Early Impressions
1. How did you initially react to the script? How did you start to create your character?
My initial reaction to the script was concerning as I came to realise that it was made up of only lyrics, and no straight acting dialogue. This concerned me because I was worried about how I was going to maintain the portrayal of a character through different songs. Once receiving my role and learning that I'd have breaks in between songs, I felt more settled. Furthermore, my concern about character portrayal diminished as I began to understand the relationship my character shared with others. With the new knowledge of my relationships, my character status became confirmed. Jellylorum being friends with Jennyanydots and Asparagus highlights how elders enjoy her company, meaning that she is considered to be mature for a young person. I learnt that she was more of a younger character because of her occasional participation in a trio with Bombalurina and Demeter - two young and playful girls. This shows how Jellylorum finds herself in the middle, suggesting that her social class is of a good standard.
One main lyric concern was a verse in 'Prologue: Jellicle Songs for Jellicle Cats':
Practical cats, dramatical cats
Pragmatical cats, fanatical cats
Oratorical cats, Delphic Oracle cats
Skeptical cats, Dispeptical cats
Romantical cats, Pedantical cats
Critical cats, parasitical cats
Allegorical cats, metaphorical cats
Statistical cats and mystical cats
Political cats, hypocritical cats
Clerical cats, hysterical cats
Cynical cats, rabbinical cats
These lyrics were challenging because they were in a tongue twister fashion. I know that I have to rehearse this section repeatedly in order to sing it confidently.
2. What did/do you think of the concept of changing the context to the fashion world?
Our synonpsis: "Old Deuteronomy is the head of the fashion house “Deuteronomy Designs” with the help of her right hand women Skimbleshanks and Munkustrap. The elite team of models who are chosen to showcase her designs and the designs of her apprentices are called “Jellicle Cats”. Everyone knows who the Jellicle Cats are and everybody wants to be them or be with them. Each January Deuteronomy releases a bumper magazine called the “Heaviside Layer” setting out the styles and fashion that will be in for that year. Each December the Jellicle Cats come together and Deuteronomy chooses a young model to grace the cover, which can elevate their career to new levels they may have never reached before. However occasionally Deuteronomy can surprise the world and choose an ex “Jellicle Cat” and give them a comeback that will put them back into business for years. Each “Jellicle Cat” model showcases their talent. Look out for Bombalurina, Demeter, Rum Tum Tugger, Jellyorum and Tutti who are the public's favourites. Each designer also puts on a fashion show, such as Mr.Mistoffolees and Jennyannydots who will showcase their sometimes called “wacky” designs, all to try and impress Deuteronomy the most. Will Mungojerrie, and Rumpleteaser’s mischievous antics finally put them out of the competition? Will Grizabella ever be accepted into the “Jellicle Cats” again after her controversial downwards spiral? Will Gus ever get his big break after all these years? Who will it be? Who will it be?"
My Interview - see for response to concept.
Initially, I wasn't fond of the concept. This was because I felt excited about playing an animal, as it would've been a new experience for me. The show has always been kept to how it was originally performed, so this concept is considered very adventurous, which I think scared me. I was worried that the audience wouldn't understand the storyline. As the rehearsal process continued and new concepts were established, I began to feel comfortable and take liking to the fashion world spin.
Mid Way Impression
3. What has changed about your understanding of your character?
Originally, Jellylorum is quite the motherly figure, which has stuck, despite the fashion theme. An example of her maternal instinct is seen when she takes Demeter away from Grizabella because she is 'dangerous.' However, her traditional protection over the young ones (kittens) doesn't always exist. For instance, in Rum Tum Tugger, she acts starstruck by him like the other girls. She is very excited and acts immature for someone who is meant to be an elder. The more mature female seems to be Munkustrap, who belongs to the agency group of characters. Whereas, my character belongs to the model group of characters. Yet, she has close bonds with those above her, like Asparagus. I have learnt that Jellylorum is a 'happy medium'. She acts sensibly when needs be, but is very playful at the same time. In the narrative, she is Gus' PA, as well as a model. The serious side of her personality is highlighted in songs like Gus: The Theatre Cat and Old Deuteronomy. Whilst, her playful characteristics shine through in songs like Bustopher Jones and Macavity.
4. Discuss a number of the ideas/possibilities that you have tried out whilst rehearsing
5. What ideas worked and which didn't? ...and why?
Cartwheeling over the runway went well in rehearsals. However, when it came to show week and practicing with the set, it became more of a risk, leading me to remove it from my mini dance solo in the Prologue. Wearing character shoes made general movement a lot slippier.
A concern I had with making the choreography literal in Gus: The Theatre Cat was how it appeared to an audience. Although, the song itself is slow and simple, I didn't want the choreography to appear basic. We have some fantastic uptempo numbers and I don't want this song to be a weak link in the show. I think making the movement literal was an effective choice. Everyone onstage performing the same movement looks slicker, in my opinion.
One main lyric concern was a verse in 'Prologue: Jellicle Songs for Jellicle Cats':
Practical cats, dramatical cats
Pragmatical cats, fanatical cats
Oratorical cats, Delphic Oracle cats
Skeptical cats, Dispeptical cats
Romantical cats, Pedantical cats
Critical cats, parasitical cats
Allegorical cats, metaphorical cats
Statistical cats and mystical cats
Political cats, hypocritical cats
Clerical cats, hysterical cats
Cynical cats, rabbinical cats
These lyrics were challenging because they were in a tongue twister fashion. I know that I have to rehearse this section repeatedly in order to sing it confidently.
2. What did/do you think of the concept of changing the context to the fashion world?
Our synonpsis: "Old Deuteronomy is the head of the fashion house “Deuteronomy Designs” with the help of her right hand women Skimbleshanks and Munkustrap. The elite team of models who are chosen to showcase her designs and the designs of her apprentices are called “Jellicle Cats”. Everyone knows who the Jellicle Cats are and everybody wants to be them or be with them. Each January Deuteronomy releases a bumper magazine called the “Heaviside Layer” setting out the styles and fashion that will be in for that year. Each December the Jellicle Cats come together and Deuteronomy chooses a young model to grace the cover, which can elevate their career to new levels they may have never reached before. However occasionally Deuteronomy can surprise the world and choose an ex “Jellicle Cat” and give them a comeback that will put them back into business for years. Each “Jellicle Cat” model showcases their talent. Look out for Bombalurina, Demeter, Rum Tum Tugger, Jellyorum and Tutti who are the public's favourites. Each designer also puts on a fashion show, such as Mr.Mistoffolees and Jennyannydots who will showcase their sometimes called “wacky” designs, all to try and impress Deuteronomy the most. Will Mungojerrie, and Rumpleteaser’s mischievous antics finally put them out of the competition? Will Grizabella ever be accepted into the “Jellicle Cats” again after her controversial downwards spiral? Will Gus ever get his big break after all these years? Who will it be? Who will it be?"
My Interview - see for response to concept.
Initially, I wasn't fond of the concept. This was because I felt excited about playing an animal, as it would've been a new experience for me. The show has always been kept to how it was originally performed, so this concept is considered very adventurous, which I think scared me. I was worried that the audience wouldn't understand the storyline. As the rehearsal process continued and new concepts were established, I began to feel comfortable and take liking to the fashion world spin.
Mid Way Impression
3. What has changed about your understanding of your character?
Originally, Jellylorum is quite the motherly figure, which has stuck, despite the fashion theme. An example of her maternal instinct is seen when she takes Demeter away from Grizabella because she is 'dangerous.' However, her traditional protection over the young ones (kittens) doesn't always exist. For instance, in Rum Tum Tugger, she acts starstruck by him like the other girls. She is very excited and acts immature for someone who is meant to be an elder. The more mature female seems to be Munkustrap, who belongs to the agency group of characters. Whereas, my character belongs to the model group of characters. Yet, she has close bonds with those above her, like Asparagus. I have learnt that Jellylorum is a 'happy medium'. She acts sensibly when needs be, but is very playful at the same time. In the narrative, she is Gus' PA, as well as a model. The serious side of her personality is highlighted in songs like Gus: The Theatre Cat and Old Deuteronomy. Whilst, her playful characteristics shine through in songs like Bustopher Jones and Macavity.
4. Discuss a number of the ideas/possibilities that you have tried out whilst rehearsing
- Cartwheeling over the runway in the Prologue
- Making the choreography in Gus literal - to match the lyrics
5. What ideas worked and which didn't? ...and why?
Cartwheeling over the runway went well in rehearsals. However, when it came to show week and practicing with the set, it became more of a risk, leading me to remove it from my mini dance solo in the Prologue. Wearing character shoes made general movement a lot slippier.
A concern I had with making the choreography literal in Gus: The Theatre Cat was how it appeared to an audience. Although, the song itself is slow and simple, I didn't want the choreography to appear basic. We have some fantastic uptempo numbers and I don't want this song to be a weak link in the show. I think making the movement literal was an effective choice. Everyone onstage performing the same movement looks slicker, in my opinion.
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