In an extraordinarily synergistic match of concept and material, Cats: The Jellicle Ball explodes with giddy energy and fiery passion.

Note: having attended a preview performance, this review is more of a general description of the production rather than a full critique.

The dangers of tampering with a classic musical have been seen all too clearly elsewhere, with the dreariness of Oklahoma! (2019), the Emperor’s-New-Clothes nothingness of Sunset Boulevard (2024), and the offensive score vandalisation of Pirates! The Penzance Musical (2025). How brilliant to see a high concept revival that leans into and celebrates its source material rather than contorting it beyond recognition to force it to fit an idea. 

Cats: The Jellicle Ball transplants world conquering musical Cats into the supremely glamorous world of competitive ballroom dancing. In the absence of a book, the sung-through score is readily malleable to suit the new setting with ease; in fact, many of the characters and lyrics take on impactful new life.

The Broadhurst stage and auditorium are transformed to centre upon a wide runway, with some audience members on stage, judges upstage, and DJ Griddlebone in one of the boxes. Although this performance was only the second week of previews and was on a Monday, the audience was on an incredible high, with several attendees sporting sparkling outfits, cat features, or both. Colourful complimentary fans that were given out while in line to enter the theatre also helped. It can only be imagined that as the season progresses, the production will draw a cult audience with core fans attending multiple performances and idolising the cast members as was the way with shows like Rent and Six. 

Speaking of Six, that show’s contest atmosphere is at play here, amplified up exponentially with an ongoing parade of characters to support. More that just being cast for talent, the company appears to be made up of performers wth legitimate ties to the ballroom world, as well as being able to sing and dance up a storm. 

Featuring direction by Zhailon Levingston and Bill Rauch, and choreography by Omari Wiles and Arturo Lyons, the show is tightly rehearsed and yet there is a thrilling sense of spontaneity and chaos. In addition to this, beyond the crowd-pleasing high energy sequences, the more serious sequences focusing on senior characters are played and received with supreme respect, providing a depth of material above the glossy pageantry. 

A particularly moving sequence begins act two, in which a set of screens display images of legendary people of colour. This cleverly segues into the arrival of Gus, the Theatre Cat, played with noble distinction and crisp camp flair by Junior Labeija. 

The disappearance and return of Old Deuteronomy remains worked into the story, and the fabulous effect for Grizabella’s journey to the Heavyside Layer will certainly not be spoiled here. 

Out of sight off stage, a rocking band of 11 musicians plays the heck out of Andrew Lloyd Webber’s quintessential score. With expert music supervision and direction by William Waldrop, this performance was more than ably led by associate conductor Rebekah Bruce. As mentioned earlier, a real thrill was to see how closely the performance follows the original score. “Growltiger’s Last Stand” and “The Awefull Battle of the Pekes and the Pollicles” are cut and a couple of short dance breaks are added but the score remains otherwise intact. 

While the scenic design of Rachel Hauck is relatively simple, the lighting design of Adam Honoré adds a riot of colour. Costume designer Qween Jean has clearly worked closely with the cast as the outfits are not only comfortable for dance but vibrantly portray abundant individual character. 

Proud octogenarian André de Shields provides effortless gravitas as Old Deuteronomy. Dudney Joseph Jr. is a dynamic commanding presence as Munkustrap. “Tempress” Chasity Moore brings humble dignity to Grizabella, reimagined here as unhoused person who might be unkindly called a bag lady. 

Every member of the company has their moment in the spotlight on the dance floor. The breadth of talent is quite incredible, particularly in regard to performers who are required to sing solo numbers and then perform fierce dance moves. 

Cats: The Jellicle Ball is a terrific night out that is sure to become a white hot ticket as word spreads from enthusiastic audiences lucky enough to see the show already. 

Cats: The Jellicle Ball was reviewed 7.30pm Monday 30 March 2026 at Broadhurst Theatre, New York. For tickets, click here.

Photos of the curtain calls (by the author):