Meet the Instantly Iconic Cast of CATS: The Jellicle Ball

There is a distinct rhythm to Fresh York City that changes depending on which block you stand on, but lately, the heartbeat of the theater district has been syncing up with the vogue scene in a way that feels both inevitable and revolutionary. When CATS: The Jellicle Ball moved from its off-Broadway premiere at the Perelman Performing Arts Center to the Broadway’s Broadhurst Theatre, it wasn’t just a transfer of venue; it was a cultural translation. For locals who grasp the difference between a dip and a death drop, this production represents more than a reimagining of Andrew Lloyd Webber’s iconic musical. This proves a validation of a culture born from Black and Latina queer and trans communities right here in the city, now taking center stage in one of the most traditional houses in Manhattan.

The premise is audacious, yet it works with a genius that surprises even seasoned theatergoers. Instead of cats vying to ascend to the Heaviside Layer, the show is set in the world of vogue dance and ballroom culture, with each song representing a different competitive category at a ball. This isn’t just cosmetic; the choreography by Omari Wiles and Arturo Lyons is the engine driving the narrative. Wiles calls it the “Jellicle Choice,” a pivotal moment that underscores how the movement itself tells the story. The production picked up “Bessie” Awards for Best Choreography and Outstanding Performance during its 2024 run at PAC NYC, along with a special Chita Rivera Award for Outstanding Off-Broadway Choreography, signaling that the industry is taking notice of this shift.

The Cast Bringing Humanity to the Ball

What makes this production resonate deeply within the New York arts community is the cast’s connection to the material. These aren’t just performers playing dress-up; many are active participants in the city’s vibrant ballroom scene. Take Dava Huesca, who plays Rumpleteazer. She trained at LaGuardia High School and Purchase College before finding her way to voguing through a class taught by Lyons. She became a founding member of the Haus of Telfar and now serves as an assistant dance captain. Huesca notes that her character isn’t a cat, but “a Black girl from Jersey,” grounding the fantasy in a gritty, glittering reality that audiences can perceive.

Then there is Primo Thee Ballerino, who moved to New York City from Cincinnati in 2021 specifically to pursue ballroom. Now a member of the House of Donyale Luna, he plays Tumblebrutus. He describes the role as a multifaceted human being with a vast repertoire of movements, from voguing to street jazz. His presence highlights how the show bridges gaps; he notes that the top of the second act, featuring the legendary André De Shields as Old Deuteronomy, feels like a moment of teaching where childlike innocence receives wisdom from an elder. De Shields’ involvement alone adds a layer of historical weight to the production, connecting generations of Broadway excellence.

Redefining Iconic Roles

The transformation of characters extends to the nuances of identity and representation. Baby Byrne, who plays Victoria, started her dance training at age 19 after taking a vogue seminar at Purchase College. She eventually joined the House of NiNa Oricci. For her, the solo during “The Naming of Cats” is about claiming a name, a sentiment that resonates deeply in the queer community where naming yourself is an act of autonomy. Similarly, Nora Schell, who plays Bustopher Jones, brings a critical lens to the role. Traditionally a satire of posh English gentlemen, Schell’s portrayal in a fat, Black, queer body turns the number on its head. They describe it as a celebration where fatness isn’t ugly but luscious, challenging environments that craft plus-sized dancers feel they don’t belong.

Robert “Silk” Mason, who identifies as gender nonconforming, plays Magical Mister Mistoffelees. As the mother of the Royal Haus of Silk, founded in 2024, Mason sees the pronoun changes in the production as beautiful. They emphasize that the space created onstage is collective, a sentiment echoed in the final number, “The Ad-dressing of Cats.” This approach ensures the show remains open to gender-nonconforming performers, reflecting the actual demographics of the ballroom scene rather than a Hollywood approximation.

Adapting the Space for the Culture

Bringing this energy to the Broadhurst Theatre required physical changes to the space. During the 2024 Perelman Performing Arts Center production, the audience sat around a seemingly endless runway. At the Broadhurst, scenic designer Rachel Hauck updated the layout, removing some orchestra seats to allow the runway to extend past the proscenium in a Y shape. Co-choreographer Omari Wiles noted that while they couldn’t obtain a runway as long as they had downtown, the limited onstage seating allows for audience interactivity that is super-key to the energy the show needs. Arturo Lyons added that the choreography had to be updated for every part of the show given that the stage is reversed, requiring movements to face backwards and forward at certain times.

This level of detail matters because ball culture started as a protest. In the mid-20th century, Black and Latina participants in drag pageants were not given wins against their white counterparts, leading them to start their own contests. The dance form evolved through Old Way, New Way and Vogue Femme, all represented in CATS: The Jellicle Ball. As Primo Thee Ballerino says, ballroom is a breathing, thriving culture. The show invites the audience to come in and have a party, but it also demands respect for the history behind the movement.

Local Resource Guide for Aspiring Performers and Producers

Given my background in analyzing industry trends, if this shift toward inclusive, culture-specific production impacts you in New York City, here are the three types of local professionals you require to know about. The success of The Jellicle Ball shows that authenticity drives box office success, but achieving that requires specific expertise.

Specialized Dance Studio Consultants

When looking for training or consultation, do not settle for general theater dance programs. You need studios that specifically employ instructors with ties to established houses like the Haus of Telfar or House of Donyale Luna. Glance for criteria such as a curriculum that distinguishes between Old Way, New Way, and Vogue Femme, and instructors who can verify their lineage within the ballroom community. Authenticity here is not just about steps; it is about cultural competency.

Inclusive Casting Directors

Traditional casting calls often lack the nuance required for productions like this. Seek out casting directors who have experience with projects that center queer and trans narratives. A key criterion is their past work with organizations like the Perelman Performing Arts Center or productions that have received Bessie Awards. They should demonstrate a track record of hiring based on community involvement rather than just headshots.

Adaptive Scenic Designers

As seen with Rachel Hauck’s work on the Broadhurst runway, the physical space must adapt to the performance style. When hiring designers, look for portfolios that show experience with immersive theater or runway configurations. They should be able to discuss how sightlines affect audience interaction, ensuring that every seat is able to see what they need to see without sacrificing the intimacy of a ball.

The movement toward integrating ballroom culture into mainstream Broadway is more than a trend; it is a correction. For New Yorkers, seeing landmarks like the Broadhurst Theatre host a production that honors the city’s own underground history is powerful. It suggests a future where the stages we build are flexible enough to hold the stories we actually live.

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