This transcript was automatically generated and might contain errors.

[0:16] Mike Abrams: Welcome to The Wrong Cat Died, the podcast breakdown of the cat sassophy. I'm your host, Mike Abrams, and today we have another amazing guest. He's been in a wide array of CATS productions, including credits in the 2019 movie and as Macavity in a very unique production. But most recently, he was a swing on the international tour. So welcome, Aaron Jenkins, and thank you for joining me.

[0:34] Aaron Jenkins: Hello, thank you for having me.

[0:36] Mike Abrams: I liked, before we started, you called this the cat trick. As a hockey player, I'm a fan of that.

[0:41] Aaron Jenkins: I always say that because I don't think there are probably many people in the world, if anyone else, that can say that. So I wear that badge of honor.

[0:51] Mike Abrams: I'm excited because I've talked to a few of your castmates from the tour, from the international tour. I've talked to a few people from the movie here and there, from the 2019 movie. I'm fascinated by everything I've read about this, was it Kilworth House Theatre production? We're going to get into all of them, but before we do, we got to start always with your CATS introduction. When was the first time you saw it? What was your history with CATS before 2019?

[1:20] Aaron Jenkins: Like everyone, the VHS. I remember my nan, when she was alive, I used to sit on her lap in front of the TV and she had the Andrew Lloyd Webber, Joseph, Cats, and might have been Jesus Christ Superstar. But I just always loved CATS, was fascinated by it, long before I even got into dancing or anything, because I didn't start dancing until I was about 13, probably. And then once I got into dancing, I just remember it like came flooding back from all those years ago when I'd sat on my nan's lap and watched it and I've just always been obsessed and always, always wanted to be in it.

[2:00] Mike Abrams: Amazing.

[2:01] Aaron Jenkins: Yeah.

[2:02] Mike Abrams: Okay. So a long time.

[2:04] Aaron Jenkins: So you're the, you watched as a kid, you were that, you grew up with that VHS.

[2:09] Aaron Jenkins: Yeah, yeah.

[2:11] Mike Abrams: Did you get the call for the movie first? Like that's the first, the first one you get?

[2:16] Aaron Jenkins: So I, I then when I was at, yeah, while I was training professionally in my first year, I went to see, there was the UK tour happening. So I went with my friend from Swindon, we went to not far in Oxford to see the show and I loved it. And then in my second year, maybe it was on the London Palladium, and I went again. I think we actually went, I think I actually went with a group of friends as a birthday trip, like, everyone else wanted to go clubbing, I wanted to go and watch CATS at the London Palladium. And loved it again. And then I'd auditioned a couple of times, like in my early years out of college, but kind of had never worked out. And then yeah, the CATS movie came about. It was so crazy.

I'd finished another job, I'd been working in Germany. I'd been back maybe two weeks, and my agent phoned and said, are you free tomorrow, you have an audition. And they're going to pick you up from this, this venue, drove us there, this was on the Thursday. So they did a big, big audition, cut us down right down to like 10 people by the end. And then on the Friday, I remember I'm sat eating my cornflakes, and my agent phones and they said, you got the job, you start on Monday.

[3:34] Aaron Jenkins: Wow.

[3:35] Mike Abrams: Yeah. And I vividly remember, because it had been a dream forever, sat with my bowl of cornflakes on the sofa crying. So yeah, it was pretty crazy. And then started on the Monday and worked on it for six months. Yeah.

[3:55] Mike Abrams: Okay, so this is at this point, because you're credited as the CATS Chorus, which is, I believe, you're dancing and singing kind of in the background of all the different productions, but not named, right?

[4:06] Aaron Jenkins: Yeah, it was actually, it was an interesting process. They had started production with Wayne McGregor as the choreographer. But he left for whatever reason, I'm not actually sure. And then they brought Andy Blankenbuehler on. And so when he joined, he basically said fine, but I want to audition some of my own dancers, because he hadn't cast anyone in it up to that point. Up to that point, there was like, it was such an array of people. It was b-boys, people from the Royal Ballet, capoeira artists, like, all these amazing skills, but not necessarily what you'd think of as CATS. Whereas Andy Blankenbuehler is like musical theatre jazz to his core. So I think he was like, I can do my best for these people, but I need some of my own dancers.

So yeah, then we joined. And actually, I was quite lucky, because I was one of the few cast by Andy. They kind of did it on a number by number basis, kind of chose who they were going to use for the upcoming numbers. And I managed, I ended up getting used to so much of it, because I was one of the people he cast. So yeah, it was really cool. But it was hard work.

[5:24] Mike Abrams: Yeah. So tell me what the experience is like for the movie, because when you do a production, you obviously go through the lore and the Felinity School and all the stuff that goes into what you did on the international tour to prep for that.

[5:38] Aaron Jenkins: Yeah.

[5:39] Mike Abrams: What goes into the movie version of this, where it is such a different production style, and you're getting cut into different scenes? How much of that did you go into? I'm assuming there's no cast. You didn't sit down with Taylor Swift and Idris Elba and talked about the story, I doubt. So what was that like?

[5:57] Aaron Jenkins: No, I mean, you say that, but there were moments we would do what we'd call cat school. Wonderful lady called Sarah, who is kind of very similar to when you joined the show, actually, how Chrissy does. She was employed to basically study CATS, how they move, and get us moving like that. So we did a lot of cat school. And sometimes those people would be in there, like, Jason Derulo would just be crawling around in the corner. It was truly bizarre. But as far as story goes, yeah, you're right. We never really spoke about the through line of the musical. It was just on the day, the choreography, you'd been set, and they would shape the story, I guess, through editing and however that goes.

[6:48] Mike Abrams: What's some of the crazy memories you have from doing that? Like, just from being in that whole experience?

[7:19] Aaron Jenkins: So they broke over and asked for lunch, asked us to stay. We were dancing in the background. But while they were setting up cameras and stuff, I was just chatting to him. And he is such a lovely man. He was so fascinating. And it was just before he was about to do one of his one man tours. And he was like, Oh, do you mind if I do some of my material on you? And I was like, Oh, my God, of course. And my friends, Morgan, who played Robert Deezer in the movie, I went to college with her. And I know she loved him. So I was like, leave me. Skip lunch and come right now. Literally. So like, just moments like that, where I'm like, I just sat for an hour or two and just chatted to Ian McKellen. I remember on we filmed on Valentine's Day, maybe, and we must have been doing Tugger or something that Jason Derulo was in.

And on the lunch break, he'd hired this like pancake waffle van for the break to lift everyone's spirits or whatever. And I've got videos of because I like my food. When they said break, I was the first in line to the pancake van. And for the behind the scenes and stuff, they filmed Jason making pancakes. So he made me a waffle. Jason Derulo made me a nice waffle on Valentine's Day, like, wow, just really surreal moments. When I would like to check myself and I sat literally at the feet of Jennifer Hudson while she sang "Memory" over and over and over again. And it was just, it was like, I remember once after we did a take Tom Hooper was like, guys, I'm gonna need you to stop crying on the floor because I can't use footage because we're all sat like, like sobbing because it was just it was so crazy. Yeah.

[9:04] Mike Abrams: That's incredible. Yeah, incredible. I do want to hear a little bit about the after, though, because, you know, obviously, this movie had an interesting release. And there was some stuff with, you know, the timing and the hands and some of the editing. And but what was it like for you? I mean, obviously, it's an incredible opportunity, incredible moment in your career. Yeah. And then you're bringing your family and friends, I'm sure, to see this. But what was that part like of that process?

[9:32] Aaron Jenkins: It was, it was so weird, because before we'd finished filming, maybe in the last couple of weeks, they put together like a mock trailer. And we all went into the little cinema at the Warner Brothers studios and sat and watched it. And it was like the cinematography and the talent that was in that movie. It was so fantastic. And we were still in our unitards and had dots on our faces in this trailer. But it was so good. And like, because none of it looks like it's green screen, they've all these amazing sets that have been built that we were on like curbs that were up high that we had to jump onto and this long, long road in one of the sets on that I remember being off to L stage. It was just so it looked amazing on the screen.

And we were like, wow, this could be fantastic. And then I mean, this is not to say it didn't have its issues along those six months, I, it was hard. And there were obviously like creative headbutting going on. I, I think I was one of the more positive people. I was just so happy to be there. And I made some amazing friends. But right up to the end, like, people were leaving and saying, I'm sure Andy had to go back to New York and they still hadn't filmed. So we were like still filming on the day we had our wrap party with the cockroaches in one of the numbers. And then that was in March. And I think the idea that it was then going to come out in December was a bit like, oh, that's, that seems a bit quick.

And then I randomly did a promo thing. I assisted Ellen Kane, who was Andy's associate on the movie. I assisted her to do this YouTube thing with some influencers. And because I did that, I got to see a version of the movie of how it was at that time. It was maybe a month before it was released. And so that was when I first saw it. We'd seen trailer by then, and it was really exciting. And I sat down, I remember sitting in that little cinema screen and thinking, oh, okay. And then I was like, well, maybe it's not finished. And then I was like, we've only got a month until it releases, though. So it was, it was, it was interesting. But I mean, I was still excited that I was in this CATS movie.

And I think some of it, like some of the stuff that was filmed really early, like Mungo and Rump and Gus, I think because they had the time because they'd already started doing the CGI and stuff while we were still filming. Some of the close ups of like when Ian McKellen is singing Gus is incredible. Like the way you can see his fur move in the breeze and stuff. It is unreal. And that's the bits that I was like, oh, this is going to be really special. It's when you see the opening, which actually was the last group ensemble number we filmed, which is how the movie starts, unfortunately, when it looks like people are floating in midair and people's hands and feet are too long for it. That's those are the bits that you go.

I think had they released it maybe the following December, I think it could have been quite good. But my opinion is if it wasn't going to be the best movie musical ever made, it might as well be what people say, quote unquote, is the worst.

[13:01] Mike Abrams: It's fun to look at it in hindsight, too. And I'm sure from your experience doing it, like you said, you had this amazing time filming it and being part of it. My biggest gripe, I actually think the movie, I'm not as critical as most people in the movie. I think that some of the stuff is comical. I think there were some decisions that make it kind of interesting, like using Victoria as a through line to understand the story when it's a difficult. Not everyone's like me who's watched and recorded 200 plus episodes of talking to people doing it. You need some of that. So I wasn't that upset about that stuff. What bothered me actually most is where when I was prepping for this and I started to try to watch, I'm trying to find you the way it's edited and cut. It does not do any of the dancers justice.

[13:50] Aaron Jenkins: I think that's part of where, to me, some of the strength was. There's such talent. There's incredible choreography. It's a dance-heavy musical. And the way that it was jumping around so much, I kind of got lost at moments where I'm like, I wanted to see what they were doing, but then all of a sudden they went from the bottom left of my screen to the top right of my screen to not on my screen to back on the screen. And I'm like, I think if someone just zoomed out and filmed some of that movie without all the movement, I think it'd be really pretty good.

[14:21] Yeah, we did. Some of the choreography we were doing was crazy. I mean, like, Robbie Fairchild and all of his amazing ballet skills that he brought to it. And yeah, in the ball, we were doing these crazy, crazy choreography. And then when we watched it, we were like, and shooting a movie is crazy as well. The hard thing is, we usually start shooting around 8 AM. And sometimes at quarter to 10, they'll be like, right, we're setting up a new shot. And you never know which shot is going to get used. Like you can never go, I'm going to take it easy on this one, because that will be sod's law, that'll be the one that makes it into the final edit. So it was like full out days sometimes. And then when it got to seeing the movie, and you go, oh, it didn't even make. Yeah, it didn't even cut in.

[15:13] Especially in Cats, people are going to see, a lot of people are going to see the dancing, people know it for that. Yeah. I still, honestly, I love talking about it in a sense of like, I love the lore, it kind of added, I think it added to the story. It kind of made it, you know, whether you loved it or hated it, Cats was already polarizing. So the movie didn't really change that for most people. And it's where I think some of this stuff, it's like, it probably added to it. And now you look at the talent that's in the movie. I mean, all of the dancers, the twins are in there, you know, and then you put in all the movie stars that are in there. It is, I think it's like one of those things that will probably live on so long because of maybe some of it, maybe some of its timing too, like it was right before COVID and it was a Christmas movie coming out against, I think it came out against a big either Marvel movie or against something else, like the same way it was day.

[16:06] And so I don't know, I really enjoy hearing people's experience with it because everyone who's done it, who was in it, had this like magical time doing it. And then people who saw it, like there's some people that saw it, it's like, ooh, it was, you know, they had their opinions either way, but it's kind of a fun, again, lore of the movie. Yeah. I'd see loads of comments online as well, like, cause I find it hilarious. I could not care less what people think of the movie. I had a great time doing it. It was a really big achievement for me. And when people say, God, I feel sorry for these people that are in it. They absolutely shouldn't because it's bought me a house. It's the most money I've ever made in my 10 year career. And it's bought me some of my best friends now. Cause it was such a, like a bonding experience. It was hard. It's like six days a week. You've been picked up five, 6 AM, you get home at like half 11 at night. They really buy your life from you.

[17:05] Yeah. Yeah. That paycheck cashes, whether the movie makes money or not for you.

[17:10] Exactly. Exactly.

[17:12] We're going to take a quick break and then we'll be back for more of The Wrong Cat Died.

[17:16] Okay. I want to talk about Kilworth House though, because this is the first time I've like really heard much about this particular production. So what I'm reading is that it was a bombed out World War II train station.

[17:30] Yeah.

[17:30] The set.

[17:31] Yes.

[17:31] And you all were not in full cats costumes.

[17:34] No, we were like a hybrid between these kind of characters that would have been around back then and cat.

[17:42] And this was also 2019.

[17:47] Yes. So I had the offer to do, I was still filming cats while I had the offer to do cats. And I was like, well, can't get enough of cats. You wait all this time for a bus to turn up. They all turn up at once.

[18:00] Yes.

[18:02] So, yeah, it was kind of, and it was an outdoor product. Kilworth House Theatre is an outdoor theatre, open air, which is kind of cool, kind of also has its problems in the summer, in good.

[18:15] Yeah.

[18:18] Yeah. But yeah, the set, the set was really cool. Yeah. It looks like kind of a, one of our tube trains had kind of crashed and come off the rails in the back corner. And there was like things you could climb on and in and out of. It was really cool. And the costume, the costume designs were so fantastic. I think it was because it was a new production and Kilworth House is like, they do two musicals every summer season. They're kind of quick, not massive budget productions. It's not things that like are being bespoke made and things like that. So actually we ended up in these kind of like skins that had kind of like if the original cats unitards. So you kind of had fur arms and then you'd have kind of like, I remember my costume was so thick.

I had layers because as Admetus, I was like a Boy Scout. So I had one of those like canvas t-shirt things on with a necktie, but it was like a proper actual, something that had just been bought off the internet canvas thing. And it was so hot on top of these skins. And I just remember it being so heavy and because that was the first time I'd done cats on stage. I was like, I thought I would feel more free doing cats, but actually this is so heavy. We had these really big bushy tails, which was really cool. But yeah, it was, they were really cool designs.

[19:45] And did you all just the story? Like I read a little bit about how Skimbleshanks is probably a little bit more prevalent with that being his railway car versus like the powered bicycle stuff. But otherwise, like how did you all adjust cats in a way to fit that?

[20:02] Or was it the same thing and just not a junkyard?

[20:05] Yeah, it was pretty much the same thing. I think that we had more time because Nick Winston, who directed and choreographed it, has been in cats himself years ago. So it was definitely like, I would say, a very respectful production, like in honour of what has been cats before him. But also at Kilworth, if I remember rightly, you only get three weeks rehearsals, and then you tech for a week and open. So I think it wasn't like we had, because there's so much material as well. Every song is danced through. There are no numbers apart from memory where someone just stands and sings. So there's so much material to cover that I don't think there was really enough time to like recreate or go into the depth that he would have loved to, I'm sure. So it was, yeah, I guess visually more different and the choreography was different, but the story was very, very much similar.

[21:01] Similar. Okay. Do you remember what you were told about your character backstories for Edmetus and Macavity?

[21:08] Very similar. Like the characters weren't that different, I would say, even though they looked different. Like Edmetus was still kind of this young, kind of teen-aged cat, quite a positive attitude. Macavity was obviously horrendous. Macavity, yeah, the actual idea of the character was very, very similar.

[21:34] Okay. I guess I'm curious of how much do they tell you in three weeks? Like, do you go into depth of that? Or was it very much a, be sure you're here, sweating at this point outside?

[21:41] Yeah. I'm actually now, now I can think of it. I also, I missed the first week of rehearsal. I can't remember why.

[21:53] Probably for the movie.

[21:55] Yes, essentially. So I actually kind of jumped onto a moving train. They were really getting going. But from what I gather from when I arrived, it was a very similar process to how doing the original production of Cat starts. Cat movement, backstory of your characters. And also there was so much creative freedom with Nick, which I loved to kind of figure some stuff out on your own. Like even choreography wise, when we did the Macavity fight, I remember, like it's such a fun process with him. He'll suggest something and say, how does that feel? Or like, how do you feel it could do work on your body? And then you can suggest something. He's like, yeah, I love that. It's kind of a very collaborative.

[22:40] That's awesome. That's really cool.

[22:42] Which I love. I love working for Nick.

[22:45] Yeah.

[22:45] Okay. So at this point, there was no, it was not Street Tugger, was it? That was what you saw during your birthday trips and stuff. But this was, was this back to regular old Rockstar Tugger?

[22:58] Yeah. Rockstar Tugger.

[23:00] Okay.

[23:01] We had a guy who, Onnie Ormson, who played our Tugger. And it was kind of, I guess more because Chrissy talks about as well, about Tugger being kind of inspired by Elvis. Almost, it kind of works for like, a more period piece, because that was like the Rockstar of his time, I guess. Yeah. So yeah, it was just kind of very similar to that.

[23:25] What were the, even similar to the movie, what were the memories of like, what's the thing you're never going to forget from doing that production?

[23:30] I, so obviously, the English weather is crazy. We would go from like, some days we'd be on stage, it could be honestly like high, high 20s degrees, which is hot here. And you're outdoor in the open air. And you could be, I remember we finished the ball on a really, really hot day once. And because it's open air, there's no sound. So we all then go off stage. And we're like, basically behind the set on the grass. And Emma Hutton, who was our Grizabella, was on stage singing Mini Memory. And you can hear people behind the set retching, because they feel like they're going to throw up. Because doing the Jellicle Ball outdoors in the 30 degree heat is just crazy. So like, I'll vividly remember that.

And then to the other extreme where we'd have rain, and there is like a cover over it, but you're still outdoors. And some days with the wind, the rain would be coming in sideways. So we'd be like, on stage, Sam would be singing Old Deuteronomy. And the poor front of house staff are on stage mopping. We just have to act like they're not there. And it wasn't even like it was just at the edges of the stage. They'd be centre stage mopping the stage. And it doesn't take a lot to make me laugh on stage. I'm catching people's eyes. My shoulders are shaking like crazy. So we also had one hot day. I remember we're all facing up save watching Sam sing. And all of a sudden, there's this commotion in the audience.

And one by one, people start to like, notice what's going on. And we just kind of crawl off. Someone had drunk too much red wine in their picnic at Kilworth House, because people come and they lay out their picnics, they have their picnics, then they watch the show. Too much red wine, and she's gotten hot, heatstroke, she's projectile vomited in the audience, across like two rows. Someone screams and grabs her baby out of the firing line, like it was so stupid. So we all just like crawl off while there's a medical emergency. And then, yeah, so mostly weather related issues come to mind.

[25:45] Your cat's fur was not ready for the heat and the rain and everything that you're gonna deal with.

[25:49] Yeah, no, absolutely not.

[25:51] Okay, let's talk. So now it's five years later, and you cast for the International Tours of Swing.

[25:58] Yes.

[25:58] And you are going to, you go to basically do it all in China, right? It was mostly all in China?

[26:04] Yeah, all China.

[26:05] Yeah, okay. Okay, so talk me through the swing process of that, because you, I mean, it seems like you covered everybody, and I saw an unofficially covered Tantamount Cassandra. I don't know what that means.

[26:16] I went off for both of those. There were just days where we were really down, didn't have enough bodies, and Carrie, the lovely dance captain, comes up to me in breakfast. The funny thing about touring internationally is because you all live in a hotel, you go down to breakfast, and your colleagues are all there.

[26:34] Yeah.

[26:34] You've just rolled out of bed. Morning, morning. And yeah, Carrie comes up to me, and she's like, how would you feel like being Cassandra today? And at that point, it was quite early on, because our schedule wasn't too crazy, actually. We'd do like, we'd move to a city, we'd do three shows, then we'd do five shows, move on, three shows, five shows. We very rarely did eight show weeks. So people were really solid. The cast was solid. Not many people were going off. So I'd barely been on. I'd gone all the way to China, and I'm just twiddling my thumbs like, can I be in Cats now? So Carrie had said, would you mind, like, do you think? She was like, you can say no, like, that's not your job. Obviously, you don't cover the female tracks, but I was like, yeah, I'll do it, I'll do it. I find a video, I look Cassandra, and on I go.

[27:23] So your first time on was for Cass?

[27:25] No, no, I'd done a couple of shows, but I was just desperate to get on. So I was like, I'll do anything, I'll do anything.

[27:35] How did you prepare for that? I mean, you obviously rehearsed for covering all the other

[27:40] Aaron Jenkins: I think the first time I saw CATS was on VHS, and I was just mesmerized by it. I remember being a kid and watching it over and over again, just completely captivated by the music and the choreography. It was something that really stuck with me throughout my life.

[28:10] Aaron Jenkins: Fast forward to when I got the opportunity to be in the 2019 movie. It was surreal. I remember getting the call and just being in disbelief. I had watched this show as a child, and now I was going to be part of it. It was a dream come true.

[28:34] Aaron Jenkins: The experience of filming was intense. We had long days, and the makeup process was intricate. I had to get used to being in character for extended periods, which was both challenging and rewarding. The camaraderie among the cast was incredible, and we all supported each other through the process.

[29:00] Aaron Jenkins: I think one of the most memorable moments was when we were filming the outdoor production at Kilworth House Theatre. Performing Macavity in that setting was magical. The atmosphere was electric, and the audience was so engaged. It really brought the character to life in a way I hadn’t experienced before.

[29:28] Aaron Jenkins: Outdoor performances come with their own set of challenges. Weather can be unpredictable, and you have to adapt quickly. But there’s something special about performing under the open sky, connecting with the audience in a different way. It adds an element of excitement to the performance.

[29:56] Aaron Jenkins: Joining the international tour as a swing was another incredible experience. I had to cover multiple roles, which kept me on my toes. It was a lot of work, but I loved the challenge. Each character brought something unique to the table, and I enjoyed exploring those nuances.

[30:24] Aaron Jenkins: The rehearsals were intense, but they were also a lot of fun. We had to learn quickly and be ready to step into different roles at a moment's notice. It was a great way to bond with the cast, and we all became like a family on the road.

[30:52] Aaron Jenkins: I think the most challenging part of being a swing is the mental aspect. You have to stay sharp and be prepared for anything. It can be stressful, but it also keeps you engaged and excited about the performance.

[31:20] Aaron Jenkins: When the 2019 movie was released, I was anxious to see how it would be received. There was a lot of buzz around it, and I was curious about the audience's reactions. I think it sparked a lot of discussions about the show and its legacy.

[31:48] Aaron Jenkins: I remember watching the reactions online, and it was a mixed bag. Some people loved it, while others were critical. But I think that’s part of the beauty of CATS; it evokes strong emotions, and everyone has their own interpretation of it.

[32:16] Aaron Jenkins: As for who should be the Jellicle choice, I think it’s a tough call. Each character has their own story and struggles, and they all bring something valuable to the table. It really depends on what resonates with you personally.

[32:46] Aaron Jenkins: I’ve always had a soft spot for Rum Tum Tugger. He’s such a fun character, and I love the energy he brings to the show. But I also think Grizabella’s story is incredibly poignant. It’s a tough decision, and I can see why it sparks so much debate among fans.

[33:12] Aaron Jenkins: Ultimately, I think the Jellicle choice should reflect the journey of the characters and the themes of redemption and acceptance. It’s a complex decision that can lead to some really interesting conversations.

[33:42] Aaron Jenkins: I’ve enjoyed every role I’ve played in CATS, and each experience has taught me something new. The show has such a rich history, and being part of it has been a privilege. I’m grateful for the opportunities I’ve had to explore these characters.

[34:12] Aaron Jenkins: I think the magic of CATS lies in its ability to connect with people on different levels. Whether you’re a lifelong fan or new to the show, there’s something in it for everyone. It’s a celebration of life, love, and the stories we all carry with us.

[34:42] Aaron Jenkins: I hope to continue sharing my journey with CATS and inspiring others to find their own connection to the show. It’s a beautiful world, and I’m excited to see where it takes me next.

[35:12] Aaron Jenkins: Thank you for having me on the podcast. It’s been a pleasure to share my experiences and thoughts about CATS. I look forward to continuing the conversation and hearing from fellow fans.

[35:42] Aaron Jenkins: If anyone wants to connect with me, you can find me on social media @aarondavidjenkins. I love hearing from fellow CATS enthusiasts and sharing our love for this incredible show.

[36:12] Aaron Jenkins: Let’s keep the conversation going and celebrate the magic of CATS together. There’s so much to discuss, and I’m excited to hear everyone’s thoughts.

[36:42] Aaron Jenkins: Thanks again for having me, and I can’t wait to see what the future holds for all of us in the CATS community.

[37:12] Aaron Jenkins: Remember, whether you’re a fan of Grizabella or another character, we all have our own stories to tell. Let’s embrace the diversity of our experiences and keep the spirit of CATS alive.

[37:42] Aaron Jenkins: Until next time, keep celebrating the magic of theatre and the stories that connect us all.

[38:07] Aaron Jenkins: Take care, everyone!

[38:35] Aaron Jenkins: And remember, the Jellicle choice is always up for debate, so let’s keep the discussions going!

[39:05] Aaron Jenkins: I’m looking forward to hearing your thoughts and opinions on who you think should be the Jellicle choice.

[39:35] Aaron Jenkins: It’s such a fascinating topic, and I love hearing different perspectives.

[40:05] Aaron Jenkins: Thanks for tuning in, and I hope you enjoyed our conversation today.

[40:35] Aaron Jenkins: Let’s keep the love for CATS alive and continue to share our passion for this incredible show.

[41:05] Aaron Jenkins: Until next time, take care and keep celebrating the magic of theatre!

[41:31] Aaron Jenkins: I think the biggest challenge for me was just the sheer volume of material that we had to learn. You know, as a swing, you're covering multiple roles, and each role has its own choreography, its own vocal parts, and its own character nuances. So, I had to be really diligent about my notes and my practice time.

[42:01] Aaron Jenkins: I remember the first time I had to go on for a character that I hadn't performed yet. It was a bit nerve-wracking, but the adrenaline kicked in, and I just went for it. The support from the cast was incredible, and it really helped me settle into the role.

[42:29] Aaron Jenkins: The makeup process is also quite intricate. Each character has a unique look, and it can take a while to get into costume and makeup. I love the transformation, though; it really helps you get into character.

[42:57] Aaron Jenkins: Performing in the outdoor production at Kilworth House Theatre was a unique experience. The atmosphere was different, and we had to adapt to the elements, like weather changes. It added an extra layer of excitement to the performances.

[43:25] Aaron Jenkins: The audience's energy in an outdoor setting is palpable. You can hear their reactions more clearly, and it creates a different kind of connection. I loved that aspect of it.

[43:53] Aaron Jenkins: When the 2019 CATS movie was released, I had mixed feelings. I was excited to see the characters I loved on screen, but I also felt a bit protective of the stage version. It was interesting to see how they interpreted the material.

[44:21] Aaron Jenkins: I think the film brought a new audience to CATS, which is great. It sparked conversations about the show and its characters, and I appreciate that it kept the legacy alive.

[44:49] Aaron Jenkins: As a performer, being part of the movie was surreal. Seeing the sets and the CGI come to life was fascinating. It was a different kind of performance, but it was still rooted in the same love for the characters.

[45:17] Aaron Jenkins: The camaraderie among the cast is one of my favorite parts of being in CATS. We all share this unique experience, and it creates a bond that lasts beyond the stage.

[45:33] Aaron Jenkins: I think every character in CATS has their own story and deserves recognition. It's tough to pick a favorite or to decide who should be the Jellicle choice. Each character has their own struggles and triumphs.

[46:01] Aaron Jenkins: Personally, I have a soft spot for Macavity. His complexity and charisma make him such an interesting character to portray. There's a lot of depth to him that I think resonates with audiences.

[46:27] Aaron Jenkins: The debate about who should ascend to the Heaviside Layer is always a fun discussion among fans. Everyone has their own opinions, and that's what makes it so engaging.

[46:57] Aaron Jenkins: I think the beauty of CATS is that it allows for interpretation. Each audience member can take away something different based on their own experiences and perspectives.

[47:27] Aaron Jenkins: Ultimately, I believe that the Jellicle choice should reflect the journey of the characters and the lessons they've learned. It's about redemption and finding one's place in the world.

[47:57] Aaron Jenkins: I love hearing fans' takes on the characters and their choices. It shows how deeply connected people are to the story and the music.

[48:27] Aaron Jenkins: Performing in CATS has been a transformative experience for me. It's not just about the roles; it's about the community and the shared passion for the art form.

[48:57] Aaron Jenkins: I encourage everyone to keep the conversation going about CATS. Whether you love it or have critiques, it's all part of the experience, and it keeps the magic alive.

[49:27] Aaron Jenkins: Thank you for having me on the podcast. It's been a pleasure to share my journey and insights about CATS with you.

[49:55] Aaron Jenkins: I hope listeners continue to explore the world of CATS and appreciate the artistry behind it. There's so much to discover!

[50:25] Aaron Jenkins: Remember to follow me on social media for updates on my journey and future projects. I'm always excited to connect with fellow fans!

[50:55] Aaron Jenkins: Let's keep celebrating the magic of theater and the stories that bring us together.

[51:21] Aaron Jenkins: Thanks again for this opportunity to share my experiences. I look forward to seeing where the journey takes me next!

[51:49] Aaron Jenkins: Until next time, keep dreaming and believing in the magic of CATS!

[52:15] Aaron Jenkins: It's been a joy to reflect on my time with the show and the incredible people I've met along the way.

[52:45] Aaron Jenkins: I can't wait to see what the future holds for CATS and its fans. Let's keep the conversation alive!

[53:11] Aaron Jenkins: Thank you for listening, and I hope you all have a wonderful day filled with creativity and inspiration.

[53:37] Aaron Jenkins: Remember, every cat has a story, and every story deserves to be told.

[54:07] Aaron Jenkins: Take care, everyone, and keep celebrating the arts!

[54:33] Aaron Jenkins: Until next time, stay curious and keep exploring the world of theater!

[55:03] Aaron Jenkins: Goodbye for now!