Tecklenburg 2015

This non-replica production was designed for the open-air Tecklenburg stage, in the ruins of a thirteenth-century castle. The set and character design are based around the idea of an old circus troupe, with some of the characters suggesting traditional circus roles, such as fire-breathers, acrobats, and clowns.

There is a pro-shot film of this production, dated 29 August 2015.

Creative Team

 * Producer: Freilichtspiele Tecklenburg
 * Director: Andreas Gergen
 * Co-Director/Choreographer: Kim Duddy
 * Costume Design: Karin Alberti
 * Make-Up: Elke Quirmbach and Stefan Becks
 * Music Director: Tjaard Kirsch
 * Set Design:  Susanna Buller
 * Translation: Michael Kunze (standard Vienna translation)

The 'Circus' theme
The set design and some aspects of costuming, scoring, and direction gesture toward the idea of a circus or carnival. For exampe, Macavity is a fire-breather: some characters recall other classic circus types, like Tugger as the 'strong man', Jennyanydots as the 'bearded lady', Mungojerrie and Mistoffelees as acrobats and Mistoffelees as contortionist and aerialist, and ensemble characters as clowns.

The circus theme is established by the set and strengthened as soon as the orchestra starts to play: they open with a few bars of cliched circus/carnival music, which is then interrupted and swept away by the urgency of the real overture as Macavity climbs out from the orchestra pit and invades the stage.

During 'Jellicle songs', instead of a boot falling, the sign saying 'CIRCUS' falls from the back of the set, revealing the word 'CATS'.

However, the theme doesn't dominate the production or weigh too heavily on the story they tell, and most characters' designs wouldn't be recognisable as 'circus-themed' out of context.

Cast size, choreography, and text
The translation used is the standard Vienna translation, with a few minor differences in wording (for example, Mungojerrie and Rumpleteazer say that "we make our home in Tecklenburg", not "in Victoria Grove"). "Pekes and Pollicles" and "Growltiger" are included in their usual places. The duet in the Growltiger scene is "Billy Macaw", and Rumpus Cat is played by Munkustrap as part of his own narration (he pulls on a pair of red goggles and growls playfully at the other cats). There are no significant cuts. (See the videos in the production gallery.)

There are seven "ensemble characters" whose names are not specified in the programme. They were given names, however, and were part of the main cast: their characters' names have been added to the cast list below where we have definite information from the actors. Most have names that have been used in previous productions (Admetus, Carbucketty, Electra), but the personalities and roles of the cats don't necessarily correspond to established usage.

There is also a "chorus" of approximately twenty people (numbers varied), who were not part of the main cast and who only appear for some scenes, without being fully integrated into the main choreography.

The choreography is mostly original to Kim Duddy for this production, but is inspired by the style of Gillian Lynne. Some scenes are adapted to show off the talents of that particular performer: for example, David Pereira (Mistoffelees) is a contortionist and acrobat, so he performs a routine on aerial silks during the sensuals / pas de deux of the Jellicle Ball, while the other cats dance and rest; and his solo routine during "Mr Mistoffelees" becomes a conjuring / contortionist act, rather than a dance solo.

Set and Venue
The set incorporates the wide stage of the castle ruins, and adds a multi-level pavilion at the back and another to one side, with ramps and ropes for the actors to move up and down. The staging uses these different levels, as well as having characters move up and down the rising path at the back of the stage, and enter or pose on the old castle wall at stage right. That position is particularly associated with Deuteronomy: we see him there during the overture, he enters from there during his song, and he appears there under Macavity's control just before the Macavity fight. Grizabella also climbs to that wall to ascend to the Heavyside Layer before moving out of sight, and Munkustrap moves up there to take Deuteronomy's place when the leadership passes to him at the end of 'Addressing of Cats'.

The outdoor venue had its own complications: although the audience is under shelter, the stage is not, and rain could make acrobatics more difficult. The ramps, apparently, got very slippery when wet! By September, it was also getting dark and cold earlier. Since the costumes involve a lot of bare skin, many actors added layers to their costumes as the year (or the night) progressed.

Story
Though not heavy-handed, this production does emphasise some plot threads a little more strongly than most replica productions: notably, the threat of Macavity, Munkustrap's leadership arc, and Grizabella's memories and growth. No dialogue is added: the effect is only in acting and staging, and the themes are linked in to the idea of growth and rebirth overall.

During the overture, a fire-breathing Macavity attacks the circus (that is, the cats' home, the equivalent of the Junkyard) and it is enveloped in smoke. "Because this story is about a new beginning," director Andreas Gergen wanted to suggest the possible destruction of the circus at the opening of the show. The idea of a phoenix dying and being reborn from ashes mirrored the idea of the Jellicle choice, and was applied to the rest of the world: "it is on the ashes of this burned circus that our production takes place. In the course of the performance, the cats gradually manage to rebuild this circus, reactivate it, and make it shine".

Munkustrap and Macavity
A sharp-eyed audience member will realise that this Munkustrap seems in some ways less 'mature' than the Munkustrap of most replica productions: while he retains his characteristic warmth and strength and charisma, he isn't always sure what to do with them. Instead, he grows into his leadership role over the course of the show. He shows moments of uncertainty both in serious moments (such as Macavity attacks) and playful ones (for example, in 'Gumbie Cat' and 'Pekes and Pollicles' he often seems to be inventing as he goes along, or reacting on impulse).

There is an impression of a young leader who hasn't yet come into his full strength - and this is strengthened by the fact that he 'loses' to Macavity, twice. During the overture, Macavity tries to abduct Demeter: Munkustrap runs on to intervene but is beaten almost at once, and Macavity only retreats when he looks up and sees Deuteronomy gesturing at him to retreat from the top of the castle wall. Again, in the Macavity scare after 'Pekes and Pollicles', Macavity really does appear onstage: again, Munkustrap's strength fails and it's Deuteronomy who sends Macavity away, but with more difficulty this time. When it comes to the actual Macavity fight in the second act, with Deuteronomy gone, Munkustrap has to fight alone and win (Alonzo is not involved).

Finally, after Grizabella ascends to the Heavyside Layer, Deuteronomy hands over his staff of leadership to Munkustrap, and Munkustrap climbs up to take Deuteronomy's usual spot on the castle wall overlooking the stage.

Grizabella
Grizabella's arc is given extra subtlety and weight by the appearance onstage, during Act I's 'Memory', of her younger self. Another actor (Anna Carina Buchegger, who plays Rumpleteazer) comes on and dances as she sings, wearing the pristine and 'glamorous' version of Grizabella's shabby old clothes. Grizabella watches, visibly moved, as her proud younger self dances, reaches, and falls, trying again and again until she is defeated and limps away. The staging suggests that Grizabella isn't just singing about the idea of memory in the abstract, but living her own memories again and changing how she thinks about herself and her own life.

Character relationships
As in most productions, these are up to audience interpretation. Coricopat and Tantomile have matching outfits, as usual. Jemima and Etcetera have costumes that match each other in every detail, so could be read as twins. On the other hand, Mungojerrie and Rumpleteazer look nothing like each other - and nor do they play to the idea of being a couple. In fact, Rumpleteazer dances mostly with other queens at the ball.

Growltiger and Griddlebone have a much warmer and more sincere attitude to each other than the rivalry of most replica productions. Griddlebone wears a kimono, suggesting that her origin is closer to the Siamese than to Growltiger's heritage. Despite this, they show a mutual respect and affection very similar to that between Gus and Jellylorum, and there is no hint that Griddlebone might be conspiring with the Siamese. Their relationship is far less burlesque than usual, and his death scene (done as a shadow play behind a curtain) is much more brutal.