#cats 2014

[sevenkittensinatrenchcoat]

Jellicle Songs: Order of Introduction

So, the Cats wiki says that, though Munkustrap always gets the first line of the show, the rest of the opening lines in Jellicle Songs For Jellicle Cats can go to any character. But, I’ve noticed that there are a few different patterns that different types of productions use, and that most productions after 2002 use the same one.

Now, there are some lines that almost always go to the same characters, most of them in the first and second verses:

“Are you blind when you’re born” is always Munkustrap’s line.

Outside of the Broadway Revival, Demeter always gets “Can you see in the dark?”

The next two lines go to Skimble and Asparagus, though they can go in either order.

The next three lines go to Chorus Tugger, Alonzo, and Babygriz.

The second verse is also almost always the same. It goes: Jellylorum, Coricopat, Jemima/Sillabub, Chorus Deut. Newer productions have Coricopat and Tantomile say both of their opening lines together instead of each getting a separate one.

In older versions, where the twins aren’t in unison, Tantomile opens the third verse.

“Familiar with candle” is always Jenny’s line. Sometimes Victoria sings it with her and sometimes she doesn’t.

“With book and with bell” is where things start to get complicated:

Pattern 1: London Version

There is a clip of a rehearsal of this number in London in 1993 or 1994, a few years before the VHS was done. Though the VHS is mostly London-based, the line distribution differs wildly from what was probably still the order onstage in London while the VHS was being filmed.

Now, for the sake of clarity, I’m going to define what the verses are here. The first and second verse are easy to divide, because they’re both followed by a chorus. But, there’s no chorus between the third and fourth verses. I consider them two separate verses, because the melody repeats.

“Can you ride on a broomstick to places far distant?” opens the third verse.

“Are you mean like a minx? Are you lean like a lynx?” opens the fourth verse.

There are a few lines in these verses that always go to the same character:

“Are you Whittington’s friend?” is Bomba’s line.

“Were you there when the pharaohs commissioned the Sphinx?” is Cassandra’s line.

Not even the Broadway Revival, which seems to delight in breaking from tradition for the sake of it, changes this.

Now, back to the London Pattern.

The lines that differ are:

“With book and with bell”

“The Pied Piper’s assistant”

and every line following it until Cassandra’s line at the end.

So I don’t have to retype entire lines over and over, I’ll nickname the lines:

Book and Bell

Pied Piper

Heaven and Hell

Mean Minx

Lean Lynx

Keen to Be Seen

In London, but the early 90s, and in London-based productions, the order is:

Book and Bell: Admetus/Plato

Pied Piper: Rumpleteazer

Heaven and Hell: Mistoffelees

Mean Minx: Mungojerrie

Lean Lynx: Usually Carbucketty/Pouncival, but this can also go to Bill Bailey/Tumblebrutus.

Keen to Be Seen: Traditionally Etcetera, though the line usually goes to whichever cat will be swinging on the trapeze. In the original London production, that was Etcetera. Most productions don’t include Etcetera (what is wrong with these people?), so the line gets passed around. Productions that include Electra will usually give the line, and the trapeze, to her. Productions that don’t include either queen kitten usually give the line to Bill Bailey/Tumblebrutus, but he’s sometimes switched out with Carbucketty/Pouncival.

The VHS only has two of those lines follow the London pattern. There is a reason for some of this, however. It can mostly be explained by:

Pattern 2: Broadway Version

There’s actually a surviving video recording of the original Broadway cast singing Jellicle Songs on YouTube. A lot of the lines are said offscreen, but I’ve been able to piece together who probably sang what based on other Broadway-based shows that followed the same pattern.

Book and Bell: Mungojerrie and Rumpleteazer. Now, the original Broadway cast cut these characters, so what they most likely did here was have Carbucketty and Etcetera, the two characters who were cut when Jerrie and Teazer were added, sing those lines. In the Mexico and Buenos Aires versions, both Broadway-based, Jerrie and Teazer sing the lines and you can hear two voices in the Broadway clip. This is probably where they got it from.

Pied Piper: Mistoffelees. I rarely find productions where this line is said offscreen. Misto is a camera magnet.

Heaven and Hell: Plato

Mean Minx: Pouncival

Lean Lynx: Victoria. Only London-based productions had Victoria be completely mute at this time. Others gave her a single opening line to herself, and then nothing for the rest of the show.

Keen to Be Seen: Tumblebrutus. Like with Etcetera, he was the original trapeze cat.

The VHS used the Broadway pattern for Misto’s line only. The VHS Misto was played by Jacob Brent, who was playing Misto on Broadway at the time. Fergus Logan, who was playing Misto in London at the time, played Tumblebrutus in the VHS, which is why he gets Heaven and Hell in that version and that version only. Both actors were given the opening lines they used onstage.

The VHS didn’t borrow anything in the opening from:

Pattern 3: Vienna Version

But, I’m talking about it anyway. Since we have a full recording of the Vienna production and two productions based on it, we can observe that most of the line distribution in the three versions differs from both London and Broadway, but are identical to each other.

Jennyanydots says the entire “Familiar with candle? With book and with bell?” by herself.

Pied Piper: Pouncival. This one was really hard to figure out, because he only sang the line onscreen in the Zurich bootleg, which wasn’t zoomed in. Vienna and Paris, both professionally shot, didn’t show Pouncival saying the line, instead focusing the camera on Mistoffelees. In Broadway-based productions, which these technically are, Misto got this line. But, Vienna-based Mistos are mute. Misto is more officially mute than Victoria in these productions, though Zurich Misto does say “Old Deuteronomy?” at the beginning of that number. He can speak, but he can’t sing, and there are very few spoken lines in the show. In Vienna and Paris, he’s completely mute and has to mime to the twins so they can speak for him.

So, since Misto is mute, Pouncival, usually played by his understudy, says his line while Misto is the one attracting attention to himself.

Heaven and Hell: Plato. This didn’t change from Broadway.

Mean Minx: Tumblebrutus. Now that Pouncival has Misto’s line, Tumble steps in on Pouncival’s line.

Lean Lynx: Victoria, also unchanged from Broadway.

Keen to Be Seen: Mungojerrie and Rumpleteazer. Mute Misto created a domino effect of line changes. Pouncival gets Misto’s line, so Tumble gets Pouncival’s line, so Jerrie and Teazer get Tumble’s line, so Jenny sings both her line and their line.

Outliers:

I’ve mentioned the Broadway Revival being weird already, but the other standouts are Hamburg and the VHS. Hamburg and the VHS are the only productions to give Teazer the “Lean Lynx” line. Having Jerrie and Teazer have lines that play off of one another is so obvious that I’m surprised by how rarely it happens.

Also, Teazer was offscreen when she said her line in Hamburg. I’m not entirely sure if it was her. Either Victoria has Book and Bell and she has Lean Lynx, or Teazer has Book and Bell, which she normally shares with Jerrie, and Victoria has Lean Lynx, her usually Broadway line. I actually couldn’t tell, so this might not even be a thing.

The main VHS outlier is Electra with the “Book and Bell” line. I haven’t seen any other production do this and it probably wasn’t what London was doing at the time. The way they’d arranged everything else, you would think they would’ve given the line to Plato. You’d also think they’d give Pouncival Lean Lynx. Perhaps they wanted to try something new, and giving Jerrie and Teazer these lines works too well for no one to do it.

These Modern Productions:

First, because Broadway and Vienna had Jerrie and Teazer share a line while Coricopat and Tantomile had separate lines, and newer productions have the Psychic Twins sing their lines together, there’s an interesting reversal. Earlier shows put emphasis on Coricopat and Tantomile as separate characters, while sometimes having Jerrie and Teazer act in unison. In newer shows, the opposite is true. And the opposite is always true, because nearly every production uses the London Pattern.

I went through my entire bootleg/pro-shot collection and searched the Cats wiki and YouTube for clips from other shows to compare as many Jellicles Songs as I could find. Around half of them are from the era between 1981 and 2002, when the original London production was going, while the other half are from after that.

Japan and the Broadway Revival broke from tradition to such an extent that I couldn’t factor them in. Japan has its own traditions and the Broadway Revival saw itself as a reset of the show, so it tried to be as different from what came before as possible.

Hamburg and the VHS are also outliers, but they have more overlap with other productions than the above two. The above two are the only versions to have a character other than Demeter get the second line. They break from any pattern immediately. Hamburg and the VHS mostly keep their pattern-breaking to the third and fourth verses.

So, the Older Productions are:

London

Broadway

Vienna

Paris

Zurich

Mexico

Buenos Aires

Hamburg

The 1998 VHS

US Tour V (Though all the bootlegs are from 2005 or later, it was still a Broadway-based production that started up in 2001 as a continuation of the original Broadway)

The Newer Productions:

London Revival

UK Tour 2013

UK Tour 2016

Berlin

German Tent Tour

Madrid

Moscow

Dutch Tour

Out of the Older Productions, only the London production used the London Pattern. Broadway, Mexico, and Buenos Aires all used the Broadway Pattern, with Hamburg also doing a very similar thing. Based directly on Broadway, US Tour V also used the Broadway pattern, despite being newer than the other versions in this category. The VHS was a hybrid of London and Broadway. Vienna, Paris, and Zurich used the Broadway pattern

London: 1

Broadway: 4

Vienna: 3

Other: 2

There’s a fair amount of diversity with a slight lean towards the Broadway Pattern. The productions that use the Broadway Pattern exactly are all from the Americas. Different regions of Europe have their own variations.

As for the newer productions, excluding the Broadway Revival, they all use the London Pattern. Every single one of them. Three of the productions are from the UK, so that’s to be expected, but the pattern is now everywhere. Berlin was partially based on Hamburg and started in 2002, right as the original London was closing, but it uses the London Pattern. Other German productions followed suit, taking more inspiration from London than from earlier German language productions. The first production in Dutch, Amsterdam, was Vienna-based, but the Dutch Tour is London-based.

Honestly, I’m kind of disappointed. There’s nothing wrong with the London Pattern or London-based productions, but do they all have to be like that? I’d prefer for there to be some diversity. The Broadway Revival provides that, since America always has to be different from everyone else, but I honestly don’t like the Revival arrangement. In earlier versions, each line went to a different character, while the Broadway Revival gives some characters multiple lines, leaving characters who’d normally have lines with nothing. Skimble has his line, but he also gets Keen to Be Seen. Jellylorum gets both her line and Jenny’s line. Sillibub gets her line and Lean Lynx. Munkustrap has three lines to himself.

So, though I appreciate the Broadway Revival for giving us something different, I wish it could provide a good different

tldr: Every production in the western world is either London or Blankenbuehler and that’s a bit boring.

[indianasolo221]

Jellicles come to the Jellicle Ball...

[thirdplanet]

[indianasolo221]

Some Jellicle Songs for my Jellicle followers!

[sevenkittensinatrenchcoat]

Three Words: The Tom Kittens

So, having seen a bunch of Cats productions from all over time and space, and doing a bunch of wiki research, I’ve noticed certain patterns with some of the characters. This “essay” of loose rambling is primarily about Bill Bailey, Carbuckety, Pouncival, and Tumblebrutus.

So, for anyone who doesn’t already know, when someone is cast in Cats, they’re given three words to build their characters from. Here’s a list of them:

If you can’t read it, that’s fine, because I’ll repeat the sets of words I’m going to talk about. This set is apparently from the 2019 US Tour. Most of the Three Words sources I can find aren’t much older than this. The official Cats Twitter did a Q and A in 2015 that filled a few of these in:

So, this tells us Electra’s words, the fact that many characters had received new sets of words around this time, and that Pouncival didn’t have any at this time. This was after the London Revival but before the Broadway Revival. I believe the new sets of words are for the London Revival. It would fit with the “Pouncival was added late” explanation, as the London Revival was the first UK production (not counting the 1998 film) to include a character named Pouncival. So, London 2014 decided to add a Pouncival to their usual set of tom kittens: Carbuckety, Bill Bailey, and Admetus, depending on who you ask, but they hadn’t created an actually character for this Pouncival. 

But, by 2019,  Pouncival got his three words:

But, remember that Electra’s words are:

There’s only a single word different. Electra isn’t on the 2019 list, and I’m pretty sure she was cut from that tour, so Pouncival received a modified version of Electra’s personality.

Meanwhile, in the UK, Pouncival was cut and they went back to just having Carbuckety to avoid any further confusion.

Though the Broadway Revival also included both Carbuckety and Pouncival, it was Carbuckety who was cut from the US Tour, so you’d assume that the two characters would be merged into Pouncival, but US Tour Pouncival is a merge of Broadway Revival Pouncival and Electra.

In general, the Broadway Revival tom kittens are a little confusing. In theory, having three tom kittens could actually work, because there are three established tom kitten personalities:

First, there’s Bill Bailey AKA The Little Shit

He’s comic relief and he likes to make trouble. Very simple.

Second, there’s Carbuckety AKA The Disaster Cat

He’s comic relief too, but Bill Bailey makes trouble, while Carbuckety gets in trouble.

Third, there’s Tumblebrutus AKA The Big Boy

This one comes from Broadway and wasn’t in the London cast. He’s a teenager who wants to be seen as a grown-up. He’s quick to get involved in fights and sometimes takes himself a bit too seriously.

London-based productions have Little Shit and Disaster Cat. Broadway-based productions have Big Boy and ???. Broadway-based Pouncival is a pretty flexible character. Sometimes he’s Disaster Cat, while other times he’s a younger, more sensitive foil to Tumblebrutus. These are the Pouncivals who respond to Grizabella more like the girls do, being curious and wanting to make friends. With Electra and Etcetera out of the picture, this added another character into the category of Kittens Who Like Grizabella. The staging of Griz’s introduction has room for three kittens to approach her, and some productions added Pouncival instead of having either Jemima/Sillabub or Victoria go twice. In London-based productions with smaller casts, either Jemima or Victoria going twice is necessary, since Carbuckety scratches Griz and Bill Bailey is a little shit.

But, if you have three tom kittens, who can use the two London kitten personalities and the one Broadway kitten personality, so adding an extra character should be no big deal.

Of course, that would require everyone knowing way they’re doing, and the Revival era, constantly trying to reinvent the show, rarely ever achieves that. 

This isn’t meant as an insult. The first few years of the 1980s probably gave off similar vibes. It took a while to figure things out in the first place, so when the decided to redo a bunch of stuff, it would have to take another while to get it all right again.

So, from what I can tell without a full bootleg, the London Revival had Carbuckety the Disaster Cat, Bill Bailey the Little Shit, and Pouncival the ???. Broadway, with the original production having invented Big Boy Tumblebrutus, was actually at a bit of an advantage her. They could’ve had Tumblebrutus as Big Boy, since it would’ve been recognizable, had Carbuckety be the Disaster Cat, just adapting the London version, and made blank slate Pouncival into the Little Shit that Bill Bailey normally is.

But, instead, I have no idea what the Broadway Revival was even doing.

2016 Carbuckety was the Big Boy with some elements of Disaster Cat thrown in, Mungojerrie got a bit more focus in the Little Shit role, Pouncival was mostly just another Baby Kitten, a male Electra, and Tumblebrutus tumbled.

The later US tour made Pouncival less redundant without Electra, and Tumblebrutus, from what I’ve seen, does whatever’s left over.

The Broadway Revival and the tour following it, separate from any other productions I’ve seen, has a unique way of handling the kittens. In other productions, all kittens are both Baby and Teenage, depending on what’s needed. Tugger’s number is not a good number for Baby, so all the kittens are Teen/Young Adult/Old Enough For Tugger to Thrust His Dick in Their Faces. But, Old Deuteronomy’s arrival requires Baby kittens seeking cuddles, so now nearly all of the kittens are Baby. In 1998, six characters are counted as kittens. Tumblebrutus is the only one of them who stays Teen pretty much all the time. Pouncival and the four girls are anywhere between 10 and 20 depending on what the scene needs.

The Broadway Revival decided to try to be more consistent. There are 3 Baby kittens (Pouncival, Electra, Sillabub) and the rest of the kittens are Teenage, as are Mungojerrie and Rumpleteazer and possibly Mistoffelees. Out of the three tom kitten roles, only Big Boy is designed to be Teenage at all times. Despite not using Big Boy Tumblebrutus, 1998 keeps this element of the character by having be slightly less Baby than the other kittens (though that could be the result of Fergus Logan being unsure of how to play the character).

But, even the Broadway Revival isn’t consistent! Pouncival and Electra are played Baby, but with Three Words that describe them as adolescent! Which is it? If you’re swapping like everyone else, just say it!

I’m out of things to say for now.

[sevenkittensinatrenchcoat]

A Brief History of George: and Some Other Cats Who Are Not George

Is a cat a cat when it’s named that cat, or when it looks like that cat? In 40 years of productions, character designs have been recycled for characters with different names. Sometimes, it’s pretty simple to sort out as a matter of regional differences. If you see a cat boy who looks like this:

If the production is based in the UK, or in Europe or Australia more recently, his name is Bill Bailey. If the production is based in the US, or an older international production, his name is Tumblebrutus. Simple enough.

But, other cat boys are as simple as Tumble Bailey, and many of those not-as-simple cat boys revolve around the name George.

Most of the Georges in this post are not actually George. They aren’t named George. But, they look like George.

So let’s begin at the beginning with George:

So, this is the 1981 original character design for George. Despite George being a minor character, he was already named. Tumble Bailey’s design was just calleed “Kitten” and only named later, so he started out as an extra. But, George was more important earlier on, actually singing a portion of Old Deuteronomy solo. He wasn’t exactly a main character, but he was important enough to be named from the very beginning.

In 1981, when the character was first played by a human, he looked like this:

Not sure how the design became this costume tbh. The leg warmers and eye patch are familiar, but why is he blond?

Anyway, a few years of show go by and the role of George was given to Steven Wayne, who played George throughout most of the London run. When he retired, the character of George retired with him, because he was basically THE George. He’s Steven Wayne George in an adorable Christmas video from the late 80s:

George now looks more like his design. Over the next decade, slight changes would be made to the costume every now again, but George remained clearly George. He’s a pic from 1997:

Why 1997? 1997 was the year the VHS was recording, though it wouldn’t be released until 1998. For said VHS, instead of have the One George play George, he was played by Frank Thompson, who’d previously played Admetus/Macavity, as well as being a swing, which meant he could easily cover a lot of different roles.

This George can still be identified as George, but the make-up is a bit different. Stage George has a black patch that covers nearly half of his face, while VHS George has a bit of gray shading around his left eye, but nothing more. The more simplified design, combined with some sources crediting this George as Admetus, with Thompson only credited as the Rumpus Cat, makes it seem like George was almost meant to be a swing of sorts. His unitard and wig are George, and George played the Rumpus Cat in London at the time, which is enough to call this George George, but he’s sort of half George, half OC, in a sense.

After the London Production, George mainly appeared as a named swing, with few exceptions. He was in the Moscow production as full character, but that’s the only major one I can name. So, we’ll take a break from talking about George to talk about Pouncival.

Pouncival has a confusing history of character designs. In the London Production, he actually didn’t exist. He was added to the cast for the Broadway Production. His character design was apparently made by taking the “Kitten” design that the London Production had named Admetus and shading out most of the ginger and brown with silver and black.

Not very distinctive or exciting, but he was meant to be an extra. When humans started playing Pouncival, the costume ended up pretty diverse, often with yellow added in. Here’s a Broadway Pouncival:

Pounce ended up kind of blond, though that might just be the lighting. The Hamburg Production had its own character design artwork and here’s their Pouncival:

Gold, ginger, black, brown, white, Pouncival is every color! Here’s how he looked as a human in costume:

The blond parts were removed, and silver replaced some of the gold. You can see a lot of the Admetus design in the unitard, with the large brown patch and smaller ginger patches. Here’s said Admetus design for comparison:

Broadway-based productions didn’t originally use the Admetus design. The character of Plato, who did most of what Admetus did in London, had a very different design, so they could’ve literally given Pouncival the Admetus design and it wouldn’t have mattered. It seems like Hamburg was leaning in that direction.

But, all the confusion eventually got to people and the idea of “let’s just use London character designs with Broadways like Tumble Bailey but for everyone” eventually came up. However, Pouncival never had a London design. He wasn’t a renamed character like Tumble Bailey. Later on, he took over the role of a London character once the character was removed from the Broadway show.

This is where Carbuckety comes in.

Carbuckety is a character when can’t decide on how to spell. The 2003 score for the show spells it with one t so I’ve started doing the same, but tt is also common. Here’s his 1981 design:

Notice that it’s spelled with two ts here. There’s that confusion.

But, I’m not here to talk about spelling. Carbuckety is another character who was named from the start. Several character designs are only called “Kitten”, and these characters were nameless when the show debuted. Three of them remained nameless and were used for the swing characters nicknamed NBQ, AJ, and Patches by fans. The two other tom kittens were eventually named Admetus and Bill Bailey, while the remaining queen kitten design was named Electra. Another nameless kitten, later named Etcetera, was designed based off of Rumpleteazer’s chorus costume. The only kitten characters to be named from the beginning were Victoria, Jemima, and Carbuckety. Victoria and Jemima both have very clear roles in the story, while what Carbuckety does varies between productions. Normally, in productions that cut extra characters, Admetus, Bill Bailey, and Carbuckety are kept, while Electra, Etcetera, and the nameless kittens are cut. But, on occasion, Electra has been kept, and Bill Bailey cut to keep the cast count the same, though it’s now pretty common to include both. But, because he was never a nameless extra, Carbuckety is never cut. He’s always around in some form.

Broadway originally included Carbuckety, while also adding a kitten named Pouncival. Here’s Broadway Carbuckety:

Like Pouncival, he ended up a bit more yellow than normal, but you can tell he has the original Carbuckety design.

But, then some interesting shit happened. The Original Broadway Production cut the characters of Mungojerrie and Rumpleteazer. Etcetera was included as a placeholder, and Pouncival was probably meant for the same purpose. But, when Jerrie and Teazer were added back in later, it was Carbuckety who was cut, not Pouncival. But, since Carbuckety can never be cut, the roles of Carbuckety and Pouncival merged. It became similar to Tumble Bailey: UK has Carbuckety, US has Pouncival, except this time they had different designs.

So, now we’re back to that confusion from before. “Let’s just use London designs with Broadway names but for everyone.”. Pouncival now equalled Carbuckety, so his design was used. I’m not sure which production was the first to do this, but Zurich is the oldest production I’ve seen that did it.

Zurich was mostly based on the Vienna production, with was mostly based on the Broadway production. But, Zurich added a few London elements back in, including the original version of Mungojerrie and Rumpleteazer, as well as several character designs. They had a black and white Alonzo, and a Plato that used the ginger Admetus design. They named the characters the same way the 1998 VHS would. Tumble Bailey was Tumblebrutus, the Carbuckety design was called Pouncival, the Admetus design was called Plato, but Jemima was still called Jemima, instead of the more internationally common Sillabub. For all I know, Zurich is where the VHS got the idea.

So, VHS Pouncival also got the Carbuckety design. Karl Morgan had only played this character credited as Carbuckety before this.

There seems to be a disagreement between Zurich and VHS for which eye the brown patch is supposed to go over, but same general idea.

So, though not the first to completely combine Carbuckety and Pouncival like this, the VHS is what made it popular, because anyone, anywhere could see it. In international productions after London closed, having a character called Pouncival with the Carbuckety design was the norm.

But it didn’t stay that way.

This essay/presentation/thing was supposed to be about George, wasn’t it? Well...

In 2014, the London Revival decided to do something a little different. This production didn’t have the best track record with trying new things, with most of the major changes later reversed, but this is one that stuck. 

So, in this picture, that’s Carbuckety on the left. You’d think that was George on the right. George was another character named from the start, so it’d make sense to bring him back, but no, that’s Pouncival. They renamed the George design Pouncival and, like the Broadway Production, had both Carbuckety and Pouncival in the show.

The Broadway Revival, eager to both be trendy and do the thing it did the first time, copied this:

The 2015 Australian production also copied the London Revival, having a Carbuckety and a Pouncival, but they also included George as a full character. Because Pouncival stole George’s usual design, he looked like this:

He looks like a combination of Carbuckety and George that had the color drained out of it and might be dying.

When these productions closed and were replaced with new tours, they all went in separate directions. London cut Pouncival and just went back to having Carbuckety. Australia also cut Pouncival, but they kept George around with his original design, now that it was no longer taken. The Broadway Revival, did the exact same thing the Original Broadway did and cut Carbuckety, keeping the Pouncival with a different design

Somehow, this whole mess caused no problems in terms of characterization. The original George wasn’t a kitten. He was younger than Munkustrap, and probably younger than Alonzo, but he was more like Mungojerrie: a big Tall Boy with a goofy, childlike personality at times, so he comes across as a very young adult. According to the actors of the Broadway Revival, Carbuckety is meant to be a teenager with hints of the arc that Tumblebrutus was originally given on Broadway, and some similarities to George, while Pouncival is a Baby Kitten, the youngest of the boys. With Carbuckety cut, if they wanted a character in his role, they could just give it back to Tumblebrutus, and Pouncival could keep being Baby. There’s always someone there to play the Carbuckety role, which was originally somewhere between the two. Carbuckety is classified as a kitten, but he’s usually portrayed inconsistently. He’s a baby when a baby boy is needed and a teenager when a teenager is needed. He can also be old enough to be paired with an adult cat at the Jellicle Ball. Basically, he’s anywhere between 10 and 20, depending on what the scene needs. This applies to basically all kittens in most productions.

So, George is Pouncival. George and Pouncival are both Admetus. Pouncival is Carbuckety. George, Pouncival, Admetus, and Carbuckety are all each other, except when they’re not, which is most of the time. Any questions?

[sevenkittensinatrenchcoat]

Misto/Carbucketty in the London Revival

I think I might’ve found a Gay Misto Mating Dance Scene!

So, London 2014 Revival. All the pairs spend most of Admetus/Victoria’s dance just lounging, only starting to interact while moving towards the Cuddle Pile. Misto and Carbucketty nap next to each other, as they did in the 2013 UK Tour. But, things get far more interesting...

We have some nuzzles...

Leg fondling...

And Misto has his arm around Carbucketty at the end!

This was played in pretty much the same way the straight couples are usually played.

[thirdplanet]