Gay Marshall

Cats Credits
Paris - 02/1989 - Grizabella

Interview
Diva Talk: 8 Grizabellas, Including Betty Buckley and Elaine Paige, Share Their "Memory"s - Playbill.com, Sept 2016.

Gay Marshall - Played the role in the original Paris production of Cats—in French—at the Théâtre de Paris.

How long did it take you to get into full Grizabella makeup each night?

GM: At first, the makeup was a bit daunting because all I really wanted to do before the show was sing and do a serious dance warm-up for the opening number. There were three layers of greasepaint, which were two shades of gray and one white, which were pretty straightforward, but then the challenge was to get the elaborate eyebrows identical. If I had to erase one and start over, I had to redo the background as well. I finally got into it, and as I played the role for a year, got more efficient at it, but in the beginning it took about 40 minutes!

What is the pressure/challenge like of having to deliver "Memory," the vocally demanding song everyone waits for all evening?

GM: Ho boy! The pressure was pretty intense. I mean you're backstage for what feels like and actually is hours before the song. I wish I could say I read a book—or wrote one—or did something totally unconnected with the show. But no. I basically stayed in my dressing room trying to stay focused on the role, and I worried a lot—I'm big on worry. I figure if I don't suffer horribly before a show, I'll suffer horribly during it! The challenge for me was more of an acting one rather than a vocal one because Griz's desperation and loneliness has to ring true or it's going to let everyone down.

Was there any one performance of "Memory" that stands out in your mind as your best ever?

GM: There are two performances which particularly stand out in my mind — not because of the way I sang but because of where they took place. The first was singing “Memory” in the beautiful glass pyramid in the Louvre. It was thrilling to look up and see the stars and actually feel as though I was outside wailing at the moon. The second was being invited to sing at the French Tony Awards, which they call the Molières. It was a great honor, and we won! As luck would have it, I think I sang better in the rehearsal!! Then they asked me back to sing it again the next year when Cats wasn't in the running, and I got to present the award for Best Musical as well.

What was the most memorable onstage Cats mishap—either your own or by a fellow cast member?

GM: The funniest mishap that comes to mind—which has probably occurred in every production—is when Griz climbs on that tire at the end of the show with Mathusalem to ascend to the heavens in a huge puff of smoke and nothing happens. No smoke; no ascension. The tire just sits there, and you try to look serene and not burst out laughing while looking at a bunch of cats—who have their backs to the audience—who are completely cracking up!

Why do you think the musical has endured?

GM: I really couldn’t say what makes Cats such a wild success. Maybe cause everyone loves actual cats? The costumes and decor were pretty great, and although I loved being in it, and my castmates became dear, dear friends, I have to admit I wasn’t crazy about the show when I saw it. Which brings me to the answer to your next question...

What version of "Memory"—other than your own—do you admire?

GM: The only thing I really thought was spectacular was listening to Laurie Beechman sing "Memory"—blew me right out of my chair! She was thrilling. Worth the three-hour wait!!!