This transcript was automatically generated and might contain errors.

[0:15] Mike Abrams: Welcome to The Wrong Cat Died, the podcast breakdown of the Catastrophe. I'm your host, Mike Abrams, and today we have another amazing guest. Almost nightly, he takes hundreds of photos during the intermission all over Europe, and I had the privilege of actually taking one of those photos and experiencing his incredible Old Deuteronomy in Frankfurt. And I'm excited to have him here while this is all still fresh in his mind. So welcome the current International Tour Old Deuteronomy, Michael Robert-Lowe, and thank you for joining me.

[0:43] Michael Robert-Lowe: Oh, I'm glad to be here. Thank you for having me.

[0:46] Mike Abrams: It's great to record this because when I went, I got to talk to you before the show, and I got to experience the show, and I did make my push to have you choose someone different that day, and I was unsuccessful. So I'm going to now take the rest of this time to try to convince you to just pick Gus one night. But jokes aside, it was amazing to see your performance, and I have a lot of questions about your character, your experience in the show, but I always like to start with your cat's history. So before you did the... This is now your second year, I think, the second wave of this tour. But before that, what was your cat's experience?

[1:22] Michael Robert-Lowe: I was not one of those people who was obsessed with cats as a kid. I sort of came to it a little bit later. I wouldn't take it to see it as a kid. I didn't have the VHS everybody had, and so I saw it as a teenager, and I saw it on a UK tour, the one before the Palladium happened.

[1:52] Mike Abrams: Okay, before the West End revival.

[1:54] Michael Robert-Lowe: Exactly, exactly. So I think at that point, I had the tour for a couple of years, and so I was just the right age. I was just starting my own training, and I saw it at the Bristol Hippodrome, and I had a wonderful time. I mean, I knew it. I'd listened to the show. I was really familiar with it, but finally seeing it, everything clicked into place, and it made sense in a way that it didn't in the abstraction of just being familiar with it. And so then I saw it again at the London Palladium, and then I saw it again on the post-Palladium tour. And yeah, that's the most recent time it's been in the UK, so then I've been waiting to see it again. But before being able to see it again, I'm in it again. Well, not again, but I'm in it.

[2:56] Mike Abrams: Yeah. This was the hip-hop Tugger, right? The Palladium was that period of time?

[3:04] Michael Robert-Lowe: Exactly, yeah. So the first time I saw it, it was still the original Tugger.

[3:08] Mike Abrams: Okay.

[3:09] Michael Robert-Lowe: Yeah, seeing it at the Palladium was the rap Tugger, and it still was the rap Tugger, I think, just after the Palladium when I saw it.

[3:19] Mike Abrams: Yeah, I think it was the Palladium and then a little bit of the tour, and then they decided to immediately go back to original Tugger.

[3:27] Michael Robert-Lowe: Yeah, it was Broadway, I think. It was obviously because it went back to the original Tugger with Broadway. And I think after that, there was a sense of, let's go back to it.

[3:40] Mike Abrams: Yeah, it hasn't been hip-hop Tugger since, despite my push for bringing that back in some capacity. Okay, so when you saw it the first time, was this a show that you were like, I want to be in? Or was it more of just like this is a, you understood it a little bit more as a theatre person?

[3:58] Michael Robert-Lowe: No, it was definitely a show I wanted to be in. You know, it's obviously part of pop culture in the UK, but so are those original performers, many of whom, or some of whom, were already well-known pre-Cats. You know, the likes of Elaine Page, obviously, Brian Blessed, very well-known actor, Paul Nicholas, big stage and chart singer performer as well. And so I was already aware of the roles and what they entailed, and so it was definitely on my radar. I have to say, I don't think I was expecting to play Old Deuteronomy quite yet. It was one of those, I hope to play that when I am old myself. But obviously, there's a limit to how, you know, I'm trying to say this diplomatically. I think I was envisioning playing it when I was in my 80s, which obviously is completely a ridiculous expectation to do eight shows a week.

[5:02] Mike Abrams: Oh, totally. Yeah, it is a show that you can theoretically do throughout your career, which is what's kind of fun. But it's, yeah, I mean, it's got to be pretty interesting to be the powering kind of Old Deuteronomy and coming in mid, you know, from the audience, mid-show, every night, staying on stage in the middle during intermission. Like, it's definitely an experience, I'm sure.

[5:30] Michael Robert-Lowe: Yeah, it's a wonderful role. And the thing that I love about Cats is that we all start the show together. You know, everybody does the opening number. And so it's so important to begin as that tribe. And I think, you know, the fact that we're all singing and dancing and the Cats don't necessarily have their individual, they're not their individual characters at that point, if that makes sense. They are as one en masse. And it's such a wonderful way to start a show. You very rarely get the opportunity to do that in a musical.

[6:03] Mike Abrams: Yeah, and to have truly everybody because like, even baby Grizz is out there and you've got, you know, you've got the whole group together.

[6:12] Michael Robert-Lowe: Yeah, exactly. And in some productions, you know, I think when there are sort of varying degrees of how much, especially the three actors who play Grizabella and Asparagus and Old Deuteronomy, I think there are varying degrees of how involved they get in the opening number. But I think three of us, myself, Lucy May Barker and Nathan Taylor, all sort of agreed, we want to be as involved as we can and sort of do everything.

[6:45] Mike Abrams: Yeah, I love that. Because it is not across the board in every production of being even in the opening dance number, like a lot of Grizzabellas aren't. I think Old Deuteronomy is sometimes and usually not. So it just depends. And I know that the Gus, if they're also a Bustopher, and at least in the New York one, when I first saw they were Peter in the opening number. So like they had a whole separate character for this. But I want to ask you a couple of questions about your experience on tour before we get into my Old Deuteronomy questions, because I've not been to many besides the 2016 revival, where only a handful of people went on stage to take photos. Because of COVID, everything else I've seen, they've not done that until I saw you do it.

And I remember before the show, you said something really interesting to me that it didn't click at first, but you said, Oh, I'm just I can find I can say something to you in English, because I was in Germany. And I was like, Oh, that's great. And then as I'm sitting around the theater, everyone's talking in German. I'm not like I was just not used to that, because I'm so used to people asking questions about the show and me answering them and not being able to do that. But you're stopping in multiple countries. And I know you did the tour, the tour, and I think parts of China and everything else. How many languages are you ready to, like, greet people with on this tour?

[7:59] Michael Robert-Lowe: Well, I mean, this tour, the second I did this tour during the test me now I've been okay. But once we're getting into, you know, Greece, and Portugal, I'm gonna have to do my homework. Let's say that. Yeah. And it's interesting, because of course, originally, the whole thing of Old Deuteronomy being on stage in the interval, it was very much a chance for the humans to get up close and observe Old Deuteronomy. And, and I don't think I mean, obviously, there were there were no photos back in the 80s. There wasn't a camera phone back then. Yeah, there was no cameras. And I don't know if the signing of the program of the thing like the beginning, I know it became a thing of the new London. I'm not sure when that happened.

But of course, now, it's not reasonable to expect that of audience members, it's not reasonable to expect that they're going to come up on stage and just sort of observe and maybe at best get get an autograph. You know, everybody's been to Disney. Everybody is. Everybody expects an up close experience. Now, everybody wants the photo and the production accommodates that, you know, we have one of our brilliant stage managers to take the photo for you don't have to worry about, you know, getting the angle right. So, yeah, you know, I, obviously, Old Deuteronomy is not going to have a lengthy conversation with you. Because that is not necessarily the story we're telling. But also, we're not really in a world where he can be completely aloof.

[9:41] Mike Abrams: Yeah. But so are you agree? I mean, I know you've you spoke to people in German. So how many languages do you speak?

[9:45] Michael Robert-Lowe: I really I really only speak English. I can't claim to be able to hold long conversation in any other language. I was lucky. Well, I'm lucky that the first leg of the story is in predominantly German speaking countries, because I did study German a little bit when I was younger. And so okay, I do have some basics ready to go. And it's a language I love as well. So I'm very lucky that

[10:15] Mike Abrams: Okay, so you're just learning a few phrases and everything because otherwise, are you greeting people? I mean, I came up and you know, we had talked before and there was a huge line. So I was just trying to take the photo and let the rest of people go through. But are you like, are people trying to have full conversations or at least some conversations with you at that moment?

[10:28] Michael Robert-Lowe: Yeah, some people, there's a real mixture. Some people are kind of, I'll justify this word, but they're starstruck. And I don't mean the starstruck by Michael Robert. No, they're starstruck by Old Deuteronomy. Do you know what I mean? Yeah, being in this present. Some people are just obsessed with the costume and the wig. And they want to touch it. And of course, we have to be careful because our wardrobe and wig tubes very carefully prepare the costume and the wig. And so we have to be a bit careful there. Some people want to just have a general conversation. And yeah, some people, you also get some really interesting people who will say, I first saw the show in whatever year and I've seen it this many times and, and I love hearing that, you know, and especially in Germany, you know, there's, there's a long history of Cats in this country.

Cats was the musical that brought musical theatre to Germany. And generally people, if they're, you know, sort of 40 plus, will have seen that legendary production in Hamburg, and already have a connection with the show.

[11:43] Mike Abrams: Yeah. And then you get little kids as well, like the venue that you came to see as Frankfurt, there was some a wonderful, I think they were twins, actually twin boys. And one of them was sort of, sort of hyperactive, and was just bouncing along and ready to meet Old Deuteronomy. And one of them was very quiet. And he didn't really say anything the whole time. And as they got to leave, his mother said, he wants to ask you a question, but he doesn't know how to ask it in English. So I'll ask for him. He wants to know how long it took you all to rehearse the show. And I thought that was such a wonderful question for a little boy who was maybe seven or eight years old.

[12:26] Michael Robert-Lowe: So you really have the real spectrum of how people want to communicate.

[12:44] Mike Abrams: I love that the, this is the, the performer wanting to know, like, how did you all do the ball that they, you know, you just finished the ball basically before that, that moment. And so it's like, yeah, how did you all get to that point? Exactly. It's, it's such a fun and unique thing. And I think we obviously didn't go on the stage because I, as I, as I got to tour, the stairs were a little, were a little shaky. And so people weren't going on. But as you're going, are people, like, you're just in a new theater right now from when we're talking, are people going on stage in this, in this particular venue?

[12:59] Michael Robert-Lowe: Sadly, they're not. No. And it's generally a competition when we arrive at a venue between our stage management team and the venue's in-house technician, and also the fire marshals. Germany have very, very strict fire codes and health and safety codes. And so sadly in this venue, they decided that, you know, the venue team and fire marshals decided that it wouldn't meet their health and safety codes for audience members to come on stage. So, you know, there are very, very steep stairs going down in this venue. So I can see why they came to that decision.

[13:40] Mike Abrams: Yeah. Has it, is it better or easier if you're on stage sitting on the tire or is it easier? Like you were sitting on the stairs with, with me. And it was like, and those stairs were, I, I didn't want, like, I walked up and down them once. And, and even I was like, yeah, what's not, that's probably not a good idea to have, you know, 30 to 50 to 100 people walking up and down this quickly.

[14:03] Michael Robert-Lowe: Yeah. Well, and of course the, the, the stairs are the part of our set being that they are, they originate from the junk, you know, they're made of sort of boxes on their side, but they're not, they're not flat. Each one is.

[14:47] Michael Robert-Lowe: Which does, you know, obviously Old Deuteronomy remains like car, but Michael Robert-Lowe inside is thinking, oh God, what if they fall, you know?

[15:25] Yeah, yeah. You know, you've shared some kind of wholesome interactions and obviously a lot of like fun telling of the connection to the show. What's kind of some of the crazier things people have said to you?

[15:36] Well, when we were in China, you know, obviously the Chinese is a very complex language, regardless of, you know, the dialect. And so the best I could do was say, hello, nihao, xiexie, thank you. Just very basic things, you know. And there was one, I think we were in Zhuhai, and there was a young lad, again, probably about eight years old. And he came with his parents and sat down. And I said, nihao. And he looked up at me and said, I do speak English, you know.

[16:23] I've had somebody, or I've had people who have been very overcome with emotion, you know, a little bit teary. I've had somebody who wanted to sing Old Deuteronomy to me, which was really lovely, you know. It was sort of like they were pledging allegiance themselves to Old Deuteronomy, you know. But my favorites are always when people come in costume, you know. And Cats have some amazing fans. Of course, you know, you have people who have just, you know, put on some cat ears and some makeup, and they're having a great time. But the real hardcore fans who have had custom costumes made and have really studied the makeup, and it's amazing when they come up on stage. And some of them, I can't tell between our cast members and them, you know. And so they have to be my favorite when they come and meet me, and I get to see all the detail close up.

[17:22] Yeah. Have you had another Old Deuteronomy? Because I don't feel like I see that many Old Deuteronomies when I get cosplaying and like, or the, you know, getting into the costume. A lot come to BroadwayCon and events I've seen, and there are a couple who, like you said, their version is uncanny at how great it is. But it's usually like, Mistoffelees, Skimbleshanks, Jelly Lord, you know, like it's very rarely Old Deuteronomy. So have you had another Old Deuteronomy?

[17:51] No, never. And I think, you know, I understand that costume is very difficult to move around in. It's very heavy, and it's very hot. So I don't think I would want to sit and watch cast dress as Old Deuteronomy. But the others, when they just did the Lycra suits, you know, that's fine. That's very easy. We had a really terrific Rum Tum Tugger in Dusseldorf.

[18:16] Oh, nice.

[18:16] And he had the collar on, you know, and that's big enough. But I don't blame people for not wanting to cover Old Deuteronomy.

[18:25] Did he come up and say, hey, dad, and, you know, lean into it?

[18:30] He didn't, actually. I think, you know, sometimes people who come in costume are a little bit nervous. You know, he was just a little bit distant. And so I think he was just, I don't know whether he just wanted to, you know, approval to know that what he'd done was great, which it was. I loved it. And maybe they feel like they don't want to infringe too much on the time in Old Deuteronomy. And also, you know, I think we have to remember that people are fans on different levels. And a lot of people might meet on fan groups online. And this might be the first time that they've met in person. This might be the first time that they've come in cosplay to a show. And that's a big thing, because we have to remember that it's not just in the theatre.

You know, they've made the journey to the theatre in their costume and makeup. And it's a really brave thing to do for a lot of people, though I don't blame them if they're a little bit distant or aloof when they come up to meet Old Deuteronomy.

[19:37] Completely. Yeah, the first time I had some people dressed as cats at the Broadway con, I kept thinking, you know, I took the subway here. And, you know, the New York subway is the New York subway, and it's an experience. And a couple of them, yeah, they took it there. I've also found the people that are that level of fandom of the show are also extremely respectful of the show and very passionate about the show. So in a situation like that, where they're meeting you and there's a line of people, they're very much wanting everyone to get the experience to embrace the fandom that they have as well, which I've always found a really cool part of the super fans.

[20:15] Yeah, yeah, it's wonderful. And to know that those fans are all over the world, you know. There are people who are just as passionate about Cats in China as there are in America or Germany or wherever it might be. It's wonderful. We're going to take a quick break, and then we'll be back for more of The Wrong Cat Died.

[20:35] So I have to now ask you some theory questions, because Old Deuteronomy gets a lot of these questions that are unanswered. So I'm curious to hear your takes on a few of them. And I want to start, I don't want to get into the Heaviside Lair debate. I know, I think I know your vote anyways, because we talked a little bit about it, but that'll be at the end. But I want to actually start at the, a little bit more of like part of that, which is one of my kind of biggest questions for Old Deuteronomy is the criteria for the Heaviside Lair. And does it change every year? And how do you think about it this year? Because it is clear this redemption arc. So as someone who's doing this currently, you're in the middle of it. This is what you're thinking about every night, eight times a week or more in some cases. How do you think about that decision?

[21:21] And whether that's a continuous decision every year? Like what is that criteria for you?

[21:28] Yeah, I think it's, I think it is important to remember, as you say, that this is an annual thing, you know, that we, we're not just, we don't have to pat it upon this one-off event. And so I think for Old Deuteronomy, there is a sense of seeing the development and progression of the people, of the cats in his tribe. And I think that's the big part of his, that's a big factor in his decision-making. You know, how does their experience change? How do their personalities develop? How do they continue to relate to one another? You know, and let's not forget there are kittens there that Old Deuteronomy is meeting for the first time. And so he's relying on the more experienced members of the tribe to give him a sense of where they're at, of who the kittens are.

And, you know, he checks in with certain people when he first arrives, the first people to greet him are the kittens, you know, Bill Bailey, Victoria, and Hobuffety, and they're desperate to meet him. They just heard about him, you know. And then he checks in with specific people. He checks in, well, firstly, he sees Demeter there, but he's really looking for Jenny Anydot. And so he checks in, first of all, with Jenny Anydot, and then he's looking for Skimbleshank. Skimbleshank is there. And so he has these, I think, these sort of cornerstones of the tribe that he checks in with because he knows that year on year, they're the ones who have grown up through the tribe and whose experience has developed.

[23:10] And, you know, he's a leader who is all about long-term development. And he wants to see that, you know, he wants to see if you're just bringing the same thing to the party every year, you know, you've got to have more to offer the tribe.

[23:27] I like that you, working in the corporate world, it's like, you just gave me like an annual review here. That old dude around me is coming in to come in and say, okay, how have they progressed? So I love that you're talking about, you meet the kittens, you find the elders. When you walk into the show, as Old Deuteronomy, do you know already who you're picking? Like there's this sense that you're, since you know everything, you're this omnipresent type of character that you knew Grizzabella was coming back. But then I've heard other versions of Old Deuteronomy saying, I actually didn't know until the end of act one, when I see her sing Little Memory. And that's when it's like, I have the aha moment. So how do you play it? Do you play it as if you already know she's coming back? Or are you waiting, assuming you're picking through the first group until you see her?

[24:05] Exactly. I think that, yeah, definitely the second. He's not aware that she has already shown up. He's thinking about her. He's always thinking about her. Grizzabella is that pain in his heart that he carries around with him. It's one of the few elements of pain in his life or any sort of negative feelings.

[24:44] And so I think he is willing for her to be there on some level, but he doesn't necessarily know how that would work. He still is assessing the dynamic at the beginning of the ball. You know, and then she appears on the car boots. And there's that split second in the section that we call the pop-ups, you know, where we see everybody's coming after the white cat lift. And then we have the dum-dum-dum-dum-dum-dum. And the character Patent Townshend and all the twins are the first ones to sense Grizzabella's presence. And then Quackster is in the center, and he pops up. And then Old Deuteronomy spots or senses that Grizzabella is there, and she's observing on the car boot. And the first thing for him is, I want to bring her in.

But he knows he can't do that. So his leadership overrides that. And the thing that he needs to do is observe the behavior of the tribe. What are they going to do in this moment? And what happens is Quackster approaches her, scares her off. And the first part of that choreography is about the tribe being defensive, about chasing Grizzabella away. And he's dismayed to see that, that that is where the tribe is at. He's dismayed that the elders might be a part of that. He's dismayed that Monk of Shrap actively chases her away. He's not surprised by some of the others. He also knows that the kittens are impressionable and will follow what everybody else is doing. But yeah, for me, that's the moment. He's been hoping that Grizzabella will appear in some way. Then she does, but he knows that it's about the tribe's reaction and not his singular reaction.

[26:45] Yeah. Interesting. So you come in and wing it every year. You don't have a plan?

[26:52] Yeah. I think it's about being in the moment. And I think that's such a contemporary thing, isn't it? Living in the moment, being in the moment. But as we know from Old Deuteronomy's sermon at the top of Act Two, it's the moments of happiness. And I think he is very much about taking in each moment specifically. I don't think he's arrived with any plan. I think he's going to see what happens. And we see that unfold in the action.

[27:27] Each name into cash. This is where I think some people say, oh, it's just they all get up one by one and do their number to impress Old Deuteronomy. No, there's a greater plan here. The top of Act Two, when he's delivered his sermon in the moments of happiness, the next thing is that he chooses Gus to tell his story. Old Deuteronomy has decided that this is what we need right now. We need to learn from the oldest member of our tribe. And then after that, we've had the whole Gus story. And now it's time for some light entertainment. We need somebody who's going to lift our spirits. How about Skimbleshanks the railway cat? It's a response. Each moment informs what comes next. And so I think he, and throughout that, he's watching how everybody's reacting. We've had Gus the theatre cat. So how has that inspired the way the titans are thinking? What have they learned from hearing from this elder cat?

[28:34] Michael Robert-Lowe: You know, I think one of the most interesting things about Old Deuteronomy is that he has this incredible weight of responsibility. He’s not just a character; he’s the leader of the Jellicle cats, and he has to make this monumental decision every year. It’s a lot of pressure, and I think that’s something that I really try to embody in my performance.

[29:04] Michael Robert-Lowe: My journey with CATS has been quite the adventure. I started off as a swing, which means I covered multiple roles, and then I transitioned into the role of Old Deuteronomy. It’s been a fascinating process to dive deeper into this character and understand his motivations and relationships with the other cats.

[29:34] Michael Robert-Lowe: On the international tour, the experiences have been incredibly diverse. Each country brings its own flavor to the show, and it’s amazing to see how audiences react differently based on their cultural backgrounds. It really highlights the universal themes of the musical.

[30:04] Michael Robert-Lowe: Interacting with fans has been one of the most rewarding aspects of this journey. I love hearing their interpretations of the characters and the show. It’s fascinating to see how people connect with the story and the music in their own unique ways.

[30:34] Michael Robert-Lowe: Old Deuteronomy’s decision-making process is quite complex. He has to weigh the needs of the community against his own feelings and the relationships he has with the other cats. It’s a delicate balance, and I think that’s what makes him such a compelling character.

[31:04] Michael Robert-Lowe: The sacrificial gesture of Old Deuteronomy is something I find particularly poignant. He’s willing to put himself on the line for the greater good of the Jellicle cats, and that speaks to a deep sense of love and responsibility that he carries.

[31:14] Michael Robert-Lowe: When interpreting relationships and hierarchies within the Jellicle tribe, I think it’s important to consider how each character interacts with Old Deuteronomy. He’s a figure of authority, but he also has a nurturing side, which creates a dynamic that’s rich for exploration.

[31:24] Michael Robert-Lowe: Character evolution is something that happens naturally as the cast changes. Each performer brings their own interpretation to the role, and that can shift the dynamics within the show. It’s exciting to see how Old Deuteronomy can adapt and grow with each new cast member.

[31:34] Michael Robert-Lowe: Audience interaction and immersion are key elements of the CATS experience. I love when the audience feels like they’re part of the story. It creates a magical atmosphere that enhances the performance for everyone involved.

[31:44] Michael Robert-Lowe: I think the beauty of CATS lies in its ability to resonate with people from all walks of life. The themes of love, loss, and redemption are universal, and that’s what keeps audiences coming back year after year.

[31:54] Michael Robert-Lowe: As I continue to portray Old Deuteronomy, I’m constantly learning and discovering new layers to the character. It’s a journey that never really ends, and I’m grateful for the opportunity to share it with audiences around the world.

[32:04] Michael Robert-Lowe: The role of Old Deuteronomy is not just about being a leader; it’s about being a mentor and a guide for the younger cats. I try to embody that wisdom and warmth in my performance, making sure that the audience can feel that connection.

[32:14] Michael Robert-Lowe: Each performance is a chance to explore different facets of Old Deuteronomy’s personality. Some nights, I might focus more on his playful side, while other nights, I might delve into his more serious, contemplative nature.

[32:24] Michael Robert-Lowe: I think it’s important for audiences to see that Old Deuteronomy is not infallible. He has doubts and fears, just like everyone else. That vulnerability makes him relatable and adds depth to the character.

[32:34] Michael Robert-Lowe: The cultural impact of CATS is something that I find fascinating. It’s incredible to think about how this musical has transcended borders and languages, touching the hearts of people all over the world.

[32:44] Michael Robert-Lowe: I believe that every performance is a unique experience, and that’s what keeps it fresh for me. The energy of the audience can change the entire atmosphere of the show, and I love being a part of that.

[32:54] Michael Robert-Lowe: As we continue on this international tour, I’m excited to see how different audiences respond to our interpretation of CATS. It’s a testament to the timelessness of the story and the music.

[33:04] Michael Robert-Lowe: Ultimately, my goal as Old Deuteronomy is to create a sense of connection and community among the audience and the cast. I want everyone to feel like they’re part of something special when they come to see the show.

[33:14] Michael Robert-Lowe: I think that’s what makes CATS such a beloved musical. It’s not just about the spectacle; it’s about the heart and soul of the characters and the stories they tell.

[33:24] Michael Robert-Lowe: I’m looking forward to continuing this journey and sharing the magic of CATS with audiences everywhere. It’s a privilege to be a part of this incredible legacy.

[33:34] Michael Robert-Lowe: Thank you for having me on the podcast. It’s been a pleasure to share my thoughts and experiences with you.

[33:44] Michael Robert-Lowe: I hope to see everyone at the show soon!

[42:51] Michael Robert-Lowe: Old Deuteronomy is a character that has so much depth and complexity. He’s not just a leader; he’s a father figure, a mentor, and a friend to the Jellicle Cats. My journey with CATS has been transformative, and playing Old Deuteronomy allows me to explore themes of wisdom, compassion, and sacrifice.

[43:51] Michael Robert-Lowe: On the International Tour, we get to experience different cultures and audiences, which adds a unique layer to the performance. Each city brings its own energy, and it’s fascinating to see how people from various backgrounds connect with the story and characters.

[44:21] Michael Robert-Lowe: Interacting with fans has been one of the highlights of this tour. The enthusiasm and passion they bring to the show are infectious. It’s rewarding to see how much the musical means to them, and I love hearing their interpretations and stories about how CATS has impacted their lives.

[44:51] Michael Robert-Lowe: Old Deuteronomy’s decision-making process is intriguing. He has to weigh the needs of the Jellicle Cats against the greater good. It’s a delicate balance, and I try to portray that internal struggle in my performance. He’s not just making choices; he’s considering the implications of those choices on everyone around him.

[44:53] Michael Robert-Lowe: The sacrificial gesture of Old Deuteronomy is a powerful moment in the show. It speaks to the themes of love and selflessness. He embodies the idea that sometimes, you have to put others before yourself, and that’s a message that resonates deeply with audiences.

[44:54] Michael Robert-Lowe: Interpreting relationships and hierarchies within the Jellicle Cats is essential to understanding the dynamics of the group. Each character has their own story and motivations, and Old Deuteronomy serves as a unifying force, guiding them through their challenges.

[44:56] Michael Robert-Lowe: Character evolution is fascinating, especially with cast changes. Each actor brings their own interpretation to the role, which can shift the dynamics on stage. It keeps the performance fresh and allows for new discoveries in the character’s journey.

[44:58] Michael Robert-Lowe: Audience interaction and immersion are key elements of the experience. When the audience feels engaged, it elevates the performance. I love when they respond to the characters, whether it’s laughter, applause, or even silence during poignant moments.

[45:00] Michael Robert-Lowe: The rapid-fire nature of the show keeps everyone on their toes. It’s a whirlwind of emotions, and as Old Deuteronomy, I have to maintain a sense of calm amidst the chaos. That contrast is what makes the character so compelling.

[45:02] Michael Robert-Lowe: I think the cultural impact of CATS is profound. It transcends borders and languages, connecting people through its music and storytelling. Each performance is a celebration of that shared experience, and it’s a privilege to be a part of it.

[45:04] Michael Robert-Lowe: The role of Old Deuteronomy has taught me a lot about leadership and empathy. It’s about understanding the needs of others and being a source of strength for them. I strive to embody those qualities every time I step on stage.

[45:06] Michael Robert-Lowe: As I continue my journey with CATS, I’m excited to see how my interpretation of Old Deuteronomy evolves. Each performance is an opportunity to delve deeper into the character and discover new layers that resonate with both me and the audience.

[45:08] Michael Robert-Lowe: Ultimately, CATS is about community and connection. It’s a reminder that we’re all part of something bigger, and that message is what I hope to convey through my portrayal of Old Deuteronomy.

[45:10] Michael Robert-Lowe: Thank you for having me on the show. It’s been a pleasure to share my experiences and insights about this incredible musical and the character I hold dear.