about movement, the
offered the role of ‘Jemima’. She made her professional debut changes in posture and body
in Scrooge and has since shape and the different
The next stage is rehearsals. appeared in Mame, Fame – the viewpoint and perspective a cat
Only four weeks to memorise all has. This was developed by
the songs and dance routines
Musical and Mamma Mia in using improvisation, looking at
and have everything ready for Australia. She has also appeared how cats respond to one
opening night. Rehearsals were in Neighbours on TV. CATS is another when they meet, with
lead by Chrissie and the musical her British stage debut. Chrissie providing different
director, with the support of the scenarios for them to work to.
resident director and dance Sally feels mentally being a cat
captain, and began in London. On the first day has become second nature – she finds herself doing
everyone was introduced by name and what their role everyday tasks like cooking and cleaning in her cat
on the production would be. Chrissie then told the character ‘Jemima’. The addition of costume and
story of the show and talked through exactly how the make-up also help and the fact that she is surrounded
show would work in minute detail. The next step was by other people pretending to be cats every night.
for all the performers to learn the vocals – the lyrics,
music and harmnies of the songs – this comes first as Rehearsals also involve preparing the understudies
many of the dance routines are based on the content (each main character has two understudies and there
of the songs. Once the vocals are learnt then comes are four ‘swings’ who have to cover the parts of those
the choreography. Also by the end of the first week who understudy main roles) so that by the time they
they had to learn the Jellicle Ball – a gruelling fifteen- reach the second venue of the tour they can have a full
minute long piece of dance that appears before the end run-through for all the first cover understudies.
of act one. Week two involves continuing to learn Understudies and swings must always be ready to go
dances and also blocking the show (setting the on at a moment’s notice, so regular rehearsals keep
positions of the cast on stahe at each point throughout them fully prepared at all times. Once the tour has
the show), to make sure everyone understands the begun the resident director and dance captain will
sequence of events. At the end of week two there is a regularly watch performances to make sure the show is

www.catsthemusical.com 12
running smoothly and everybody is performing their off to the wig room to have her wig fitted. The wigs are
roles correctly. Occasionally they may call a clean-up cared for and fitted by members of the wig department.
rehearsal to work on sections of the show that aren’t Each one is individually made from yak hair, strong
looking right. enough to withstand the dyeing and backcombing
needed to make Sally look more like ‘Jemima’. The
When the rehearsal period is over, creating a cat wig is pinned on and fine netting around the face is
becomes the full responsibility of each individual. They glued into position, Sally then blends her makeup over
must remember everything they have been taught and the net, so there are no gaps.
perform to a high standard eight times a week, usually
for three or four weeks in each different theatre. Sally Suddenly the five minute call goes out – beginners to
arrives at the theatre about three hours before the the stage. The ‘cats’ collect in the wings, stretching
show begins. Her first task is to apply her make-up, a their bodies to keep supple and singing snatches of
coloured base with detail painted on, following the their songs to make sure their voices are warm. In the
diagram of the make-up specially designed for her background is the sound of the audience chatting, final
character. Her eyes are accentuated and cat features adjustments are made to costume and make-up, the
added and her ears and neck must be made up to lights go down and the overture begins. All the long
blend in the gaps between wig and costume. One and hours of preparation are over and now ‘Jemima’ goes
a quarter hours before the show begins everyone on stage and sings, dances and entertains. Soon it’s
comes to the stage for the warm-up, some already all over and the curtain falls. The ‘cats’ and crew go
have their costumes or wigs on but most are casually home, ready to begin the process all over again the
dressed in comfortable dance gear. Technical checks very next day.
are going on around them as the warm-up commences
with the vocal warm-up led by the musical director. He
will demonstrate what he wants them to do, using a
keyboard to give them a note – usually they hum, la-la
or yah-hah up and down scales to relax and warm their
voices. After about fifteen minutes the physical warm-
up begins, led by the dance captain. He will lead the
cast through a series of exercises to stretch and flex
their muscles, preparing them for two and half hours of
energetic dancing. As the sound of the orchestra
warming-up begins to interrupt the music for the
physical warm-up most of the performers return to their
dressing rooms to continue getting ready.

The technical team have made all their checks,

including all the cast’s microphones, which are
delivered to their dressing rooms, water and ice packs
are on standby and the dressers have prepared the
costumes for quick changes – enabling cats to
transform into cockroaches or dogs and back again in
the blink of an eye. In the dressing room Sally adds the
final details to her make-up – a good fixing of powder
and a final coat of mascara. She then slips into her
costume – a lycra cat suit, dyed and painted in
‘Jemima’s’ colours, with gloves and legwarners to add
texture, matching jazz shoes and a tail that slips
through a loop on the back of the cat suit and ties
around her waist. The battery pack of her microphone
is concealed in her costume and the wire runs across
her head, with the microphone on her forehead. She
fixes her hair with pins and a stocking cap before going

www.catstour.co.uk 13
CATS FACTS REVIEWS OF CATS
Since 1981 CATS IS SURE TO SET YOU PURRING
The London Box Office used 1,179,800 envelopes,
772,200 paper cups and 31,875 headache tablets! These are surprisingly sociable cats, since they are
attending the annual Jellicle Ball, at which one of
The crew replaced over 6,124 seats, added 96,525 them will ascend into the Heavyside Layer and be
new screws, used over 36,625 posters and 356 gallons awarded a further set of nine lives.
of varnish to cover the floor, replaced the wood for the And apart from the cats’ individual and independent
star trap 6 times a week and used 3 litres of cleaner a stories, that’s basically all the plot there is in this
week (2,316 litres). feline fantasy.
The sound department used 30 new microphones a T S Eliot’s poems might seem an unlikely subject for
year (450 in total), 50 new aerials a year (750 in total) a musical, but they guarantee intelligent, witty lyrics.
and 50 batteries a week (39,000 in total).
As a spectacular dance show it’s critic-proof.
Stage Management used 1,000 plastic cups a month,
2,000 elastic bands a year, 50 painkillers a week and The auditorium is festooned with coloured lights, and
449,280 throat lozenges in total. They used a pint of the set is an immensely imaginative rubbish dump, the
milk a day (not for the cats) and over 200 loo rolls a items larger than life-size to be in scale with the posse
week – for everything but the loo! of personal pussies – even the boot hurled to curtail
The wardrobe department replaced 5 pairs of shoes a the caterwauling. And the high voltage choreography,
week (3,900 pairs), sewed on six knee patches per with its leaps, spins, taps, rolls, crawls, struts and
night. In total they sewed 3,450 costumes for 262 tumbles, is not overburdened with the sinuous
different performers, using 11,954 lbs of wool and movements of real cats.
2,825 miles of cotton. All the moggies grab their moment of glory –
Grizabella the nicely raddled glamour puss, acrobatic
The stage electronics department changed 23,166 clowns and cat burglars Mungojerrie and
bulbs in the London auditorium (there are 1,166 bulbs Rumpelteazer, the never satisfied Rum Tum Tugger,
in total, 30 are changed per week and each has been
the elegant cat about town Bustopher Jones, the
changed roughly 12 times) and used 22,405 feet of
mysterious Mr Mistoffeles, the even more mysterious
cabling.
Macavity, Skimbleshanks the railway train guardian,
The make-up department used 10,800 sponges and 72 the quietly ga-ga theatre cat Gus, patriarchal Old
batches of each eyeshadow, pencil, blusher, lipstick Deuteronomy, the Gumbie Cat who sits all day and
and mascara per year. Cast members get through a only becomes active at night, and battered Growltiger
box of tissues each every week. making his last stand. Favourites all.
It’s a triumph of presentation and theatrical panache
‘Memory’ was aired on radio and television in the masking a lack of substance, and the second half is
United Kingdom 46,875 times and over a million times better than the first, but patrons left the theatre feeling
in the USA (if you listened to the song non-stop 1 like the cat that got the cream.
million times it would take five years!). There have
been over 100 different versions and recordings of the Bill Stone
song. Plymouth Evening Herald
The current tour of CATS will visit over thirty theatres
around the United Kingdom, entertaining audiences of
over one million people. The show requires six forty-
foot trucks to move it from theatre to theatre,
transporting the sets, musical instruments, and sound
system, together with hundreds of costumes and wigs
and over one hundred lamps for the lighting rig. A team
of at least twenty people will work around the clock to
construct the set at each theatre.

www.catsthemusical.com 14
 LONG-RUNNER IS JUST PURRFECT! MAGICAL MOGGIES BRING A
Feline fanatics rejoice! Cats is back, after an absence CAPITAL SHOW
of several years, with over £1m in box office
And this is certainly a show not to be missed.
bookings and several shows already sold out.
How they do it, I have no idea – just the thought of
If you’ve ever read Old Possum’s Book of Practical
all the warm-ups the cast must subject themselves to
Cats by T S Eliot to your kids, you may have
before the show is enough to make your eyes water.
wondered, as I did, how on earth anyone could make
Maybe it’s got something to do with yoga.
a musical out of so slight a piece of writing.
But once they hit the stage they are the sinuous,
Hats off then to both it’s composer Sir Andrew Lloyd
graceful, and highly flexible embodiment of cats
Webber and director Trevor Nunn, who did just that
made human. Moving in perfect unison, they leap
and created the most successful and longest-running
around the set with enough agility and enthusiasm to
musical in the world.
keep a real-life moggy on its toes.
Natalie Angelsey
Manchester Evening News
Prowling around the audience right from the opening
number, the ‘cats’ dominate the theatre throughout
the show. That gives you the chance to see close up
the amount of work that goes into giving each actor
PURRFECT SHOW their own unique cat personality.
Memory, the show-stopping highlight of Cats, Helen Tither
Manchester Metro News
performed by former glamour cat, Grizabella, is
probably my all-time musical favourite and Chrissie
Hammond touches the necessary nerve in her
rendition of this incomparable song. CATS PROVES TO BE A
Pathos apart, I spent most of the performance with a
smile on my face, not unlike the cat that got the PURRFECT NIGHT OUT
cream, in appreciation of the exuberance, vitality – Totally and outrageously camp and OTT, but
and ultimately the uniqueness – of this wonderful fantastic, Cats is a magical night out, a theatrical
show. treat that has justifiably just about sold out for its
Diane Leach three week run in Plymouth.
Rochdale Observer The whole production is of the highest calibre and
no single feline can be singled out for extra petting.
The orchestra, although hidden throughout the show,
were a driving force with their big arrangements, and
JUST PURRFECT FOR 21ST were still playing as the audience left the theatre.
ANNIVERSARY Elaine McFadyen
BBC Online
But the success of the show, which in this latest
incarnation opened in Plymouth at the start of a two-
and-a-half-year tour, is down to more than
glitteringly impressive special effects, which include ‘CATS’ REVIEW
a stairway to the stars. None of that matters; what does matter about this
There’s the fantastic feline costumes and make-up production of Cats is the talent of those in the cast,
too but, more than that, the performance of the and the design and direction: all are first class.
members of the cast and musicians. The real strokes of genius about the show were the
They are just the cat’s whiskers when it comes to decision to turn the poems of T S Eliot into a musical
perfecting the movements, moods and mannerisms in the first place – and then to make it work so well
of cats through song, dance and music. that it’s packed in the punters ever since.
Sue White Pam Guyatt,
Herald Express Plymouth Extra

www.catsthemusical.com 15
FOLLOW UP ACTIVITIES
These activities are intended to develop your pupils’ Writing a character study
ideas and knowledge about CATS after you have seen Using Eliot’s poems as a starting point, this activity
the show. They are divided into subject areas – looks at writing a character study.
English Choose one or two of Eliot’s poems (for example Rum
Drama Tum Tugger or Bustopher Jones). Begin by discussing
Dance with your class what you are looking for in a character
Art / Design study – what the character looks like, their personality,
plus ideas for a project inspired by poetry. lifestyle and surroundings. Read the poems together,
making sure everyone understands any unfamiliar
vocabulary. Then ask your class to plan their character
English study, reading and re-reading the poem and making
Poetry writing notes. They should look for specific descriptions in the
Poetry writing can be tackled in many different ways poems but also less obvious clues to character the
depending on the age of your pupils, their previous poems may give away. Once they have completed
experience of poetry writing or a particular poet or style their notes your pupils should write up the studies.
of poetry you may be studying. The activity below Read some of the studies aloud and discuss any
outlines creating a class or group poem and can use similarities and differences.
whatever poetry style you choose. If you wish the character studies could then be used as
With your class (or set this as a group task) make a a basis for writing a monologue, as if the character is
spider diagram of words describing cat behaviour, cats’ describing themselves and their life. The monologues
appearances and the way cats move. Use the words can then be performed.
as inspiration and ask your class to write three or four
lines of poetry in pairs in your chosen style. You can Writing stories
allow as much time for this as you like, developing the Eliot’s poems tell stories about lots of different cats and
use of language and redrafting as you wish. Once can be used as inspiration for story writing. Begin by
everyone is happy with their lines of poetry, ask them reading Macavity, the mystery cat to your class.
to select their favourite line. Write each favourite line Discuss some of the things Macavity gets up to, both in
down on the board or a large sheet of paper. Once all the poem and during the musical, and write various
the lines are written down, work with your class to edit ideas up on the board. The aim of the activity is to
one collective poem that everyone has created and create a new story about Macavity and a crime he has
display it in the classroom. committed. Give your pupils an opening or closing line
Writing reviews for their stories (see examples below) – depending on
Refer back to the activity in Introduction Activities how much you want to challenge them. Ask them to
(page 5) that explored your pupils’ expectations of plan their stories, planning a clear beginning, middle
CATS. Discuss the thoughts and ideas they recorded and end and following their plan whilst they write.
in preparation for writing a review; you may also wish Once the stories are written read them aloud or display
to read them the extracts from newspaper reviews them in the classroom.
above (page 14). Writing a review of the performance
will give your pupils a permanent record of what they
saw and how they responded to it. It will also enable
them to begin to judge and assess different Opening line –
productions and use this to inform their own “Macavity dodged behind the dustbins, quietly tucking
performance skills. Whilst at the theatre they should his tail around his feet, out of sight of the…”
begin to complete the review worksheet (see
Appendix), finishing it as soon after the performance as Closing line –
possible. It is also useful for them to do a quick spider “Despite everything the Inspector had done, he had no
diagram of words and phrases to represent their proof and Macavity was released from Scotland Yard.”
emotional response to the performance. They should
write a more formal review, including a brief outline of
the story and a description of how well performed and
presented they thought the show was a few days later,
once they have had time to reflect.

www.catsthemusical.com 16
 scenes from the cat’s life to give a clearer picture of
Drama how their character was formed. They should also
Always begin a drama session with warm-up exercises explore the movement and physicality of the character,
and games. especially considering how to portray themselves as a
cat, maybe using some of the ideas Chrissie Cartwright
Poems as inspiration used in rehersals. Keep stopping the work and sharing
Eliot’s poems can be used as inspiration for different pairs ideas to enable everyone to discuss
improvisation in many ways; for example different ideas and develop their own work.
n Use the opening line of a poem as the opening line
of an improvised scene.
n Improvise other events in the lives of the cat
characters in the poems. Hot-seat Grizabella
n Choose a cat character from the musical (one who
As a follow up to the above activity it is interesting to
doesn’t have a poem) and improvise a story for them. particularly explore the character of Grizabella. Eliot
n Collect words and phrases from the poems that will
never completed his poem about her, but it can be
challenge and inspire your class and use them as a found in CATS, the Book of the Musical (see
basis for improvisation. Resources for further details). The character and story
All of these ideas can be used simply in a one off of Grizabella were used by Andrew Lloyd Webber and
drama session as a follow up to seeing a performance Trevor Nunn as a basis for the narrative of CATS, so
of CATS or as a beginning to developing ideas for her character is very important. By taking on the
script writing or devising a performance. character of Grizabella yourself (or choosing one of
your pupils to do it) you can set up a situation where
Grizabella can be questioned by the other cats about
Perform a poem her life, her experiences outside of the Jellicle tribe and
As proved in the musical Eliot’s poems make an ideal why she now wishes to come back. You may also wish
basis for drama and can be performed in many ways. to explore what she expects to find when she travels to
Select which poem you wish to work with and divide the Heavyside Layer. You may find it interesting to
your class into groups. Read the poem with your class discuss the role of Grizabella within the musical, how
and discuss the story of the poem. Allocate a part of she is performed and costumed and how the other cats
the story to each group and ask them to think of a way react to her.
to perform it; they could use a narrator and mime, write
a short script and act it out or use movement and
sound to tell the story. Once all the groups have had a Dance - warm-ups
short time to practise they should all perform for each It is important to begin every practical dance session
other. Discuss the different performance styles and with a warm-up. It is a useful activity for your pupils to
interpretations of the poems and decide the best way create a warm-up in pairs; they can then be used at the
of developing it into a performance that tells the whole beginning of each session
of the poem and uses as many of the pupils as Ask your pupils to put together a 15-minute dance
possible. You may wish to add to the performance by warm-up. They should work in pairs and create a
creating masks or other simple costumes to number of structured exercises that include: general
demonstrate the characters. Once you have stretching, exercises to focus on specific areas, (for
rehearsed your performance, find an audience to example abdominals, legs, arms), combination
perform it for. Discuss the creative process with your exercises for strength and grace. They should select
class and compare it with what they have learnt about different pieces of music for their warm-up, choosing
how CATS was created. styles and tempos to suit the exercises they have
chosen. Once the warm-ups have been put together
Character development the pairs should take it in turns to lead the rest of the
Choose one of Eliot’s poems to use as a basis for class in their warm-up at the beginning of each
character development work. Ask your class to work in session. This will also help them learn the language of
pairs and use the poem to gain as much information the exercises and movements they have used and how
about the cat as possible (you may wish to link this to to communicate their ideas to others.
the Writing a character study activity above). They
should then begin to improvise and develop different

www.catsthemusical.com 17
Cat movement With whom – how will the group work? As pairs,
This activity aims to explore the different ways a cat individuals or as an ensemble?
moves and how this can be used as inspiration for
movement and dance work. They will need time to rehearse (keep playing the
Begin by discussing with your class (and using pictures music in the background) and try out their movement
if you have them) the range of movements associated ideas. Their motif should be complete, so that it begins
with cats, for example – cats sleeping, cats washing, and ends with the same pose or frozen image – moving
angry cats, affectionate cats, cats playing. away from it and back to it again. Once the groups are
Ask your class to sit in pairs and explore some of the confident in performing their motifs, share them with
ideas, using their heads, arms and upper bodies to the whole class.
begin with. Discuss some of the difficulties in making You then need to decide on a structure and order of
a human body move like a cat’s. It might help to put events for your dance piece. You may wish everyone
some suitable music on in the background to make to dance one motif together to begin the dance
your pupils more relaxed. Ask some of the pairs to (unison) or for one motif to recur through the dance
share their ideas with the rest of the class. (repetition) or for some of the motifs (or movements
The next stage is to ask the pairs to use all of their within them) to be performed by a single group ,
bodies to explore cat movements. It might be easier if mirrored and followed by other groups (canon). Spend
you give them a starting point, for example – a cat plenty of time structuring your dance, considering
waking up – and ask them to especially consider the entrances and exits and how the piece will start and
way the movements flow into each other. When they finish. Once the structure of the dance is complete and
have had plenty of time to develop their ideas, share you have rehearsed it, perform it for an audience. You
and discuss them with the whole class. may also wish to discuss with your class how you could
notate the dance so others could learn it, and possible
Cat choreography ideas for costume for performance.
This activity explores how CATS the musical, pictures
of cats, cat poetry or ideas from the activity above can Art / Design
be used to create a complete dance.
To begin you must decide what your initial stimulus or Illustrate a poem
inspiration will be (this will depend on the age of your As a follow up to seeing CATS ask your class to
pupils and their experience of creating dance). You illustrate their favourite poem, either using their
should also choose a piece of music at this stage, imagination from the poem alone or drawing on ideas
either one of the instrumental pieces from CATS or presented by seeing the show. If you wish they could
another piece that fits with the ideas you wish to plan their illustrations or experiment with different
develop. media (such as collage, pastels or paint) before
Set up a discussion with your class to talk about the attempting their final piece of work. Their illustrations
dance piece. Present them with your ideas and listen to should convey a sense of the poem and the story it is
the music. Collect together their ideas and talk about telling as well as an image of the central character.
the ways they think a dance piece could be created. Once the illustrations are complete, display them in the
Your class should then be divided into groups of four or classroom.
five and asked to create a motif (a series of movements
that are a starting point for movement development). Design
The group should discuss ideas based on words and There are a number of different design tasks you could
moods associated with the stimulus or inspiration and set for your pupils, exploring set, costume, make-up or
what it means to them, what their emotional response poster design.
is. They should then move on to decision making - Discuss the set design after you have seen the musical
considering and read the section of the Pack that explores how
n Content
John Napier arrived at his design. He describes it as
What is the movement about? How have they an ‘environment’ for the cats to exist within and it forms
interpreted the stimulus? a backdrop to the show as well as providing props to
n Movement
help tell the various stories. Imagine you are going to
How have their ideas led to the qualities and dynamics create a whole show based around one of Eliot’s
of the movement? poems and ask your pupils to design a set that would

www.catsthemusical.com 18
 Project
work as an ‘environment’ for that particular cat, as well This Project aims to use a number of different
as providing items that could be used to tell the story. elements in order to create a piece of performance
Once the set designs have been completed then begin inspired by poetry. You can divide the project up into
to look at costume and make-up design. The costumes different sections, depending on how much time you
in CATS were very important, not only in suggesting have available and on whom you wish to perform the
the characters but also in reflecting the way that they final piece for.
move, so helping the performers. The make-up was
the final element that transformed the human The first step is to select a poem, for example for Key
performers into cats and it dramatically alters their Stage Three pupils – Preludes by T S Eliot, or for Key
looks and makes them more believable for the Stage Two pupils – Cats by Phoebe Hesketh. (There
audience. Divide your class into pairs and ask them to are other suggestions in Resources.)
work together, so one designs the costume and one
the make-up for different characters. (It may help to Section One
provide them with a basic outline of a face or body for Use some of the ideas from the Introduction Activities
them to design on.) or the English and Drama activities above to
The last element is to design posters to advertise your introduce the poem to your class and give them a
imaginary show. Look at the posters used to promote good understanding of its content and meaning.
CATS and discuss what information and what design Once your pupils are familiar with the poem, decide
elements they contain. Ask your class to design their how you wish to construct your performance. Spend
own posters, paying particular attention to a strong time writing and using improvisation and dance or
graphic image that conveys a message about the movement to develop character and a narrative. Put
content of your show. your pupils into groups to develop their ideas and
regularly share and discuss their ideas to help their
creativity and self assessment.

Section Two
Whilst you are developing the structure of your
performance you may also wish to add some
elements of design to give your performance a
professional look. Pick ideas from the activities
above to help your pupils develop designs for
costume, make-up and sets. Discuss the time and
money you have available for such elements and
make a class decision about what costumes and sets
you will actually create. You may wish to give a small
group of students the responsibility for developing the
ideas and creating the actual costumes and sets.

Section Three
When you have all the elements of your performance
in place then spend time rehearsing it so everyone is
familiar with their role. Organise a date for the
performance and create posters and programmes.
The performance could be part of assembly or an end
of term show. Once you have performed take the
time to discuss with your pupils the process of
creating the performance and anything they feel they
would change or develop.

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RESOURCES
CATS Resources
Highlights from CATS – CD Really Useful Records
CATS – video / DVD Really Useful Films (Polygram Video)
CATS – the Book of the Musical Harvest Books
T S Eliot Old Possum’s Book of Practical Cats Faber & Faber
Programme and Brochure – available from theatre

Websites
www.catstour.co.uk
www.reallyuseful.com
For T S Eliot sites use your search engine

Books
The Nation’s Favourite Poems BBC Books
(Includes T S Eliot’s Preludes and The Love Song of Alfred J Prufrock)

Other Cat Poems…

Cat Alan Brownjohn
I had a Little Cat Charles Causley
Explorer Alan Brownjohn
Why Peter Dixon
Cats Phoebe Hesketh
Fish John Cunliffe
The Owl and the Pussy Cat Edward Lear
The Duel Eugene Field
Jubilate Agno Christopher Smart
The White Cat of Trenarren A L Rowse
Wind Cat Robert Westall
Cats Eleanor Farjeon
The Kitten at Play William Wordsworth
Magic Cat Peter Dixon

All from Read Me – A Poem a Day Macmillan Children’s Books

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MUNKUSTRAP’S STORY
I’m Munkustrap, a tabby cat, a member of the Jellicle into trouble with the family with whom they live. They
Tribe. It’s all quiet and dark now but soon all the other may be cheeky, but they’re all right really!
cats will begin to arrive. Tonight is the one special night
each year when the tribe of Jellicle Cats reunite to Here’s everybody back now – they’re such a bunch of
celebrate who we are. We sing about our unique scaredy cats! At last Old Deuteronomy has arrived,
abilities and special traits. he’s our leader, a very wise old cat but we love and
respect him. We’re going to perform a special show to
You are very lucky to be allowed to witness this special entertain him – The Awefull Battle of the Pekes and the
occasion, we don’t let just anyone in. Did you know Pollicles together with The Marching Song of the
that all cats have three different Pollicle Dogs. You wait until you
names, here are some of them now: see all the cats dressed up as dogs,
Demeter, Bill Bailey, Tantomile and barking away at each other. And as
Victoria. Those are their everyday for the Great Rumpus Cat – well! I
names, given to them by humans but hope they all remember what they
cats choose their own – more are supposed to do.
dignified names – and also a secret
name, that we like to sit and Yikes – it’s that Macavity again. Old
contemplate. Victoria is a young Deuteronomy soon calms
white cat (she’s very pretty) and she everybody down, so we all dance
dances to signal the invitation to the together at the Jellicle Ball. There’s
Jellicle Ball. We are waiting for our that Grizabella back – she’s
leader, Old Deuteronomy, who will certainly got some memories of
choose which of us will journey to the past times but she’ll go off into the
Heavyside Layer to be ‘reborn’ into a night soon. She’s not welcome
new life. here.

Let me introduce you to some more After the Jellicle Ball we rest and
of the Jellicle Cats. Here is contemplate the moments of
Jennyanydots, the Old Gumbie Cat. happiness. Then Gus appears.
She sleeps and lounges all day long He’s old now but in his day he was
but at night it is a different matter as a marvellous stage actor, who
she keeps the mice and cockroaches in order. The appeared in many a performance and had many
Rum Tum Tugger is a different cat altogether. He is a theatrical triumphs. Skimbleshanks is next; he’s a
very contrary beast, who can never make up his mind railway cat, a friendly uncle to all of us cats and
but he’s very, very popular with the female cats – I can carefully looks after the trains he rides.
tell you. I’m not sure why …
Look out – here’s Macavity. Two of his henchmen have
Another cat appears. Who’s that? Oh it’s Grizabella. got Old Deuteronomy – they’ve kidnapped him!
We used to call her the glamour cat but you wouldn’t Demeter and Bombalurina have many tall tales of
think it to look at her now. She left our tribe years ago Macavity and his criminal activities. Oh, wait, its
to explore the outside world. Now she thinks she can alright, Old Deuteronomy is back. Thank goodness.
come back and join us again but she’s not welcome Hang on a moment – no – it’s Macavity in disguise.
and I’ll see that the other cats don’t accept her either. He’s asked for it now, come on boys, we’ll get him.
There, she’s gone now, and here comes Bustopher Phew, that was a bit of a fight. Macavity cheated
Jones. He’s a very large cat (he likes his food) but he though, he caused an explosion and put out all the
always looks smart in his white spats and has the lights. The Rum Tum Tugger has called Mr
impeccable manners of a true gentleman. What’s that? Mistoffelees, he’ll soon put us back to rights. He’s a
Did you hear that terrible noise? Crashing and banging conjuring cat and can do all kinds of magic tricks –
and police sirens? I bet it’s that Macavity on the loose; including making Old Deuteronomy re-appear.
he’s always up to no good. Where has everybody
gone? Oh, I can hear laughing. It must be Mungojerrie Now it’s finally time for Old Deuteronomy to make his
and Rumpelteazer, they’re a right pair, always getting choice about who will be ‘reborn’ into a new Jellicle life.

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Grizabella has come back; some of the kittens think So, that’s this year’s Jellicle Ball over already – another
she deserves another chance. Maybe, yes, maybe whole year before we all come together and celebrate
now it’s time to welcome her back into the tribe. Old again. Before we go Old Deuteronomy just wants to
Deuteronomy chooses her and she travels beyond us tell you about the addressing of cats – because really,
to the Heavyside Layer. you know, for all our unique qualities and differences,
we cats are very much like you.

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CATS CHARACTER GUIDE
Munkustrap - a large, grey tabby, Munkustrap is a Macavity - the mystery cat. A scruffy ginger cat, with
guide and protector of the other cats and acts as a crumpled whiskers and dusty fur. He is a wicked
kind of narrator, helping to tell the story. criminal who always gets away with it because he is
never caught at the scene of the crime.
Victoria - a young white cat, Victoria is very curious
about Grizabella. Quaxo - or Mr Mistoffelees. A small black cat who
seems to be quiet and shy but actually has amazing
Old Deuteronomy - a very old, very wise cat, the magical powers.
leader of the Jellicles, respected and loved by all the
cats, he will decide who journeys up to the Heavyside There are many other Jellicle cats who appear on
Layer. stage (often as mice, dogs or cockroaches) to help
tell the stories of the different characters. Here are
Jennyanydots - the Old Gumbie cat, also a tabby but their names –
more brown and gold in colour. By day she sits and
sleeps but by night she organises the mice and the Admetus
cockroaches. Alonzo
Bill Bailey
Rum Tum Tugger - a sleek and playful cat who likes Bombalurina
a joke, is difficult to satisfy and is adored by the Carbucketty
female cats. Cassandra
Coricopat
Grizabella - the glamour cat, no longer glamourous Demeter
now she is old, her coat is worn and tatty. She is Electra
rejected by the other cats for seeking a life outside; Etcetera
but now she longs to return. George
Jellylorum
Bustopher Jones - a very large black cat with white Jemima
feet who like nothing more than to eat and be seen in Tantomile
all the best places. Victor

Mungojerrie and Rumpelteazer - naughty, cockney

twins, always up to mischief and all sorts of tricks.
They look so alike their family never knows who to
blame.

Gus - the theatre cat, real name Asparagus. He is

old, thin and shabby with shaky paws but has many
wonderful tales to tell of his life in the theatre.

Growltiger and Griddlebone - Growltiger has an

eyepatch and a missing ear and is a bit the worse for
wear after his many battles, whilst Griddlebone is a
white Persian cat.

Skimbleshanks - the railway cat. A ginger cat with

white legs and chest and bright green eyes. He
works on the railway making sure all is in order on the
mail trains that travel at night.

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THEATRE REVIEW WORKSHEET
Your expectations:
Production:

Date:

Theatre:

STAGE AND AUDITORIUM

Kind of stage:

How was the stage design important in making particular scenes or moments telling ones?

MUSIC, SONG AND DANCE

How were music, song and dance used in the production?

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