One Of Us - Various - Mes Soirées 90s N°1 (CD)
OUf Satan Trismegistus subtly rocks our ravished spirits on his wicked bed until the precious metal of our will is leached out by this cunning alchemist: the Devil's hand directs our every movethe things we loathed become the things we love; day by day we drop through stinking shades quite undeterred on our descent to Hell. Like a pOOt profligate who sucks and bites the withered bteast of some well-seasoned trull, we snatch in passing at clandestine joys and squeeze the oldest orange ;,arder yet.
Wriggling in our brains like a million worms, a demon demos holds its revels there, and when we breathe, the Lethe in our lungs trickles sighing on its secret course. If rape and arson, poison and the knife have not yet stitched their ludicrous designs onto the banal buckram of our fates, it is because our souls lack enterprise!
I curse the paltry pleasures of the night on which my womb conceived my punishment! Since I am chosen out of all my sex to bring this scandal to my bed and board, and since I cannot tosS the stunted freak, as jf he were a love-letter, into the fire, at least I can transfer Your hate to him, the instrument of all Your wickedness, and so torment this miserable tree that not one of its blighted buds will grow!
Yet under an Angel's unseen tutelage the outcast child, enchanted by the sun, will recognize in all he eats and drinks golden ambrosia and nectar of the gods. With winds for playmate and with clouds for nurse, he sings the very stations of his cross the Spirit who attends his pilgrimage weeps to see him happy as a bird.
Fouling the food that he is meant to taste, they spit in his wine, mix ashes in his bread, whatever he touches they declare unclean and claim they fear to walk where he has heen. Meanwhile his wife, in public places, cries: 'Since he believes me worthy to adore, I'll deal in worship as old idols did and, like them, have myself touched up with gold; why not?
I'll glut myself with frankincense and genuilections, gifts of meat and winewe'll see if in so reverent a heart my smile usurps the honor of the gods! I know the Poet has a place apart among the holy legions' blessed ranks; You will invite him to the eternal feast of Dominations, Virtues, Thrones and Power' I know that pain is the one nobility upon which Hell itself cannot er.
But even the lost gems of ancient Palmyra, metals sunk in the earth, pearls in the sea, set by Your hand, could not approximate the brightness of this perfect diadem I for it will be made of nothing but pure light drawn from the hallowed hearth of primal rays, of which our mortal eyes, for all their might, are only a mournful mirror, a darkened glass.
Tied to the deck, this sovereign of space, as if embarrassed by its clumsiness, pitiably lets its great white wings drag at its sides like a pair of unshipped oars. The Poet is like this monarch of the clouds riding the storm above the marksman's range; exiled on the ground, hooted and jeered, he cannot walk because of his great wings.
Ascend beyond the sickly atmosphere to a higher plane, and purify yourself by drinking as if it were ambrosia the fire that fills and fuels Emptiness. Free from the futile strivings and the cares which dim existence to a realm of mist, happy is he who wings an upward way on mighty pinions to the fields of light; whose thoughts like larks spontaneously rise into the morning sky; whose flight, unchecked, outreaches life and readily comprehends the language of flowers and of all mute things.
How these deformities cry out for clothes I - wretched bodies, regular grotesques, runty, paunchy, flabby, scrawny, lame, brats whom Utility, a pitiless god, has swaddled in his brazen diapers I Look at the women - pale as tallow, gnawed and nourished by debauch - the girls who bear the burden of their mothers' vice or wear the hideous stigmas of fecundity I True, in our corruption we possess beauties un revealed to ancient tilnes: countenances cankered by the heart and, so to speak, the charm of listlessness; but subtle though they are, such artifacts of a belated muse will never keep our sickly race from offering to youth its trueSt homage; youth we worship still, its frank expression, its untroubled brow, its eyes as bright as water; sacred youth that shares - unconscious as a singing bird, a flower, or the blue sky's radianceits song, its scent, its irresistible warmth!
These blasphemies, these ecstasies, these cries, these groans and curses, tears and Te Deums, re-echo through a thousand labyrinths a holy opium for mortal hearts! A thousand sentries pass the order on, a cry repeated by a thousand messengers; hunters shout it, lost in the deep woods; the beacon flares on a thousand citadels' This, 0 Lord, is the best evidence that we can offer of our dignity, this sob that swells from age to age and dies out on the shore of Your eternity! Something you [saw last night is left in your hollow eyes; your color's bad, your cheeks are cold with horror, with madness!
Are you silenced by the love and fear dispensed by greenish vampires, rosy ghouls? Or sunk in some legendary bog, held under by nightmare's unrelenting fist? Not like this. I wanr you safe and sound, thinking fit thoughts, breathing deep, your Christian bloodstream coursing strong 18 Spleell and Ideal and steadfast as the copious Classical vein in the double realm of Pan and ApolloLord of the Harvest, Father of Song.
Are streetlamps through your shutters stove enough to make your huddled shoulders warm again? When your belly is as empry as your purse, what will you do - harvest the stars for gold? Try other ways to earn your nightly bread: suppose you swing a censer just for show and like a choirboy mumble all the hymns; at, naked as an acrobat, reveal laughing charms so wet with secret tears they rouse the tired businessman to pay.
Christ was the Master then, and more than one illustrious and unremembered monk would scour the cemetery for his theme and for his models, glorifying Death. Solemn and magical the waves rolled in bearing images of heaven on the swell, blending the sovereign music that they made with sunset colors mirrored in my eyes.
There I lived, in a rapture of repose, amid the glories of that sky, that sea, and I had naked slaves, perfumed with musk, to fan me by the hour with rustling fronds, and their one study was to diagnose the secret torment which had sickened me. The cricket hidden in its sandy lair sings all the louder as they pass; a favoring Goddess makes the desert bloom, and where they wander springs transform the rock, One Of Us - Various - Mes Soirées 90s N°1 (CD) vagabonds in front of whom unfurl familiar empires of oncoming night, r4 j.
How grim their combat, and yet how discreet - who has sounded ro its depths the human heart? Women parading their fallen breasts writhed in the darkness behind him, and their moans faded like the low ing of cattle led to slaughter. Grinning, Sganarelle demanded his pay, while Don Luis, in a fury, cursed from the shades lining the shore a son who mocked his father.
Veiled and trembling, Elvira beckoned the false husband - the lover! Huge in armor the One Of Us - Various - Mes Soirées 90s N°1 (CD) Guest towered at the prow where the stream divided; but over his sword the hero stared at the wake and calmly ignored them all.
Henceforth he was no more than an animal, knowing nei. With snow for flesh, with ice for heart, I sit on high, an unguessed sphinx Spleen alld Ideal begrudging acts that alter forms; I never laugh - and never weep. In studious awe the poets brood before my monumental pose aped from the proudest pedestal, and to bind these docile lovers fast I freeze the world in a perfect mirror: the timeless light of my wide eyes.
My heart is closed to belles in curl icues, those worshipped beauties of a shopworn age when fingers were for spinets and when feet wore out six pairs of silver-buckled shoes. I leave to Gavarni, anemia's laureate, his twittering flock of insubstantial girlsin all those sallow blossoms who could find one rose to reconcile my red ideal?
This heart is cavernous and it requires Lady Macbeth and an aptitude for crime, some Aeschylean flower of the South, or Michelangelo's great daughter, Night, who slumbrously contorts the marble charms he carved to satiate a titan's mouth.
JEW E L S My darling was naked, or nearly, for knowing my heart she had left on her jewels, the bangles and chains whose jingling music gave her the conquering air of a Moorish slave on days her master is pleased. Whenever I hear such insolent harmonies, that scintillating world of metal and Stone beguiles me altogether, and I am enthralled by objects whose sound is a synonym for light.
For there she lay on the couch, allowing herself to be adored, a secret smile indulging the deep and tenacious currents of my love which rose against her body like a tide. Eyes fixed on mine with the speculative glare of a half-tamed tiger, she kept altering poses, and the incorporation of candor into lust gave new charms to her metamorphoses; Spleen and Ideal calmly I watched, with a certain detachment at first, as the swanlike arms uncoiled, and then the legs, the sleek thighs shifting, shiny as oil, the belly, the breasts - that fruit on my vineclustered, more tempting than wicked cherubim, to undermine what peace I had achieved, dislodging my soul from its rock-crystal throne of contemplation, once so aloof, so serene.
As if a new Genesis had been at work, I saw a boy's torso joined to Antiope's hips, belying that lithe waist by those wide loins. Upon a body made to offer every bliss appear. Pathos of true beauty! Surely such a face would put all mankind, vanquished, at her feet! What secret evil feeds on her firm flesh? Godless yet divine, your gaze indifferently showers favor and shame, and therefore some have likened YOll to wine.
Whether spawned by hell or sprung from the stars, Fate like a spaniel follows at your heel; you sow haphazard fortune and despair, ruling all things, responsible for none.
You walk on corpses, Beauty, undismayed, and Horror coruscates among your gems; Murder, one of your dearest trinkets, throbs on your shameless belly: make it dance' Dazzled, the dayfly flutters round your wick, crackles, flares, and cries: I bless this torch!
The pining lover for his lady swoons like a dying man adoring his own tomb. Who cares if you come from paradise or hell, appalling Beauty, artless and monstrous scourge, if only your eyes, your smile or your foot reveal the Infinite I love and have never known? Come from Satan, corne from God - who cares, Angel or Siren, rhythm, fragrance, light, provided you transform - 0 my one queen! As other souls set sail to music, mine, o my love!
Take me, tousled current, to where men as mighty as the trees they live among submit like them to the sun's One Of Us - Various - Mes Soirées 90s N°1 (CD) tyranny; ebony sea, you bear a brilliant dream of sails and pennants, mariners and masts, a harbor where my soul can slake its thirst for color, sound and smell- where ships that glide THE FLOWERS OF EVlL 26 j;I.
To keep your teeth incisive for this singular Sport, you claim a daily ration of. Your eyes, lit up like shops to lure their trade or fireworks in the park on holidays, insolently make use of borrowed power and never learn you might say, 'in the dark' what law it is that governs their good looks.
Blind and unfeeling instrument of pain, my salutary leech, how could you fail to see in every mirror that you pass your 'charms' go pale if not quite blank with shame. How could you help wincing at the scope of all the knowing harm you perpetrate when Nature, noted for mighty subterfuge, avails herself of YOll, My Queen of Sins - of you, vile animal' - to breed a genius?
Sublime disgrace! And yet to wine, to opium even, I prefer the elixir of your lips on which love flaunts itself; and in the wasteland of desire your eyes afford the wells to slake my thirst. Spleell alld Ideal Seal them, those sooty holes from which your soul rains hellfire too, relentless sorceress' I am no Styx, to cradle you nine times, alas! Like both the desert and the desert sky insensible to human suffering, and like the ocean's endless labyrinth she shows her body with indifference.
Precious minerals form her polished eyes, and in her strange symbolic nature where angel and sphinx unite, where diamond, gold, and steel dissolve into one light, shines forever, useless as a star, the sterile woman's icy majesty.
Shapeless - nothing was left but a dream the artist had sketched in, forgotten, and only later on finished from memory. Behind the rocks an anxious bitch eyed us reproachfully, waiting for the chance ro resume her interrupted feast.
Yes, you will come to this, my gueen, after the sacraments, when you rot underground among the bones already there. But as their kisses eat you up, my Beauty, tell the worms I've kept the sacred essence, saved the form of my rotted loves! Be accursed! I begged the sword by one swift stroke to grant me liberty; nor did my cowardice disdain less clear-cut remedies. Poison and steel, as with one voice, contemptuously refused: 'You are not worthy to be free of your enslavement, fool!
Come here, kitty - sheathe your claws I Lie on my loving heart and let me sink into your eyes of agate fused with steel. Her gazecold and deep as yours, my pet - is like a stab of pain, and from head to heels a subtle scent, a dangerous perfume, rises from her brown flesh.
Such passages of arms are the result of love in its early phase, a loud pursuit. The blades are broken - like our youth, no more than teeth and nails, discreetly must try where sword and tricky dagger - 0 rage of ripened hearts at grips with my dear: filed, failed. Spleen alld Ideal Our heroes, wickedly entwined, have rolled into the lynx-infested gulley where their flesh will fertilize the greedy thorns; the place is Hell, and crowded with our friends, so leap right in, my heartless Amazon, to keep our hatred's fire perpetual.
Mother of memories, absolute mistress, in you my pleasure is my only task: not to forget the foull of a caress, rhe dying fire and the alluring darkmother of metllories, absolute mistress! Evenings illustrated by living coals and evenings on the balcony, pink mist rising, your soft breast, your gentle heart, while we rehearsed the imperishable words evenings illustrated by living coals. Holding you, most loved - no, revered I I could almost smell the fragrance of your bloodhow brilliant the sunsets, how warm the air!
The night solidified into a wall, and my eyes had to guess where yours would be as I drank in your breath: nectar! You might have said, sometimes, she thought objects longed to make love to her, so greedily she slaked her nakedness on the kisses of linen sheets and silk, revealing with each movement all the unstudied grace of a marmoset.
My god, how horrible! What's left of eyes so soft yet so intense, of kisses stronger than any drug, of a mouth that used to drown my heart. Precious little - barely a sketch fading in a solitude like mine, erased a little more each day by disrespectful Time that wipes 44 Spleen and Ideal out Life and Art; yet even Time cannot force me to forget Her who was my glory and my Joy' 41 j! Suppose my name were favored by the winds, my voyage prospered, and the future read all that I wrote, and marvelled.
Love, they're yours! I give you poems to make your memory echo the way archaic legends do, so that by some incantatory spell, haunting the reader like a psaltery, you will be caught within my cadences; who now, from Pit to Empyrean scorned by all bur me, have simply walked away and lefr no trace but shadows as you pass, staring in Inute composure at a world that stupidly reviles YOur unconcern, my jer-eyed statue, angel with brazen brows!
You wouldn't understand, though it's as obvious as that smile of yours: an open secret. Nothing ever grows, once the heart is harvested.
You ask too many questions. Enchanting eyes! The sullen stranger you brush past stops, turns and relishes the radiant health which aureoles your shoulders and your arms.
In all that panoply of silks the colors you parade awaken in our poets' minds a giddy valse des fieursgarish gowns which designate the motley of your mind: infectious folly! Often, when I would drag myself into some leafy park and when the sun like a rebuke would lacerate my breast, Spleen and Ideal so deeply did the Spring's new green humiliate my heart that I would punish in one rose all Nature's insolence.
I'll come like that to you some night when lovers ought to come, creeping in silence till I reach the treasures of your flesh, to castigate your body's joy, ra bruise your envied breasts, and in your unsuspecting side to gash a gaping wound where in a final ecstasy between those lovelier new lips, my sister, I'll inject my venom into you!
Being so blithe, One Of Us - Various - Mes Soirées 90s N°1 (CD) do you know of shame? Fond as you are, what could you know of hate, the secretly clenched fists, the silent tears, while every heartbeat drums ret;enge!
Beloved Goddess, so it is with youabove the wreck of stupid revelry your lucid image rises, brighter still, shimmering yet fixed before my eyes. The violin trembles like a heart betrayed, a tender heart unnerved by nothingness I A mournful altar ornaments the sky; the sun has smothered in its clotting blood.
A tender heart unnerved by nothingness hoards every One Of Us - Various - Mes Soirées 90s N°1 (CD) of the radiant past. The sun has smothered in its clotting blood. Like chrysalids, a thousand memories that slept among the silent shadows now unfold their wings and soar into the light, rising azure laced with rose and gold; among them one intoxicating thought hovers brightest; eyes close; Vertigo grips the beaten soul which it impels to an abyss obscured by human wraiths, crushing it on the brink of that age-old pit where, like a fetid Lazarus rending his shtoud, the corpse of an old passion stirs and wakes, specrralabd rancid, charnel and charming still!
So it will be with me when I lie lost to living memory, a used-up flask tossed in a grim armoire, tarnished and cracked, forgotten, filthy, a decrepit thing: I shall be your coffin, darling doom, and testify to how your virulencethe poison angels brewed - became in me the consummation of a heart consumed!
One night his brindled fur gave off a perfume so intense I seemed to be embalmed because just once' I fondled hIm. Familiar spirit, genius, judge, the cat presides - inspires events that he appears to spurn, half goblin and half god! Walk, and your wide skirrs swirl with every step, as if a fine ship had put out ro sea under full sail, riding the waves ro a gentle rhythm, indolent and slow.
I want to tell you, soft enchantress, all the various graces which array YOut youth; I want to paint your beauty for you in which the woman merges with the girl. The swelling silk that cradles YOut full breasts makes them - triumphant breasts I - a sleek armoire whose bright and curving surfaces reflect the light as if from flashing shields, provocative shields, armed with rosy points I Armoire of secrets, crammed with precious thingsperfumes and wines and rare liqueuts to make our hearts and minds delirious I Walk, and YOut wide skirts swirl with every step, as if a fine ship had put out to sea under full sail, riding the waves to a gentle rhythm, indolent and slow.
Your noble thighs, beneath the tossing lace, arOUSe obscure desires and vex them like two witches who between them stir a black elixir in its seething vat. Your arms would serve an infant Hercules against the gleaming serpents they are like, relentless in their coiled embraceas though to print YOut lover on your heart.
Must he despair of a cross to mark his grave, fallen a victim to such ptedators? Ashes fill this sky, and darkness reigns.
Hope's candle at a window of the inn glimmers and goes out. No light, no moon - how will they find their way, the martyrs of the road? Satan has snuffed the candle at the inn I Adorable siren, do you love the damned? What do you know of Remorse whose poisoned arrows mercilessly take our heart for their target? Adorabie siren, do you love the damned I Nothing can withstand the Irreparableits termites undermine our soul, pathetic citadel, until the ruined tower falls.
Nothing can withstand the Irrepatable! On my heart's stage occurs no transformation scene. No creature made of light will come to me! No use your gtoping for my feeble heartwhat you are after is no longer there; mauled by women's weapons, fangs and claws, my heart is gone, the beasts have eaten it.
My heart' that palace ransacked by a mob of drunken maenads at each other's throats. What perfume hovers round yotlr naked throat? As for your Dress - it will be my Desire, shimmering and rippling round your flesh, tising to those headlands where it hovers, warming your body's porcelain with a kiss' Ingeniously sewn, my Reverence will make you satin Slippers that assume in all humility the shape your feet impose upon their soft imprisonment; and if I fail, despite my diligence, to forge a silver Footstool from the Moon, I'll set the Serpent which my entrails feed under your Heel, triumphant queen from whom Redemption flows, to signify you flout this monster varicose with hate and spleen.
Behold my Thoughts arrayed like votive lights among the flowers on my Lady's shrine, spangling the azure ceiling as they gaze on you eternally with eyes of fire! And since my every impulse worships you, all will become as Myrrh and Frankincense mounting in troubled vapors from my Soul to reach the snowy region where you stand. Where is the drug that works as well as your untroubled sloth? SIS I N A Imagine Diana, followed by her troupe, beating the bushes in hot pursuit of game, hair flying, breast bare, revelling in the din, proudly outdistancing the pride of the hunt' And have you seen our 'Fury of the Gironde,' grimly urging on a barefoot mob, cheeks ,md eyes radiant as she climbs the palace stairs, a saber in her fist?
Except the wild girl has a soul as loving as it is incensed, and her courage, roused by cannon fire and drums, will yet relent to passionate appeal, and het ,incandescent heart still keeps, for the deserving, a reservoit of tears. I know her, though: watm and white beneath a cloud of hair, her face is borne with noble eleganceshe walks like Artemis, as tall, as lithe, and when she smiles, assurance lights her glance.
If you should ever visit glory's home along the green Loire or the Seine, Madame, your loveliness, a match for our chateaux, would prompt in 'scholarly retreats' a flood of sonnets from our poets' hearts, enslaved more humbly than your blacks by those great eyes. The ritan sea console us for our toil? By wheel or One Of Us - Various - Mes Soirées 90s N°1 (CD), JUSt take me anywhere far from here where mud is made of our tears!
Lady, listen to your heart; doesn't it say 'Far from regret, from crime, from suffering, by wheel or sail, just take me anywhere'? How far away, that fragrant patadise where love and pleasute share the same blue sky, where pure delight can satiate the heart and all we love is worthy of Our love' How far away, that fragrant paradise' But that green paradise of puppy love, of songs and games, of kisses and bouquetsthe jugs of wine at evening in the groves, the violins that die behind the hillsbut that green patadise of puppy love, the innocent paradise of timid joys, is it already farther than Cathay?
What silvery voice can waken it again, what plaintive cries can ever call it back, the innocent paradise of timid joys? When the morning whitens you find no one beside you: the place cold all day.
Others by fondness prevail over your life, your youth: I leave it to fear. Outraged by all except the innocence of beasts, my heart will not reveal its secret pact with Hell, the livid legend written out in flames, to you whose anns would cradle me in sleep. Passion offends me, and my mind is pain! Hold me. Say nothing. Hidden somewhere near, Love in ambush bends his fatal bowI know the weapons of that old armory: madness, horror, crime.
You pale and stare like an autumn daisy, flower of the fall, white as your wintry Faust, cold Marguerite. On a silken avalanche of clouds the moon expiring, falls into a trance, impassive as the great white visions file past in procession like unfolding flowers.
And when she happens, in her somnolence, to shed a secret tear that falls to eatth, some eager poet, sleep's sworn enemy, cups his hand and catches that pale tear which shimmers like a shard of opal there, and hides it from the sun's eye in his heart. As sensitive as either to the cold, as sedentary, though so strong and sleek, your cat, a friend to learning and to love, seeks our both silence and the awesome dark. Hell would have made the cat its courier could it have controverted feline pride 1 Dozing, all cats assume the svelte design of desert sphinxes sprawled in solitude, apparently transfixed by endless dreams; THE FLOWERS OF EVIL '' their teeming loins are rich in magic sparks, and golden specks like infinitesimal sand glisten in those enigmatic eyes' Under black yews that protect them the owls perch in a row like alien gods whose red eyes glitter.
He smokes his pipe, allaying heart and mind, and for tonight all injuries are healed. No spurs. Before Old Deuteronomy can make his decision, Grizabella returns to the junkyard and he allows her to address the gathering. Her faded appearance and lonely disposition have little effect on her song " Memory ". With acceptance and encouragement from Jemima and Victoria, her appeal succeeds and she is chosen to be the one to go to the Heaviside Layer and be reborn into a new Jellicle life "The Journey to the Heaviside Layer".
A tyre rises from the piles of junk, carrying Grizabella and Old Deuteronomy partway towards the sky; Grizabella then completes the journey on her own. Based on the definitive piece licensed version. Cats is an ensemble show with a large supporting cast and no leads. Cats is completely told through music with no dialogue in between the songs,  although there are occasions when the music accompanies spoken verse. Lloyd Webber's compositions employ an eclectic range of musical styles so as to magnify the characters' contrasting personalities.
The original concept of a set of contrasting numbers, without a dramatic narrative, meant that each song needed to establish some sort of musical characterization independent of the others and develop a quick rapport with the audience.
Such a rapid familiarity and identification of purpose can be achieved through pastiche. But it was only a musical starting point, for the songs in Cats move beyond the straightforward " Elvis " pastiche of Joseph and the Amazing Technicolor Dreamcoat ; they are less pointed, more the free workings within a range of chosen styles than direct copies of a specific performer or number. The audience responds to the musical differences, given an initial security provided by the familiarity of recognizable, underlying stylistic generalities.
Lloyd Webber also employs various techniques to help connect the pieces. Namely, the score relies heavily on recurring motifs as well as the use of preludes and reprises. The musical also features an unusual amount of "group-description" numbers. According to musicologist Jessica Sternfeld, such numbers are usually relegated to the prologue and nothing more, as seen in " Another Op'nin', Another Show " from Kiss Me, Kate and " Tradition " from Fiddler on the Roof.
These numbers allow the cats to celebrate their tribe and species as a whole, in between the ones that celebrate individual members. Regarded as "one of the most challenging shows to dance in musical theatre history",  dance plays a major role in Cats as the original creative team had specifically set out to create "England's first dance musical".
The risky hiring of a British choreographer, Lynne, for a British dance musical was described by one historian as "a vivid and marvellous gesture of transatlantic defiance". Lynne choreographed the original London production with a dance crew consisting of her assistant Lindsay Dolan, the dance captain Jo-Anne Robinson, and cast members Finola Hughes and John Thornton.
The original staging of Cats at the New London Theatre was considered revolutionary  and "one of the first truly immersive theatrical experiences". Nunn was also adamant that the orchestra for Cats be hidden backstage — out of the audience's view — so as not to break the immersion.
Napier began designing the set in Novemberwanting "a place where cats might congregate together, which also included maximum room for dancing". Over 2, of these scaled-up props were used to fill the whole auditorium in the original Broadway production.
Napier also designed the costumes, combining cat and human features based on "hints" given in Eliot's poems, while ensuring that they did not impede the dancers' movements.
As with the contrasting music and dance styles, the costumes and make-up are used to bring out each character's distinct personality. For example, the costume for the flirtatious Bombalurina is designed to accentuate her sensuality, while the markings on the costume for Jemima — the youngest of the tribe — resemble crayon scribbles. In order to reproduce the "hand-drawn aesthetic" of Napier's original design sketches, costume painters in the original Broadway production used squeeze bottles to apply the paint.
Due to the amount of dancing in Catsmost of the costumes did not last longer than a few months. The plot of Cats revolves around a tribe of cats vying to go to the "Heaviside Layer", which is used as a metaphor for rebirth. Cats has been translated into over 15 languages and produced professionally in more than 30 countries.
The musical was produced by Mackintosh and Lloyd Webber's Really Useful Groupwith direction by Nunn, choreography by Lynne who also served as the associate directorset and costume design by Napier, lighting design by David Herseysound design by Abe Jacob and music direction by Harry Rabinowitz.
The final performance was broadcast live on a large outdoor screen in Covent Garden for fans who could not acquire a ticket. The musical returned to the West End in for a planned week limited run at the London Palladium. Beginning on 6 December, the revival starred Nicole Scherzinger as Grizabella, and featured the original creative team, with direction from Nunn, choreography by Lynne and design by Napier. Encouraged by the reception to the first West End revival, producers began looking to bring Cats back to Broadway in early Following its Broadway debut, Cats has been staged extensively across North America.
This production was a "slow tour" that had lengthy engagements lasting for several months in each of the nine cities it visited. After the show's closure on Broadway inTroika Entertainment obtained the touring rights for Cats and launched the show's first non- Equity national company. It moved to Montreal two years later and then toured other parts of Canada.
Following the closure of the original West End production, a nationwide tour embarked in with Chrissie Hammond starring as Grizabella,   until Dianne Pilkington took over the role in The Japanese-language production of Cats by the Shiki Theatre Company has been playing continuously since it premiered in ShinjukuTokyo, in November This production is a "slow tour" with engagements lasting for several years in each of the nine cities it has visited.
This was a big financial risk for the Shiki Theatre Company as it meant that a long run was needed to turn a profit; however, stage productions in Japan ran on a monthly basis at the time and open-ended runs were unheard of. Similar to the original London staging, the set of the 1,capacity CATS Theatre is built on a revolving stage floor such that during the overture, the stage and sections of the stalls revolve approximately degrees into place.
Inthe show transferred to the newly renovated Ronacher Theatre where it ran for another two years before closing on its seventh anniversary in September Influenced by the show's success in Vienna, a German production by Stella Entertainment premiered in April at the newly renovated Operettenhaus in Hamburg.
The number of overnight visitors to the city increased by over one million per year within the first five years of the show's premiere. Cats redefined musical theatre in the German-speaking part of the world, turning an industry which consisted of repertory theatre at the time towards privately funded commercial productions. The success of the Vienna and Hamburg productions sparked a "musical boom" in the region that saw numerous musicals being launched not just in Germany but also in Switzerland.
After Hamburg, the German production transferred to Stuttgart where it played from to The production was seen byaudiences before it transferred to the Scandinavium in Gothenburg two years later. The Dutch live entertainment company Stage Entertainment has been responsible for several European productions of Cats. This production was based on the London revival and also featured a new song written especially for the French show by Lloyd Webber.
English-language touring companies have also toured the European region extensively. International tours in the early to late s included stops in Sweden, Norway,  Finland,  Greece,  Portugal,  Germany,  and Italy. It was credited with revitalising the then-stagnant musical genre in Australia. The musical played in Auckland from to and for a limited run in Besides Japan, Cats is also produced regularly in other parts of Asia. The region has hosted numerous English-language productions of the musical, beginning with a tour from to when it played in Singapore with local actress Jacintha Abisheganaden as Grizabella Hong Kong and South Korea.
The musical has also been translated and staged nationally in Asia. Spanish and Portuguese-language productions of Cats have been staged in South Americawith productions in Argentina in with Mexican actress Olivia Bucio as Grizabella in Chile in at the Arena Santiago  and in Colombia in and in Brazil in with Paula Lima as Grizabella. A full-length production of Cats has been performed regularly for guests aboard Royal Caribbean International 's cruise ship Oasis of the Seas starting in autumnwith a cast rotating every nine months.
Cats has been produced by various professional regional theatre companies. Broadway Sacramento staged the musical in and at the Wells Fargo Pavilion. Block as Grizabella and Lara Teeter as Munkustrap. The musical is also available for school and amateur licensing through The Musical Company. Steven Spielberg 's former animation studio Amblimation had planned an animated adaptation of the musical in the s. Cats is a commercial blockbuster. The original London production received mostly rave reviews, with critics hailing it as a watershed moment in British musical theatre.
Billington praised the show's "strong framework" and the ease in which the poems were integrated. He was also very impressed by Lloyd Webber's fitting compositions, Napier's environmental set, Lynne's effective and at times brilliant choreography, and Nunn's "dazzling staging" that makes use of the entire auditorium.
Jewell proclaimed it to be "among the most exhilarating and innovative musicals ever staged",  while Hepple declared that with Cats"the British musical has taken a giant leap forward, surpassing in ingenuity and invention anything Broadway has sent us".
There were a few lukewarm reviews, most notably from Irving Wardle of The Times. Wardle enjoyed Lloyd Webber's compositions but found the visual spectacle too overwhelming.
The reviews for the and London revivals were positive as well, with critics giving both productions an average of 4 out of 5 stars. Reactions to the original Broadway production were mixed. He attributed much of this "wondrous spectacle" to Nunn's direction, Napier's set and costume designs, as well as the talented cast.
Rich found many of Lloyd Webber's songs to be "cleverly and appropriately" pastiche, and was impressed with how Lynne and Nunn distinguished each character through personalised movement. However, he panned Lynne's choreography and felt that the musical failed in its vague attempt to tell a story. Overall, he wished that the show had more "feeling to go with its most inventive stagecraft. It is a statement of musical theater that cannot be ignored, should prove controversial and will never be forgotten.
Isherwood concluded that the revival was "fundamentally the Cats you knew and loved when you were first bit by the musical-theater bug. Or it's the Cats you knew and snickered at when you first encountered it.
Cats has received many international awards and nominations. Despite mixed reviews when Cats opened in New York incritics agreed that it was innovative and visually spectacular in ways that Broadway had never seen before. Ultimately, critics are polarized on whether Cats has changed musical theatre for the better or for the worse. William Grimes wrote of its detractors: "There are more than a few who see the Cats phenomenon as the theatrical equivalent of the rise of the megabudget Hollywood action film.
For them, Cats is a soulless money machine. As the "first true megamusical ",  Cats pioneered a genre of musical theatre that is produced on a grand and global scale. Cats is considered the quintessential megamusical, because it reconceived, like no other show before, theatrical space as an immense affective encompasser, that transforms the viewing experience into a hypercharged thrill-ride and the spectator into an explorer of new and challenging aural and visual sensations.
Its unprecedented success paved the way for even bolder hyperspatial configurations, made the set designer a proper environment builder and raised light and sound design into the status of art in their own right.
It also paved the way for the constant revolutionization of stage technology. Cats introduced a marketing strategy that set the template for subsequent megamusicals. Early advertisements for the musical did not feature traditional pull quotes despite many positive reviews or any of the cast, instead branding the show itself as the star. It did this by adopting — and then aggressively promoting — a single recognisable image the cat's-eyes logo as the face of the show.
This advertising method had the additional effect of diminishing the importance of critical reviews, popularising the so-called "critic-proof" status of megamusicals.
Additionally, Cats was the first Broadway and West End show to capitalise on merchandising as a major revenue stream. Stalls were set up in the theatre lobbies to sell souvenirs ranging from toys and watches to coffee mugs, all of which were emblazoned with the cat's-eyes logo. The official Cats t-shirt became the second-best-selling t-shirt in the world in the s, second only to the Hard Rock Cafe t-shirt.
Merchandising has since become an important source of income for the industry. Beyond the megamusical, Cats also led the Broadway trend for musicals aimed at families and tourists, which later took the form of the Disney Theatrical Productions and jukebox musicals. People do want a theatrical experience for their children.
The musical's fantasy setting and disregard for verisimilitude allowed for groundbreaking experimentations in lighting and audio technology. The original London and Broadway productions featured David Hersey 's pioneering use of automated lighting to produce kaleidoscopic landscapes and complicated optical effects.
Hersey also used light in an "architectural manner", with fast-changing configurations to spotlight different performers in rapid succession. This dynamic shifting of the audience's perspective created an effect similar to that of fast cutting in film editing. Cats opened new regional, touring and international markets that the industry continues to capitalise on.
Cats began the progressive transformation of "Broadway" from a specific location into a delocalized "moment of reception" that can be experienced anywhere and everywhere, even while continuing to depend upon the stamp of approval that box-office success in an actual Broadway theater bestows.
In the s, the success of local productions of Cats in Tokyo,  Sydney,  Vienna, Hamburg,  and Toronto were turning points that established these cities and their respective countries as major commercial markets in the global theatrical circuit. InThe New York Times credited the regional and touring productions of Cats with "almost single-handedly reviv[ing] the sagging road business". Mackintosh's insistence that all touring productions of Cats replicate the Broadway production also resulted in the expansion and upgrading of regional theatre venues to accommodate the musical's demanding logistical requirements, as local theatre owners did not want to miss out on the opportunity to host the lucrative show.
Bythe song had been played over two million times on radio and television stations in the US. As ofthe song had been recorded around times by artists such as Barbra StreisandBarry ManilowJudy Collinsand Johnny Mathisin covers ranging from easy listening to techno. Cats was the ground-breaking show for all of us The success of it gave us all the freedom to go on and do other shows. With Catshe became a big celebrity in his own right. This made Lynne the first non-royal woman to have a West End theatre named after her.
Eliot Prize which has since become "the most coveted award in poetry". Stage parodies of the musical have also been mounted in the West End and Off-Broadway. Starring Gerard McCarthy as Dave and with choreography by Arlene Phillipsthe musical premiered at the Edinburgh Fringe Festival ;  it performed at various regional venues before making its West End debut at the Ambassadors Theatre in April Break the Musical!
Madame Tussauds New York features wax figures of several characters from the musical, including one of Grizabella that sings "Memory" through the use of projection mapping technology. The musical was chosen as one of fifteen "outstanding artifacts, events and activities" from the s to be commemorated with its own stamp design.
The stage production of Cats has undergone several revisions since its London opening. When the show transferred to Broadway, several cuts and rewrites were made with the intention of appealing more to an American audience. Lloyd Webber performed this song at the show's 6,th Broadway performance, when it broke the record to become the longest-running Broadway show. The "Growltiger's Last Stand" sequence has been changed multiple times over the course of the show's history.
For the original Broadway production, the Ballad was replaced with "In Una Tepida Notte", a parody of Italian opera with more slapstick humour. The original lyrics, taken directly from the Eliot poem it is based on, included the ethnic slur " Chinks " and this was later replaced with the word " Siamese ". In the original London production, Mungojerrie and Rumpleteazer were characters in their own right and sang their eponymous song themselves as a singsong-style duet. When the show transferred to Broadway, the song was instead sung in the third-person, with Mungojerrie and Rumpleteazer as puppets being magically controlled by Mr.
Their number was also rewritten to be faster and more upbeat, alternating between vaudeville -style verses and a "manic patter " section. Eventually, the Broadway version of the song was rewritten to allow Mungojerrie and Rumpleteazer to once again sing their own song as full characters. The London revival introduced several modernisations to the show. Rum Tum Tugger was reworked from a ladies-man rockstar to a breakdancing street cat.
His eponymous musical number was also turned into a rap. The Broadway revival featured new choreography by Andy Blankenbuehlerwho introduced more hip hop and cool jazz elements to the movements and dances. From Wikipedia, the free encyclopedia. Logo by Really Useful Group. In the original London and Broadway productions, she climbs up a stairway that emerges from the ceiling.
In the s and s scaled-down touring productions, she ascends via a flying saucer -like vessel. Mistoffelees" — Mr. Main article: Jellicle cats. Further information: Cats film and Cats film. Main article: List of awards and nominations for the musical Cats. Main article: Memory Cats song. The Hollywood Reporter. Archived from the original on 20 May Retrieved 12 April Archived from the original on 17 April Retrieved 17 April Chicago Tribune. The New York Times. Archived from the original on 15 May Retrieved 15 May Archived from the original on 27 March Retrieved 27 March The Daily Telegraph.
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