Welcome back to 'Tonys Flashback.' Normally, I use this series to take a deep dive into all of the nominees from any previous acting race at the Tony Awards. However, coming off of this year's hotly contested battle for Best Musical Revival, I thought it'd be a real juicy one to dive into.
A race that saw a face-off between a scrappy rethinking of a long-running hit and a big lavish staging of a classic. Both of which were highly acclaimed, very competitive for the win, and are about to end their Broadway runs. Unlike previous entries where I go in order of who was (probably) last place to first place, I'm just gonna dig right into our top two contenders. Sorry Rocky Horror, but we all know ya had no shot at all.
So let's get started, shall we?
A race that saw a face-off between a scrappy rethinking of a long-running hit and a big lavish staging of a classic. Both of which were highly acclaimed, very competitive for the win, and are about to end their Broadway runs. Unlike previous entries where I go in order of who was (probably) last place to first place, I'm just gonna dig right into our top two contenders. Sorry Rocky Horror, but we all know ya had no shot at all.
So let's get started, shall we?
Cats: The Jellicle Ball is a complete reimagining of Andrew Lloyd Webber's long-running hit, Cats. Unlike the original staging which was set in a junkyard populated by cats, this production is set during a Ballroom dance competition populated by human beings in Harlem. This revival originated at Off-Broadway's Perelman Performing Arts Center in the summer of 2024, where it was a huge commercial hit that extended its run twice. It went on to win the Outer Critics Circle Award for Outstanding Revival of a Musical (where it even managed to beat last year's Tony champ, Sunset Boulevard).
The production later opened on April 7th, 2026 at the Broadhurst Theatre on Broadway. The opening night cast included Kya Azeen as Etcetera, Primo Thee Ballerino as Tumblebrutus, Bryson Battle as Jellylorum, Jonathan Burke as Mungojerrie, Baby Byrne as Victoria, André De Shields as Old Deuteronomy, Sydney James Harcourt as Rum Tum Tugger, Dava Huesca as Rumpleteaer, Dudney Joseph, Jr. as Munkustrap, Junior LaBeija as Gus, Leiomy as Macavity, Robert "Silk" Mason as Magical Mister Mistoffelees, "Tempress" Chasity Moore as Grizabella, Xavier Reyes as Jennyanydots, Nora Schell as Bustopher Jones, Bebe Nicole Simpson as Demeter, Emma Sofia as Cassandra/Skimblehanks, and Teddy Wilson, Jr. as Sillabub.
Going into the Tonys, it had 8 nominations for Best Revival of a Musical, Best Featured Actor in a Musical (André De Shields), Best Direction of a Musical (Zhailon Levingston & Bill Rauch)*, Best Choreography (Omari Wiles & Arturo Lyons)*, Best Orchestrations (Andrew Lloyd Webber, David Wilson, Trevor Holder, & Doug Schadt), Best Costume Design of a Musical (Qween Jean)*, Best Lighting Design of a Musical (Adam Honoré), Best Scenic Design of a Musical (Rachel Hauck), and Best Sound Design of a Musical (Kai Harada).
*denotes an award it won.
According to the odds on Gold Derby, it was expected to win Best Musical Revival. Here are 5 reasons why that was the case:
1. It fit the mold of a lot of this category’s more recent winners. Productions that were respectful to the authors' intentions, while still completely rethinking the whole thing. Among them are Diane Paulus' circus-themed Pippin in 2013, Marianne Elliott's gender-reversed Company in 2022, Maria Friedman's coherently structured Merrily We Roll Along Along in 2024, and Jamie Lloyd's stripped-down black & white Sunset Boulevard in 2025. Not to mention that in the past when we've had races between a more straightforward revival and a more experimental one, the latter tends to prevail for providing more originality. Examples include John Doyle's stripped-down The Color Purple over Roundabout Theatre Company's lavish She Loves Me in 2016, Michael Arden's immersive Once on This Island over Lincoln Center Theater's lavish My Fair Lady in 2018, and Daniel Fish's darker, stripped-down, immersive Oklahoma! over RTC's lavish Kiss Me, Kate in 2019.
2. It changed people's perception of Cats. Despite the original productions in both London and New York achieving record-breaking runs, the musical itself doesn't necessarily have the best reputation in the world. Many have especially for years made jokes about it having no plot at all. The show was previously revived on Broadway in 2016. While it featured new choreography by Andy Blankenbuehler, it was still by and large a remounting of Trevor Nunn's original staging. Even though it ran for about a year and a half, it still received a bit of a ho-hum reception. Not to mention even more jokes came about in 2019 with the colossal failure of the live action film adaptation (which Andrew Lloyd Webber hated so much, he ended up getting a Havanese dog as a result). When this reinterpretation originally premiered Off-Broadway, it received such a rapturous response. Someone on Reddit even commented with something like "Cats actually makes sense for once." A large part of that is due to Zhailon Levingston and Bill Rauch's concept of departing stylistically from the original and re-theming it to ballroom culture.
3. Prior to this year, there's only been three scenarios within the 21st century where Best Direction of a Musical went to a show that didn't go on to win its Best Production category:
John Rando winning for Urinetown in 2002; the show loses Best Musical to Thoroughly Modern Millie
John Doyle winning for his stripped-down Sweeney Todd in 2006; the show loses Best Musical Revival to The Pajama Game
Christopher Ashley winning for Come From Away in 2017; the show loses Best Musical to Dear Evan Hansen
Meanwhile, since Best Musical Revival was established as its own category in 1994, the following champs also won for their directors:
Nicholas Hytner for Carousel in 1994
Hal Prince for Show Boat in 1995
Walter Bobbie for Chicago in 1997
Michael Blakemore for Kiss Me, Kate in 2000
Joe Mantello for Assassins in 2004
Bartlett Sher for South Pacific in 2008
Terry Johnson for La Cage aux Folles in 2010
Diane Paulus for Pippin in 2013
Marianne Elliott for Company in 2022
Michael Arden for Parade in 2023
As Zhailon Levingston and Bill Rauch were expected to win for directing (which happened as expected), it was wise to assume that would tie in with Cats winning Best Revival.
4. There was the timely nature of the production as it celebrated minorities who've become more visible in recent years. Specifically the Black, Latino, and LGBTQ+ communities in New York. As the Tonys take place in June, some might've felt that giving it Best Musical Revival would've been a great way to celebrate Pride Month. Especially given how the themes of The Jellicle Ball include belonging, community, identity, performance, and resilience.
5. For a while, it was believed that by opening in the spring, within the final couple of months of Tony eligibility, it would greatly increase a production's chances of winning big. This year alone saw Schmigadoon!, a spring opening, win Best Musical as well as Death of a Salesman, another spring opening, win Best Play Revival. Yet that was not the case with Liberation, a fall opening that went on to win Best Play, nor with our winner for Best Musical Revival...
The production later opened on April 7th, 2026 at the Broadhurst Theatre on Broadway. The opening night cast included Kya Azeen as Etcetera, Primo Thee Ballerino as Tumblebrutus, Bryson Battle as Jellylorum, Jonathan Burke as Mungojerrie, Baby Byrne as Victoria, André De Shields as Old Deuteronomy, Sydney James Harcourt as Rum Tum Tugger, Dava Huesca as Rumpleteaer, Dudney Joseph, Jr. as Munkustrap, Junior LaBeija as Gus, Leiomy as Macavity, Robert "Silk" Mason as Magical Mister Mistoffelees, "Tempress" Chasity Moore as Grizabella, Xavier Reyes as Jennyanydots, Nora Schell as Bustopher Jones, Bebe Nicole Simpson as Demeter, Emma Sofia as Cassandra/Skimblehanks, and Teddy Wilson, Jr. as Sillabub.
Going into the Tonys, it had 8 nominations for Best Revival of a Musical, Best Featured Actor in a Musical (André De Shields), Best Direction of a Musical (Zhailon Levingston & Bill Rauch)*, Best Choreography (Omari Wiles & Arturo Lyons)*, Best Orchestrations (Andrew Lloyd Webber, David Wilson, Trevor Holder, & Doug Schadt), Best Costume Design of a Musical (Qween Jean)*, Best Lighting Design of a Musical (Adam Honoré), Best Scenic Design of a Musical (Rachel Hauck), and Best Sound Design of a Musical (Kai Harada).
*denotes an award it won.
According to the odds on Gold Derby, it was expected to win Best Musical Revival. Here are 5 reasons why that was the case:
1. It fit the mold of a lot of this category’s more recent winners. Productions that were respectful to the authors' intentions, while still completely rethinking the whole thing. Among them are Diane Paulus' circus-themed Pippin in 2013, Marianne Elliott's gender-reversed Company in 2022, Maria Friedman's coherently structured Merrily We Roll Along Along in 2024, and Jamie Lloyd's stripped-down black & white Sunset Boulevard in 2025. Not to mention that in the past when we've had races between a more straightforward revival and a more experimental one, the latter tends to prevail for providing more originality. Examples include John Doyle's stripped-down The Color Purple over Roundabout Theatre Company's lavish She Loves Me in 2016, Michael Arden's immersive Once on This Island over Lincoln Center Theater's lavish My Fair Lady in 2018, and Daniel Fish's darker, stripped-down, immersive Oklahoma! over RTC's lavish Kiss Me, Kate in 2019.
2. It changed people's perception of Cats. Despite the original productions in both London and New York achieving record-breaking runs, the musical itself doesn't necessarily have the best reputation in the world. Many have especially for years made jokes about it having no plot at all. The show was previously revived on Broadway in 2016. While it featured new choreography by Andy Blankenbuehler, it was still by and large a remounting of Trevor Nunn's original staging. Even though it ran for about a year and a half, it still received a bit of a ho-hum reception. Not to mention even more jokes came about in 2019 with the colossal failure of the live action film adaptation (which Andrew Lloyd Webber hated so much, he ended up getting a Havanese dog as a result). When this reinterpretation originally premiered Off-Broadway, it received such a rapturous response. Someone on Reddit even commented with something like "Cats actually makes sense for once." A large part of that is due to Zhailon Levingston and Bill Rauch's concept of departing stylistically from the original and re-theming it to ballroom culture.
3. Prior to this year, there's only been three scenarios within the 21st century where Best Direction of a Musical went to a show that didn't go on to win its Best Production category:
John Rando winning for Urinetown in 2002; the show loses Best Musical to Thoroughly Modern Millie
John Doyle winning for his stripped-down Sweeney Todd in 2006; the show loses Best Musical Revival to The Pajama Game
Christopher Ashley winning for Come From Away in 2017; the show loses Best Musical to Dear Evan Hansen
Meanwhile, since Best Musical Revival was established as its own category in 1994, the following champs also won for their directors:
Nicholas Hytner for Carousel in 1994
Hal Prince for Show Boat in 1995
Walter Bobbie for Chicago in 1997
Michael Blakemore for Kiss Me, Kate in 2000
Joe Mantello for Assassins in 2004
Bartlett Sher for South Pacific in 2008
Terry Johnson for La Cage aux Folles in 2010
Diane Paulus for Pippin in 2013
Marianne Elliott for Company in 2022
Michael Arden for Parade in 2023
As Zhailon Levingston and Bill Rauch were expected to win for directing (which happened as expected), it was wise to assume that would tie in with Cats winning Best Revival.
4. There was the timely nature of the production as it celebrated minorities who've become more visible in recent years. Specifically the Black, Latino, and LGBTQ+ communities in New York. As the Tonys take place in June, some might've felt that giving it Best Musical Revival would've been a great way to celebrate Pride Month. Especially given how the themes of The Jellicle Ball include belonging, community, identity, performance, and resilience.
5. For a while, it was believed that by opening in the spring, within the final couple of months of Tony eligibility, it would greatly increase a production's chances of winning big. This year alone saw Schmigadoon!, a spring opening, win Best Musical as well as Death of a Salesman, another spring opening, win Best Play Revival. Yet that was not the case with Liberation, a fall opening that went on to win Best Play, nor with our winner for Best Musical Revival...
The second Broadway revival of Terrence McNally, Stephen Flaherty, & Lynn Ahrens' 1998 classic. This one originated as a concert staging for New York City Center's annual fall gala presentation in 2024. Performances began before the election where things were looking hopeful for the very first woman of color to become President of the United States. Yet as the run continued after the election where an arrogant, corrupt, and racist felon won himself a second term (thanks to a bunch of uneducated Americans), the show really hit differently. As Lear deBessonet was getting ready to make the move from resident director of New York City Center to Lincoln Center Theater as their new artistic director, she naturally chose Ragtime as the launch of her tenure.
The production opened on October 16th, 2025 at the Vivian Beaumont Theater on Broadway. The opening night cast included Caissie Levy as Mother, Joshua Henry as Coalhouse Walker, Jr., Brandon Uranowitz as Tateh, Colin Donnell as Father, Ben Levi Ross as Mother's Younger Brother, Nichelle Lewis as Sarah, Nick Barrington as The Little Boy, Tabitha Lawing as The Little Girl, Anna Grace Barlow as Evelyn Nesbit, John Clay III as Booker T. Washington, Rodd Cyrus as Harry Houdini, and Shaina Taub as Emma Goldman.
Going into the Tonys, it had 11 nominations for Best Revival of a Musical*, Best Lead Actor in a Musical (Joshua Henry*; Brandon Uranowitz), Best Lead Actress in a Musical (Caissie Levy)*, Best Featured Actor in a Musical (Ben Levi Ross), Best Featured Actress in a Musical (Nichelle Lewis), Best Direction of a Musical (Lear deBessonet), Best Choreography (Ellenore Scott), Best Costume Design of a Musical (Linda Cho), Best Lighting Design of a Musical (Donald Holder, Adam Honoré, & 59 Productions), and Best Sound Design of a Musical (Kai Harada)*.
*denotes an award it won.
The production opened on October 16th, 2025 at the Vivian Beaumont Theater on Broadway. The opening night cast included Caissie Levy as Mother, Joshua Henry as Coalhouse Walker, Jr., Brandon Uranowitz as Tateh, Colin Donnell as Father, Ben Levi Ross as Mother's Younger Brother, Nichelle Lewis as Sarah, Nick Barrington as The Little Boy, Tabitha Lawing as The Little Girl, Anna Grace Barlow as Evelyn Nesbit, John Clay III as Booker T. Washington, Rodd Cyrus as Harry Houdini, and Shaina Taub as Emma Goldman.
Going into the Tonys, it had 11 nominations for Best Revival of a Musical*, Best Lead Actor in a Musical (Joshua Henry*; Brandon Uranowitz), Best Lead Actress in a Musical (Caissie Levy)*, Best Featured Actor in a Musical (Ben Levi Ross), Best Featured Actress in a Musical (Nichelle Lewis), Best Direction of a Musical (Lear deBessonet), Best Choreography (Ellenore Scott), Best Costume Design of a Musical (Linda Cho), Best Lighting Design of a Musical (Donald Holder, Adam Honoré, & 59 Productions), and Best Sound Design of a Musical (Kai Harada)*.
*denotes an award it won.
So How Did Ragtime Win?: I know some are going to argue that voters probably wanted to give the show itself its due after the original production lost Best Musical to The Lion King in 1998, but I highly doubt that. We probably would’ve heard whispers about them wanting to make it up to Ragtime if that was the case. And besides, we’ve seen time and again how voters by and large at any awards show just don’t think like that. They’re only voting for what they liked most. If you don't believe me, here's some recent examples…
At last year’s Tonys, key reasons why people were predicting Audra McDonald to win Best Lead Actress in a Musical for Gypsy over Nicole Scherzinger in Sunset Boulevard included some controversial political comments the latter made in the past. Plus, many felt the former would get some last minute sympathy from voters following some then-recent shade thrown at her by Patti LuPone. Yet on Tony night, it proved that voters by and large just didn’t care as Scherzinger won, which also tied in with Sunset Boulevard’s prize for Best Musical Revival.
At last year’s Emmys, Colin Farrell and Cristin Milioti were widely predicted to win both of their respective categories for the HBO miniseries, The Penguin. A key reason for that was because many thought voters were going to see them as a packaged deal. How can you award one without awarding the other? After Milioti won Lead Actress in a Limited Series/Movie, things were looking promising for Farrell in Lead Actor… until he lost to Stephen Graham for the Outstanding Limited Series winner, Adolescence.
At this year’s Oscars, many early on thought voters would want to give Best Supporting Actor to Delroy Lindo for Sinners or Stellan Skarsgård for Sentimental Value. They were both industry vets on their very first nominations. Meanwhile, others doubted Sean Penn would win for One Battle After Another for various reasons. He had already won twice before for Mystic River in 2003 and Milk in 2008, he’s not the most likable figure in Hollywood, and he clearly doesn’t give a f*ck about awards as he was pretty much a no-show all season long (except for the Golden Globes). Yet on Oscar night, it proved that voters by and large just didn’t care about any of those factors at all as Penn became a three-time winner, which also tied in with One Battle After Another’s Best Picture prize.
So here are my 5 reasons why Ragtime ultimately won Best Musical Revival:
1. Following Sunset Boulevard’s victory, voters may have felt “been there, done that” with Andrew Lloyd Webber. Last year, the New York Times' survey mentioned how that show was way ahead of its only serious competitor, Gypsy. The former was seen as an improvement over its previous incarnations while the latter proved to be more polarizing. Meanwhile, this year's race was reportedly evenly divided. It's also possible that Cats: The Jellicle Ball had enough of a niche appeal to win over more voters. Plus, with the Jamie Lloyd-helmed revival of Evita starring Rachel Zegler coming early next year, those who voted against Cats probably wanted to avoid a potential fatigue of these grand reimaginings of Andrew Lloyd Webber musicals dominating every season from happening.
2. While there's no doubt many had a great time with The Jellicle Ball, the weighty themes of Ragtime arguably resonated more. That factor also likely played into The Color Purple winning over She Loves Me in 2016. The latter was more of a feel good romantic comedy while the former was a much more emotionally empowering drama. As this was a case of head vs. heart, voters simply went with their hearts.
3. As I mentioned earlier, this revival played differently after Trump won the 2024 election during its initial run at City Center. Since the beginning of its Broadway run last September, many felt that the musical itself could've been written yesterday. In an interview with Broadway.com, co-producer Tom Kirdahy, who's also Terrence McNally's widow, said "Someone asked if we had done any rewrites for 2025, but not a word or note has been changed. It just feels urgent and timely." As the themes of Ragtime include the American dream, economic inequality, hope vs. cynicism, immigration, racism, social change, systemic injustice, and women's independence, it will continue to be relevant (both fortunately and unfortunately) for many years to come.
4. We've seen in recent years how much voters just love a good success story. Especially when it comes to revivals of musicals that originally weren't successful to begin with. In 2023, Jason Robert Brown & Alfred Uhry's Parade came back to Broadway for the first time since its original short-lived run in the 1998-99 season. This time, it managed to get some new found appreciation with audiences as it constantly grossed over $1,000,000 a week. The following year, Stephen Sondheim & George Furth's Merrily We Roll Along came back to Broadway for the first time since its original disastrous run in 1981. Initially scheduled as a limited engagement, it kept extending multiple times. Not only that, but many felt that director Maria Friedman finally managed to make the show's tricky structure (told in reserve) work. With Ragtime, the musical was previously on Broadway twice before and lost money both times. While the original managed a two-year run from 1998-2000, it was still a notorious commercial flop. While the first revival was well received, it sadly never caught on with the public, only lasting from October 2009 through January 2010. When Lincoln Center Theater announced they were going to revive Ragtime, it was originally slated to last from September 2025 through January 2026. Yet throughout the season, it constantly grossed over $1,000,000 a week, leading to multiple extensions. Just goes to show how third time proves to be the charm for this particular musical in finding success.
5. As Ragtime opened back in the fall, there was speculation that Cats' spring opening was going to overshadow the former as the latter was going to be more fresh in peoples minds. Yet as David Buchanan pointed out in Gold Derby's Tony Talk column, the producers of Ragtime were smart enough to re-invite voters back during Tony season. Therefore, if they hadn't seen the production since its initial opening, they got the chance to relive the show's emotional impact, which might've helped it considerably.
So there ya have it!
At the time of this writing, Cats: The Jellicle Ball is set to close at a monumental loss this Saturday. Luckily, a cast recording is in the works. Meanwhile, Ragtime will be ending its record-breaking run at Lincoln Center Theater on August 16th. Although it will be launching a national tour next fall.
At last year’s Tonys, key reasons why people were predicting Audra McDonald to win Best Lead Actress in a Musical for Gypsy over Nicole Scherzinger in Sunset Boulevard included some controversial political comments the latter made in the past. Plus, many felt the former would get some last minute sympathy from voters following some then-recent shade thrown at her by Patti LuPone. Yet on Tony night, it proved that voters by and large just didn’t care as Scherzinger won, which also tied in with Sunset Boulevard’s prize for Best Musical Revival.
At last year’s Emmys, Colin Farrell and Cristin Milioti were widely predicted to win both of their respective categories for the HBO miniseries, The Penguin. A key reason for that was because many thought voters were going to see them as a packaged deal. How can you award one without awarding the other? After Milioti won Lead Actress in a Limited Series/Movie, things were looking promising for Farrell in Lead Actor… until he lost to Stephen Graham for the Outstanding Limited Series winner, Adolescence.
At this year’s Oscars, many early on thought voters would want to give Best Supporting Actor to Delroy Lindo for Sinners or Stellan Skarsgård for Sentimental Value. They were both industry vets on their very first nominations. Meanwhile, others doubted Sean Penn would win for One Battle After Another for various reasons. He had already won twice before for Mystic River in 2003 and Milk in 2008, he’s not the most likable figure in Hollywood, and he clearly doesn’t give a f*ck about awards as he was pretty much a no-show all season long (except for the Golden Globes). Yet on Oscar night, it proved that voters by and large just didn’t care about any of those factors at all as Penn became a three-time winner, which also tied in with One Battle After Another’s Best Picture prize.
So here are my 5 reasons why Ragtime ultimately won Best Musical Revival:
1. Following Sunset Boulevard’s victory, voters may have felt “been there, done that” with Andrew Lloyd Webber. Last year, the New York Times' survey mentioned how that show was way ahead of its only serious competitor, Gypsy. The former was seen as an improvement over its previous incarnations while the latter proved to be more polarizing. Meanwhile, this year's race was reportedly evenly divided. It's also possible that Cats: The Jellicle Ball had enough of a niche appeal to win over more voters. Plus, with the Jamie Lloyd-helmed revival of Evita starring Rachel Zegler coming early next year, those who voted against Cats probably wanted to avoid a potential fatigue of these grand reimaginings of Andrew Lloyd Webber musicals dominating every season from happening.
2. While there's no doubt many had a great time with The Jellicle Ball, the weighty themes of Ragtime arguably resonated more. That factor also likely played into The Color Purple winning over She Loves Me in 2016. The latter was more of a feel good romantic comedy while the former was a much more emotionally empowering drama. As this was a case of head vs. heart, voters simply went with their hearts.
3. As I mentioned earlier, this revival played differently after Trump won the 2024 election during its initial run at City Center. Since the beginning of its Broadway run last September, many felt that the musical itself could've been written yesterday. In an interview with Broadway.com, co-producer Tom Kirdahy, who's also Terrence McNally's widow, said "Someone asked if we had done any rewrites for 2025, but not a word or note has been changed. It just feels urgent and timely." As the themes of Ragtime include the American dream, economic inequality, hope vs. cynicism, immigration, racism, social change, systemic injustice, and women's independence, it will continue to be relevant (both fortunately and unfortunately) for many years to come.
4. We've seen in recent years how much voters just love a good success story. Especially when it comes to revivals of musicals that originally weren't successful to begin with. In 2023, Jason Robert Brown & Alfred Uhry's Parade came back to Broadway for the first time since its original short-lived run in the 1998-99 season. This time, it managed to get some new found appreciation with audiences as it constantly grossed over $1,000,000 a week. The following year, Stephen Sondheim & George Furth's Merrily We Roll Along came back to Broadway for the first time since its original disastrous run in 1981. Initially scheduled as a limited engagement, it kept extending multiple times. Not only that, but many felt that director Maria Friedman finally managed to make the show's tricky structure (told in reserve) work. With Ragtime, the musical was previously on Broadway twice before and lost money both times. While the original managed a two-year run from 1998-2000, it was still a notorious commercial flop. While the first revival was well received, it sadly never caught on with the public, only lasting from October 2009 through January 2010. When Lincoln Center Theater announced they were going to revive Ragtime, it was originally slated to last from September 2025 through January 2026. Yet throughout the season, it constantly grossed over $1,000,000 a week, leading to multiple extensions. Just goes to show how third time proves to be the charm for this particular musical in finding success.
5. As Ragtime opened back in the fall, there was speculation that Cats' spring opening was going to overshadow the former as the latter was going to be more fresh in peoples minds. Yet as David Buchanan pointed out in Gold Derby's Tony Talk column, the producers of Ragtime were smart enough to re-invite voters back during Tony season. Therefore, if they hadn't seen the production since its initial opening, they got the chance to relive the show's emotional impact, which might've helped it considerably.
So there ya have it!
At the time of this writing, Cats: The Jellicle Ball is set to close at a monumental loss this Saturday. Luckily, a cast recording is in the works. Meanwhile, Ragtime will be ending its record-breaking run at Lincoln Center Theater on August 16th. Although it will be launching a national tour next fall.