Growltiger's Last Stand

"Growltiger's Last Stand" is a dream sequence in the musical Cats, in which Gus the Theatre Cat reminisces about one of his favourite roles, playing the fearsome pirate Growltiger.

In addition to Gus quick-changing into Growltiger on-stage, the number also features Jellylorum as Griddlebone, the Raffish Crew, and the Siamese.

The entire Growltiger sequence has been cut from several prominent productions, including the 1998 film due to time constraints. Since the 2016 Broadway revival, the number has also been removed from all replica US and UK productions, replaced with Gus playing the Rumpus Cat in "The Awefull Battle of the Pekes and the Pollicles". However, a very short refrain from "Growltiger's Last Stand" was featured in the 2019 Cats movie.

Context
This number divides into several sections:
 * Growltiger and the Raffish Crew
 * Griddlebone's Introduction
 * The Lover's Duet
 * The Siamese Attack
 * Coda - Gus the Theatre Cat

The sequence starts with Gus transforming into Growltiger centre-stage. This is done by removing his large blanket coat to reveal the pirate costume underneath and adding an eye patch. His shoulders and belly also expand comically thus turning the frail Gus into the bulky, muscular Growltiger. This effect is achieved by having a stage technician release Freon gas by remote control into a hidden tank in the stomach of the Growltiger costume, which is in turn linked to inflatable rubber shoulder pads. Meanwhile, Growltiger's barge and his Raffish Crew appear on-stage.

His transformation complete, the members of the Raffish Crew begin to sing about Growltiger while he struts around and postures for the audience.

Revised Version
"Growltiger's Last Stand" was heavily re-worked for the 2014 London revival, and this revised version was subsequently used in the 2015 Australian/New Zealand tour, 2015 Paris revival, 2016 UK tour (cut in 2017), and 2019 Vienna revival.

The opening section was completely re-written as a smoky jazz number mostly sung by Growltiger in the first person. It has many lyric alterations and re-writes. Growltiger no longer has a pirate cutlass, but rather a Cosh as a weapon. The Raffish Crew are busy raising a sail from the side of the set, which covers the upper stage, and they wheel on a barrel-shaped couch.

The slow jazz sound is dramatically contrasted by the arrival of Griddlebone, with the unchanged Puccini-esque romantic melody. There are some minor lyric changes in Griddlebone's introduction, "The tender moon was shining bright" is replaced by "A lover's moon...", and Griddlebone sings her own introduction in first person in the same manner as Growltiger did.

The Lover's Duet was cut altogether in the first Palladium run, as Growltiger and Griddlebone seemed about to settle down together, the Siamese attacked. However for the second Palladium run, a new version of the Aria was introduced. Whereas the original version of "In Una Tepida Notte" is clearly a Puccini pastiche, and staged as a very over-the-top operatic performance of two big egos trying to out-shine each other, the new version sounds like a Venetian ballad, and is played straight without any comedy.

The Siamese attack was also re-written, rather than having an eastern pentatonic influence the new composition is a strident atonal and arrhythmic piece. Growltiger no longer duels for his life, a pirate who dies without a sword fight?!

The 2016 Broadway revival removed the number entirely, having Gus instead reminisce about playing the Rumpus Cat in "The Awefull Battle of the Pekes and the Pollicles". This was incorporated into the subsequent International tour and US tour as well.

History
Most of the lyrics in "Growltiger's Last Stand" are taken from the T S Eliot poem of the same name from Old Possum's Book of Practical Cats (1939). The lyrics for "The Ballad of Billy M'Caw" are a rearrangement of an Eliot poem titled "Billy M'Caw: The Remarkable Parrot" that had been published in The Queen's Book of the Red Cross (1939), while "In Una Tepida Notte" is an Italian translation of a section of the Growltiger poem.

The original concept for the Lover's Duet was for Growltiger and Griddlebone to perform the Puccini-style aria "In Una Tepida Notte", however when Susan Jane Tanner was cast as Jellylorum/Griddlebone in the original London production, the decision was made to simplify the vocal part and make the duet a drinking song "The Ballad of Billy M'Caw", offering as much comedic potential without the demands of a legitimate soprano part. When the show transferred to Broadway, Andrew Lloyd Webber took the opportunity to revert to the original plan and include the Aria, with the London production later incorporating the Aria as well. Outside of the UK, "The Ballad of Billy M'Caw" is rarely used.

In some 1980s and 1990s European productions, the role of Griddlebone was played by Jennyanydots rather than Jellylorum. The original London version had an additional verse in "Griddlebone's Introduction" that was cut in later productions (italicised in the Lyrics section).

Music
"Growltiger's Last Stand" is primarily composed in the key of C major and set in the 4/4 time signature - occasionally flitting to 2/4. The opening section sees Growltiger and his Raffish Crew singing; their refrains set to a tempo of 116 beats per minute (bpm). As Griddlebone's Introduction begins, the key changes to Db major and the tempo slows down to 88 bpm, the brash opening giving way to a lush romantic melody. The key signature is transposed four times in just this section alone, first from Db major to A major, then to E major, then to D major, and lastly back to the song's home key of C major.

Growltiger and Griddlebone then begin their Lover Duet's and the music slows down even more. The original version of the duet is "The Ballad of Billy M'Caw", which is composed in the style of a boisterous British drinking song. It is written in the E major key and set to a 6/8 meter, with a tempo of 56 bpm.



Alternatively, the Italian aria "In Una Tepida Notte" may be performed. This parody of Puccini-style operatic love duets remains in the common time and is composed in the Eb major key, shifting to E major in the last verse.



As the duet comes to an end, the Siamese launch their attack and the music speeds up to 140 bpm without warning ("presto"). This section is fast-paced and sees a return to the original 4/4 time signature and C major key, though it switches to C minor midway through. It ends grandly and triumphantly as the Siamese celebrate their victory. Gus finally reemerges and sings a short reprise of his quiet song, a sharp contrast to the dramatics of the preceding sections.

In "The Ballad of Billy M'Caw", both Growltiger and Griddlebone's vocals span from B3 to G#5. In the aria "In Una Tepida Notte", Growltiger's vocals span from B3 to Bb5, while Griddlebone's span from B3 to B5.

Growltiger and the Raffish Crew
 Growltiger was a bravo cat who travelled on a barge In fact he was the roughest cat that ever roamed at large From Gravesend up to Oxford he pursued his evil aims Rejoicing in his title of the "Terror of the Thames"

His manners and appearance did not calculate to please His coat was torn and seedy, he was baggy at the knees One ear was somewhat missing, no need to tell you why And he scowled upon a hostile world from one forbidding eye

The cottagers of Rotherhithe knew something of his fame At Hammersmith and Putney, people shuddered at his name They would fortify the hen house, lock up the silly goose When the rumor ran along the shore: Growltiger's on the loose!

Woe to the weak canary, that fluttered from its cage Woe to the pampered Pekinese, that faced Growltiger's rage Woe the bristly Bandicoot, that lurks on foreign ships And woe to any cat with whom Growltiger came to grips

But most to cats of foreign race his hatred had been vowed To cats of foreign name and race, no quarter was allowed The Persian and the Siamese regarded him with fear Because it was a Siamese that mauled his missing ear

Griddlebone's Introduction
 Now on a peaceful summer night all nature seemed at play The tender moon was shining bright, the barge at Molesey lay All in the balmy moonlight it lay rocking on the tide And Growltiger was disposed to show his sentimental side

Growltiger's bucko mate, Grumbuskin, long since had disappeared For to The Bell at Hampton he had gone to wet his beard And his bosun, Tumblebrutus, he too had stol'n away: In the yard behind the Lion he was prowling for his prey

(Italian Introduction)

In the forepeak of the vessel, Growltiger stood alone Concentrating my attention on the lady Griddlebone And my raffish crew were sleeping in their barrels and their bunks As the Siamese came creeping in their sampans and their junks

Growltiger had no eye or ear for aught but Griddlebone And the lady seemed enraptured by my manly baritone Disposed to relaxation and awaiting no surprise But the moonlight shone reflected from a thousand bright blue eyes

And closer still and closer the sampans circled 'round And yet from all the enemy there was not heard a sound The foe was armed with toasting forks and cruel carving knives And the lovers sang their last duet in danger of their lives

Italian Introduction
(Sung only in conjunction with "In Una Tepida Notte")

 Griddlebone: Chi e la?

Growltiger: Mi amore!

Griddlebone: Sono qui

The Lover's Duet - The Ballad of Billy M'Caw
 Growltiger: Oh, how well I remember "The Old Bull and Bush", Where we used to go down of a Saturday night, Where, when anythink happened, it come with a rush, For the boss, Mr Clark, He was very polite; A very nice House, from basement to garret A very nice House. Ah, but it was the parrot The parrot, the parrot named Billy M'Caw That brought all those folk to the bar. Ah! he was the life of the bar!

Of a Saturday night, we was all feeling bright. And Lily La Rose, the barmaid that was, She'd sing "Billy, Billy M'Caw! Come give us, come give us a dance at the bar!" And Billy would dance on the bar And Billy would dance on the bar And then we'd feel balmy, in each eye a tear, And emotion would make us all order more beer.

Lily, she was a girl what had brains in her head; She wouldn't have nothink, no, not that much said. If it come to an argument, or a dispute, She’d settle it off-hand with the toe of her boot Or as likely as not put her fist through your eye. But when we was happy, and just a bit dry, Or when we was thirsty, and just a bit sad, She would rap on the bar with that corkscrew she had -

Griddlebone: And say "Billy, Billy M'Caw! Come give us a tune on pastoral flute!" And Billy'd strike up on his pastoral flute,

Growltiger and Griddlebone: And Billy'd strike up on his pastoral flute. And then we’d feel balmy, in each eye a tear, And emotion would make us all order more beer.

'''Griddlebone (with Booth Singers): Billy, Billy M'Caw! Come give us a tune on your moley guitar!

Growltiger: And Billy'd strike up on his moley guitar, And Billy'd strike up on his moley guitar.

Growltiger and Griddlebone: And then we'd feel balmy in each eye a tear. And emotion would make us all order more beer

Growltiger and Griddlebone (with Siamese and Booth Singers): Billy, Billy M'Caw! Come give us a tune on your moley guitar!

Growltiger and Griddlebone: Ah! He was the life of the bar!

All: Yes, he was the life of the bar!

Alternate Duet - In Una Tepida Notte
 Growltiger: In una tepida notte d'estate, allorche la natura Era nel pieno fulgore, e la fresca rugiada Splendiva al chiar di luna sopra la verzura, Si poteva vedere il galeone ancorato

Oscillare in silenzio nel vento profumato, Dalla marea del naviglio serenemente cullato In quella tepida notte che c'e dunque di male Se intanta poesia il pirata divento sentimentale?

Growltiger and Griddlebone: Oscillare in silenzio nel vento profumato, Dalla marea del naviglio serenamente cullato In quella tepida notte In quella tepida notte In quella tepida notte

The Siamese Attack
 Then Genghis gave the signal to his fierce Mongolian horde With a frightful burst of fireworks, the Siamese swarmed aboard Abandoning their sampans, their pullaways, and junks They battened down the hatches on the crew within their bunks

Then Griddlebone she gave a screech for she was badly skeered I am sorry to admit it, but she quickly disappeared She probably escaped with ease I'm sure she was not drowned But a serried ring of flashing steel Growltiger did surround

The ruthless foe pressed forward in stubborn rank on rank Growltiger to his vast surprise was forced to walk the plank He who a hundred victims had driven to that drop At the end of all his crimes was forced to go kerflip, kerflop

Oh there was joy in Wapping when the news flew through the land At Maidenhead and Henley there was dancing on the Strand Rats were roasted whole in Brentford and Victoria Dock And a day of celebration was commanded in Bangkok!

(Coda - Gus the Theatre Cat)
 Gus: These modern productions are all very well But there's nothing to equal from what I hear tell That moment of mystery when I made history...

International Versions

 * Revised English Version
 * Chinese
 * Czech
 * French
 * German
 * Japanese
 * Norwegian
 * Russian
 * Spanish

Audio
"The Ballad of Billy M'Caw"
 * "Growltiger's Last Stand" from the 1981 London cast recording

"In Una Tepida Notte"
 * "Growltiger's Last Stand" from the 1983 Broadway cast recording

Revised Version
 * "Growltiger's Last Stand" snippet in French from the 2016 Paris revival (bootleg audio)

Note: .ogg files cannot be played on iOS devices

Controversy
"Growltiger's Last Stand" has been met with criticism from both critics and theatre fans, condemning the portrayal of the Siamese for its dated and offensive racial stereotypes. The number has been phased out of all US and UK productions since 2016.

Trivia

 * Besides the Andrew Lloyd Webber musical setting in Cats, the English composer Humphrey Searle composed a musical setting of "Growltiger's Last Stand" as the second of his Two Practical Cats for speaker, flute, cello and guitar.
 * Lloyd Webber has said that he much prefers "The Ballad of Billy M'Caw", though he says that audiences usually prefer "In Una Tepida Notte". With regards to the revised version introduced in the Broadway revival, he noted that he "was never musically satisfied with ['Growltiger's Last Stand']".