This transcript was automatically generated and might contain errors.

[0:00] Mike Abrams: Welcome to The Wrong Cat Died, the podcast breakdown that casts atrophy. I'm your host, Mike Abrams. Today we have another amazing guest. I am just getting my voice back after losing it last week, so I apologize in advance, but I was too excited for this episode to postpone the recording. Unfortunately, CATS The Jellicle Ball closed way too early, but I'm not going to stop talking about it. He was Jennyanydots at CATS The Jellicle Ball. So welcome, Xavier Reyes, and thank you for joining me.

[0:36] Xavier Reyes: Yay. Thank you for having me. I'm so excited that it's finally happening.

[0:41] Mike Abrams: Finally here. I think it's been a couple years where I was like, I'm ready. I've got questions because you're the house of dots. It's a whole thing.

[0:52] Xavier Reyes: The mother of the house of dots. That's an empire, baby.

[0:55] Mike Abrams: So we're going to get into the house of dots. I have house of dots specific questions, but I want to start with CATS history in general. So before The Jellicle Ball at The Pack, what was your knowledge, introduction to it? What was your jellicle lore leading up to this performance?

[1:14] Xavier Reyes: Wow. My introduction to CATS happened with the DVD. Somehow, when I was growing up in Puerto Rico in the 90s, somehow I saw that there was a DVD of this musical named CATS, and I bought it. And I had it at home in Puerto Rico, and I watched it a few times. And I was, I don't know why, but I was mesmerized and intrigued with it. And I remember that the tour, some tour, stopped in Puerto Rico. And I remember always seeing the promo on the newspaper, but unfortunately, we couldn't afford tickets to it, or my parents were not buying the idea of taking me to see a musical. It was just not a thing back then. So that was my introduction to it. And then of course, I came to New York, I studied the art of acting in musical theater. So of course, you get deeper into the world of CATS. Then I auditioned for the cruise line for the role of Skimbleshanks. And then I auditioned for this production for the role of Skimbleshanks. So that's been my CATS, my jellicle journey.

[2:16] Mike Abrams: Okay. So no Oasis year for you, but you did audition for the 90-minute CATS on the boat.

[2:25] Xavier Reyes: Yeah, I did. I did. I did.

[2:27] Mike Abrams: I love it. Okay. So I was wondering if it came through Puerto Rico. I knew it came through Mexico, because I have a bootleg version of that audio. And there is a Spanish one, but they changed some names, including, I think, definitely Jenny Adidas. I know Bus for Jones. They changed a bunch of the CAT names for it to be in Spanish. So okay. So you didn't go though, but you know about it. You obviously knew the musical if you watched that movie many times. And then you auditioned for Skimbleshanks, but you end up as Jenny Adidas, and you joined during the PAC part. So walk me through that. Did you actually audition for Jenny, or did they just say, hey, we're going to bring you in for this?

[3:11] Xavier Reyes: No, I did audition for Jenny.

[3:12] Mike Abrams: Okay.

[3:13] Xavier Reyes: So basically, the process was I went in for Skimbleshanks, and I was like, oh my god, I'm definitely perfect for this show. I really want this. I'm intrigued about it. I fit this world. And then I didn't get Skimbleshanks. And I was still like, interesting, but I have to be part of this show somewhere, somehow, right? So the workshop happened. And then I'm scrolling through Instagram, and I see that the casting, ex-casting is looking for a Jenny Adidas. And it says, drag, queen experience, preferred, drag role. And I remember sending it to my agent, and I said, well, I definitely have drag experience. I've done Rent multiple times. I did Kinky Boots for a year and a half. I've done La Cage regionally.

I've done a few drag roles. So then my agent said, okay, I'm on it. And then I got the appointment for a self-tape. I went to my best friend's house, borrowed the wig and an outfit to learn the sides, had so much fun with them. I was like, oh, this is so fun and so easy. Then got a callback. The callback was in person at PAC, which is cool. It's really cool when a callback audition or an audition is at the venue where you're performing. So in this case, it was at PAC, at one of their dressing rooms. They said, please don't come in drag. You don't have to. But in savvier fashion, I'm not good at following instructions. So I did go on drag. I did go in drag, a whole outfit, had fun in the room, did the sides a few times.

I told them, hey, this can be done in different ways. So I shared with them the different versions where Jenny could exist. And I left the audition extremely confident. I was like, that was good. And that was fun. And I felt super comfortable with the material. And then I got it.

[5:07] Mike Abrams: Yeah. Going back to watching that movie, how much of the Jenny AnyDots from that DVD did you bring to the audition? Or how much of it was like, I got to create this? Because it's very different. It's very similar and very different at the same time. So how did you like, did you use any of that movie knowledge? Or did you lean into this is going to be all new?

[5:20] Xavier Reyes: You know what, um, if we compare it to a cake, that the cake, I decided to like bring make it all new. But the frosting of the cake is the movies. Oh, gee, Gumby cat, you know, for some reason, the color yellow popped up from the original Gumby. So I dressed in yellow for the audition. And then the fact that she was referred to as a lazy cat, she loved sitting, everyone seemed to love her and, and, and, and give her love and see her. So I brought that into the audition room. So clearly, this was some sort of queen, some sort of, of high status, queen that people liked, and she kept people in order and enforced rules with love. So that I brought from the original Gumby cat. And then I decided to expand from that and make it my own and play.

[6:33] Mike Abrams: What was the first thing that you kind of like played with when you're adding because there's so many like relationships that you have with being the house of dots like the mother of the house with Cassandra and Victoria and tumble Brutus and you've got all these other kind of pieces. How much of that did you like? Where'd you first start?

[6:49] Xavier Reyes: You know what, I first started doing a lot of research, because the role is described as a drag mother, right, the mother of the house of dots. So I started at the very beginning, I was like, Okay, what is a house mother in the ballroom context? So I went down a hole of watching documentaries, reading, looking at photos, asking people, what is a house mother, I really diving into that specific aspect of Jenny. But on the other side, I was also trying to investigate what is why do people call a mother a mother in life, you know, so I went back to my mom and her mom and I was like, what makes them a mother? Why do I love my mother? What does my mother do for me? And I slowly started merging those two worlds of a real life blood family mother to a ballroom house mother.

And then I started to explore relationships. Okay, if I'm the house mother of the house of dots, what is who is tumble Brutus? What's my relationship with him? How did they get into the house? Who is Victoria? The white cat? Who is who is skimbo not skimbo even though it's always confusing, right? Who is Cassandra? And why, you know, she's the youngest in the house and why I have such as a magnetism to her, which is why we have the, the Virgin Vogue competition. So I started exploring relationships after I had grasped an understanding of what is a house mother and what is a mom and what people expect from me as a house mother and what my job is as a house mother.

[8:30] Mike Abrams: So you mentioned the ballroom scene and like the deep dive, you're more of the theater background. And obviously, one of the things that made this production both of the pack in and at the Broadhurst so beautiful is merging these worlds together. How much of this was your personal research versus how much did you learn by being immersed with these like ballroom legends and icons? Like, did you go to balls with them? Did you learn directly from them? Like, have you been recruited to a house yet? Like, what's what's going on here?

[9:02] Xavier Reyes: You see, it was a collaboration really, because I love my favorite part, my favorite aspect of being an actor is research. So I was reading a lot I brought I bought books about ballroom. I bought a whole book about drag history. And I bought three books about ballroom. One was specific about ballroom history. One was specific about Puerto Rican bodies within the queer culture and ballroom culture. And the other one was that Jason to that one, like scholar books about the queer world within ballroom specific to Latinx folks. So a lot of it was personal research, right? Of also my experience as a queer person, but also, I enrolled in Vogue classes, dance classes. So I would observe a lot ask questions.

And then my cast members clarified a lot of their relationships. Primo was a major in that development to Primo knows a lot about ballroom. And I would ask him a lot of questions about every moment in the show, how would it translate through the ballroom lens. And after I would get that information, I would take that ballroom translated info and then translate it into a theatrical lens because I wanted to marry ballroom and theater, you know, take that fact and then expanded into a theatrical medium. So it took a lot of collaboration with my castmates, our dramaturg, Josie, our associate director, Naomi, she was instrumental in giving us, feeding us a lot of information from a ballroom lens. And then we would take that information and then theatricalize it.

[11:00] Mike Abrams: Yeah. And then there's the other element of this, which is how do you make it cats? Like how do you make it jellicle too? So you've got, you know, you've, you've got both of these worlds colliding and you've got an audience. That's really both of those worlds. You've got the ballroom, you know, like I, I loved as the, the cats person I loved, like I was learning how to crack a fan and like with the people around me and I'm sitting there going like, let me tell you whatever you need to know about the lore of these characters. Cause that's the part that they're missing. And it was a really cool audience experience. But at the same time, you had the same thing on stage. Like you had such a, a mix of being able to stay true to the jellicle lore, but also create something completely new.

[11:42] Xavier Reyes: Oh, a hundred percent. And that's what we love too, that we had people from the Angela Weber estate. They're helping us shape that world and, and, and, and either step a little bit inside the box or not. And, and also that's the beauty of having two directors and two associate directors that they will compliment each other and helping us translate everything through ballroom, but also theater, but also staying true to the script.

[12:12] Mike Abrams: Welcome back to The Wrong Cat Died. Today, I’m excited to have Xavier Reyes, who played Jennyanydots in the Broadway production of Cats: The Jellicle Ball.

[12:42] Xavier Reyes: Thank you for having me, Mike! It’s great to be here.

[13:06] Mike Abrams: So, let’s dive into your journey with Cats. Can you tell us about your history with the show?

[13:26] Xavier Reyes: Absolutely! I first watched the Cats DVD when I was in Puerto Rico, and I was completely captivated by it. I remember being mesmerized by the choreography and the music.

[13:50] Mike Abrams: That’s amazing! And how did you end up auditioning for the show?

[14:18] Xavier Reyes: Well, I initially auditioned for the role of Skimbleshanks, but during the process, I ended up booking the role of Jennyanydots. It was such a surprise and a dream come true!

[14:46] Mike Abrams: That’s incredible! What was your approach to building the character of Jennyanydots?

[15:16] Xavier Reyes: I really wanted to blend the original concept of the “Gumbie Cat” with my own interpretation. I did extensive research on ballroom culture and took vogue classes to bring a unique flair to the role.

[15:42] Mike Abrams: That sounds like a fascinating process! How did you collaborate with your castmates and directors to shape Jennyanydots?

[16:12] Xavier Reyes: Collaboration was key. I worked closely with my fellow cast members and the directors to ensure that we honored the Cats lore while also infusing our own styles into the performance.

[16:38] Mike Abrams: I love that! Can you tell us more about the Haus of Dots and what it represents?

[16:58] Xavier Reyes: The Haus of Dots became this trophy-winning “empire” within the show. It was all about building relationships and developing tension with Macavity through our shared backstory.

[17:26] Mike Abrams: That’s such a creative concept! How did the audience receive your performance at the PAC?

[17:36] Xavier Reyes: The audience was incredibly receptive! They loved the energy we brought to the stage, and it was amazing to see their reactions.

[17:46] Mike Abrams: And then you transferred to Broadway. What was that experience like for you?

[18:12] Xavier Reyes: Transferring to Broadway was surreal. It felt like a culmination of all the hard work we put in, and performing in such an iconic venue was a dream come true.

[18:32] Mike Abrams: Did you have any memorable moments performing for celebrity judges or Andrew Lloyd Webber?

[19:00] Xavier Reyes: Oh, absolutely! Performing for Andrew Lloyd Webber was nerve-wracking but exhilarating. The energy in the room was electric, and it was a moment I’ll never forget.

[19:24] Mike Abrams: That’s fantastic! Did you incorporate any improvisational audience interaction into your performances?

[19:50] Xavier Reyes: Yes! We had a lot of fun with audience interaction. It kept the performances fresh and allowed us to connect with the audience in a unique way.

[20:20] Mike Abrams: That sounds like a blast! What are some of your favorite memories from your run in Cats?

[20:40] Xavier Reyes: There are so many! I loved the camaraderie with my castmates and the joy of performing every night. Each show felt like a celebration.

[21:06] Mike Abrams: It sounds like an incredible experience. Thank you for sharing your journey with us today, Xavier!

[21:36] Xavier Reyes: Thank you for having me, Mike! It was a pleasure to chat about Cats.

[22:04] Mike Abrams: And for our listeners, be sure to check out Xavier on Instagram at @xavireyesactor and follow Cats: The Jellicle Ball on social media at @catsjellicleball.

[22:30] Xavier Reyes: Yes, definitely! We’d love to connect with everyone.

[22:58] Mike Abrams: Thanks for tuning in to The Wrong Cat Died. We’ll see you next time!

[23:26] Xavier Reyes: Bye, everyone!

[23:54] Mike Abrams: Take care!

[24:24] Xavier Reyes: It's open to every show. And then other relationships. Of course, I know the members of the House of Macavity because they're always competition at the ball. Who else do I know? What are their relationships? I mean, I know Miss Doffley's because of the reputation and how they show up to balls. Of course, I know Old Deuteronomy. I'm there every year for the yearly ball. You're not taking Tugger to your team?

[24:57] Mike Abrams: No, actually, not Tugger. There's definitely a moment, at least at the Broadhurst, and I can't remember if this was happening as much at the pack. But after, I don't know where it is, but it's towards the end of Act One that Cassandra is basically like after Sidney takes off all his clothes. Cassandra's like jumps on him. And the two of them kind of like walk off stage together. So I didn't know if there was any relationship there or if that was just more of their stage together at this moment.

[25:29] Xavier Reyes: Well, not that I'm aware of, but Cassandra, she's wild. She's eager. She'll jump on everyone and anyone. She'll take every moment. Someone that I know a lot is Monkey Strap. Jenny has a crush on Monkey Strap, and he always gives her attention because he knows that if he doesn't give Jenny attention, she'll cause a scene. And he starts singing your song, right? So there's that already kind of built in. And it's something we've talked about, too. He knows that I want attention, but he knows I'm going to play it off like I don't want to, but then give that up and own the attention I've been given. So we have a little bit of play there, and Jenny likes Monkey Strap a lot.

[26:15] Mike Abrams: Okay, I want to move to the movement from the pack to Broadway. So I want to hear first a little bit about when you ended at the pack, there was this rumor that this was going to happen, but then it wasn't for sure. It was like everyone thought there was a good chance that this would go to Broadway. Then it was like, eh, maybe it's not going to happen. And then it kind of got rumored again. As a performer who was so ingrained in this and had this incredible off-Broadway run, what was that like for you in this in-between, kind of waiting to know, is this your fate for the future? Or is this something that's had its moment, has moved on, and now you get to go do the next phase of your career?

[27:00] Xavier Reyes: You know what? I'm used to this. I've done a lot of workshops, and I've done a lot of workshops that always say we're going to Broadway or have an end goal of going to Broadway. And at first, when I moved into the city, it would hurt when you wouldn't hear back from the show moving to Broadway or you realize that the workshop was just meh. And so it would hurt because I would truly believe that, oh, wow, I joined X and Y Workshop, Night at the Museum, Mythic, any workshop. And I would think, well, this is really going to Broadway. The team is incredible. But then it wouldn't. It would hurt. After a while, I got used to it because I would even do out-of-town tryouts for shows that had incredible teams and producers and really think they would move to Broadway, and they wouldn't. Right?

So I approached this one, having learned from all those others and knowing, okay, let's do this off-Broadway run that stuck and people loved a lot. And if it moves to Broadway, amazing. And if it doesn't, that's okay. There's going to be another one around the corner. I'm used to it. So that's how I approached it. I didn't invest any brain cells overthinking a possible transfer. So when it happened, it was delightful because it felt kind of unexpected, yet expected. It made a lot of sense.

[28:28] Mike Abrams: That's very grounded of you to have the ability to control the controllables and not think about the other stuff, because that's a challenge for everybody, at least for me in the world, too, of being able to compartmentalize a little bit in that way. This is great if it does, but at the same time, this is the industry you're in.

[28:50] Xavier Reyes: And it was so nice. I was in Puerto Rico when it happened, and I was on my way. I had gone to the Bad Bunny concert, and I was on my way to meet some friends for some drinks. So it was nice when I got the offer.

[29:05] Mike Abrams: What a night. Bad Bunny, friends, drinks, being back home.

[29:09] Xavier Reyes: So it turned out to be everything I wanted and more.

[29:12] Mike Abrams: So then you moved to the Broadhurst. You have this Broadway. This is your debut, right? Broadway debut. What was it like with the changes? Because this is obviously something you know well. You did this for multiple months off-Broadway. It's not that long of a break in between, but you're in a new space, bigger budget, bigger costumes, bigger kind of everything. What was that transition like for you to then the Broadway stage?

[29:39] Xavier Reyes: Wow. The transition was beautiful. It had moments of beauty, and it had a lot of moments of letting go. The letting go, some things that I did off-Broadway moments suddenly couldn't happen here at the Broadhurst or had to be related to other people because I had to do something else, or I was in another part of the stage, or it didn't make sense for me to do it. So there was a lot of letting go, but then a lot of beauty and creating new moments for a new space. A lot of the moments from the pack transferred, and we either expanded on them or made it specific. So there was a lot of beauty and excitement. It's always exciting when you've already crafted the base of a show, and now you get to get specific with it, as opposed to starting from zero. On the Broadway, we were starting already with a 50% being done and layered, and now we get to add the other 50% and more.

[30:45] Mike Abrams: Was there a moment that you got to add that you really loved that didn't happen at the pack?

[30:54] Xavier Reyes: Oh, let me see at the pack that it didn't happen. Well, I integrated myself to the Rum Tum Tugger number because I was not part of that number at the pack because I was doing a costume change that not happened on stage. The Gumby Cat skirt into pant reveal happened on stage. Back then, it happened off stage, and I would come out in the pants at the end of Rum Tum Tugger's number. Another number that something that I maybe added... Oh, I can't think of anything right now.

[31:24] Mike Abrams: Did you have a moment with audience interaction that you got to do that you always like to really lean into? Because you're over on that side. You were talking to people either on the stage or over in those first couple rows.

[31:33] Xavier Reyes: Yeah. That was a major thing that I wanted to keep was the freedom to interact with anyone and everyone. That was something that I was worried about that wouldn't transfer from the pack. My track in particular, the directors had given me permission to lean into the improv and interacting with people. The directors know that one of my strengths is being unafraid to interact with people and do anything and everything. Whether it was campy or grotesque, anything, I'm unafraid to just doing things with the audience. They've always given me the liberty and permission to play with that. At pack, I ran with that. Here on the Broadway, I was a little scared that it wouldn't transfer, but after playing a few times and a few previews, I was able to go back into that, which is one of my favorite things about Jenny, just the freedom she gets to exist and play even with the blocking. Yes, we have specific blocking, but for my character, the blocking also opens up into being free.

[32:43] Mike Abrams: Yeah. That was one of the worries, actually, when I interviewed Rachel, who did the set design and everything. I was asking a lot of those questions because it was before I got to see everything. She obviously wouldn't tell me the staircase coming down and some of these other things, but I was curious how it was so intimate at the pack because you were around everywhere. Then they added the stage seating, but you really did. I sat in multiple different spots of the theater. I always felt like I had these different interactions with the cast. In particular, you are right in the front. You're by some of the guest judges, too. Did you have a moment that you got to start almost playing around with one of the guest judges before they come up on stage, kind of just where you were?

[33:25] Xavier Reyes: You know what? I never got to fully... I would always interact with them during the opening number because how can you not? The euphoria and the excitement of that opening number is the arrival to the ball together, audience and actors. I would always interact with them lightly. Then they were taken immediately away to be the judges during my two major chunks, actually. But then after that is when I mostly would interact with them throughout the rest of the show when they would come back after Old Deuteronomy. But it was always fun to see them in the dark before my moment with the iron and the props at the top of the show.

[34:10] Mike Abrams: Yeah. The first time I saw it, it was the first preview. So I was like, I didn't know where they were sitting. And then every time after, I'm like, all right, who's down there? Can I see you sitting there? Did you have any, not favorite, but just anybody that really surprised you or just what you were surprised to see on the list when they came?

[34:28] Xavier Reyes: You see, there's a few that were on the list, but I was so delighted to see them there. Ian McKellen was one of them. That was a surprise. And then during the last two weeks, Andrew Garfield was there and he's one of my favorite actors. I saw him in Angels in America a few times. So I was so ecstatic that he was there. People like Alex Newell, Cynthia Erivo, John Legend. Those would always excite me.

[34:59] Mike Abrams: Yeah. What was it like doing the show in front of Andrew Lloyd Webber at the opening?

[35:04] Xavier Reyes: Oh, my God. Nerve wracking.

[35:08] Mike Abrams: Yeah, right.

[35:08] Xavier Reyes: You know, I got it was nerve wracking and it was also nerve wracking to do it in front of Alex Newell and Cynthia Erivo because they are such powerful vocalists that I feel like I'm an ant in front of them. And it's so intimidating. But in front of Andrew is so intimidating because he's like the boss, the big boss. You know, this is a show that he said that he's seen a million times. So it's always interesting to show your boss your work.

[35:37] Mike Abrams: Yeah, completely. I was kind of wild to be in the room with him. And then also, I mean, I was saying his praises at the time during the opening and everything of like, being open to this and embracing it because there's a world where he doesn't have to and kind of have this like, I created this really great thing. Don't mess with it.

[36:00] Xavier Reyes: Correct.

[36:00] Mike Abrams: The fact that he not only like it was was so involved and so open to it and really like, like really supported it was was really cool to see and something I didn't know what to expect going into this. And I was really kind of floored with his the way he approached it.

[36:17] Xavier Reyes: You know what? Yeah, it took a lot of conversation and trial and error, you know, trying something and saying, look at this. Let's consider this. Let's try this. And when something would work, then they would approve, you know, it takes and which is the beauty of the theatre art from which I wish more people would engage in that.

[36:36] Xavier Reyes: My Jellicle choice is Gus.

[44:08] Xavier Reyes: Team Gus.

[44:10] Xavier Reyes: Team Gus, but also right there I have Cillabub with me, but I'm going to stick to Gus.

[44:17] Xavier Reyes: And then the second choice is Cillabub, but Gus because Gus has collected a lifetime of stories and gigs and doings.

[44:29] Xavier Reyes: And is ready for that next step, that elevation, that metaphorical elevation or next step up the heavy side layer.

[44:40] Xavier Reyes: And because Gus, it's his time, yeah.

[44:43] Xavier Reyes: And because he truly says, I could do it again.

[44:47] Xavier Reyes: And that line for me really sells it.

[44:50] Xavier Reyes: So, he could do it again.

[44:53] Xavier Reyes: Pick me. Give me a chance to do it again.

[44:58] Xavier Reyes: I've been Team Gus since day one.

[45:00] Xavier Reyes: So, I'm with you.

[45:02] Xavier Reyes: I, you know, obviously this started from the, I don't want to call it the, I call it the other cats.

[45:09] Xavier Reyes: But it's just like, you know, the cats, cats from the, you know, your DVD cats.

[45:13] Xavier Reyes: Yeah.

[45:14] Xavier Reyes: And in that version, it to me is death.

[45:17] Xavier Reyes: And it feels to me like the part I never really understood is that she gets welcomed back.

[45:22] Xavier Reyes: And then it's like they immediately kill her when she could spend a year with the family and still have her redemption arc.

[45:28] Xavier Reyes: And so that's the case.

[45:29] Xavier Reyes: It's like Gus doesn't look like he's going to make it to next year.

[45:31] Xavier Reyes: Right. I agree.

[45:32] Xavier Reyes: I'm fully with you.

[45:33] Xavier Reyes: I'm Team Gus.

[45:34] Xavier Reyes: A hundred percent.

[45:35] Xavier Reyes: Yeah. And that's why I love thinking of the heavy side layer as an elevation, a chance to live even more.

[45:42] Xavier Reyes: And that could be as simple as more money, an upgrade to your life, a makeover, something that gives you a fresh breath of life too.

[45:52] Xavier Reyes: Completely.

[45:53] Xavier Reyes: And your show, I remember after seeing that preview, Jalen was there.

[45:57] Xavier Reyes: And I went up to him and I said, you all like are ruining the show, like my show.

[46:02] Xavier Reyes: Because when that door opened at the pack, you could hear like the birds and the New York City sounds.

[46:10] Xavier Reyes: And I was like, that's not death.

[46:12] Xavier Reyes: That is a new, like being re-entered into the world or back into the ballroom culture or whatever it was.

[46:17] Xavier Reyes: It was an acceptance into a world that exists, that's part of it.

[46:24] Xavier Reyes: And so I was like, this is completely changing the arc of that story in a very beautiful way.

[46:30] Xavier Reyes: Because it's never stated what the heavy side layer is and that they're dying.

[46:34] Xavier Reyes: It's just kind of implied.

[46:35] Xavier Reyes: Yeah.

[46:36] Xavier Reyes: And so I kind of love that change.

[46:38] Xavier Reyes: But then it also makes everything else a very different conversation when you take the angle of what does that reward, quote unquote, look like.

[46:46] Xavier Reyes: And that's something we talked about a lot during the rehearsals.

[46:48] Xavier Reyes: What does it mean to get to the heavy side layer and who needs it the most?

[46:55] Xavier Reyes: That's why early on a character like Jenny realizes I don't need a good identical choice right now.

[47:00] Xavier Reyes: Someone else.

[47:01] Xavier Reyes: You're winning too much.

[47:02] Xavier Reyes: You gotta just keep winning.

[47:03] Xavier Reyes: Yeah.

[47:04] Xavier Reyes: Especially when I see Grizabella entering the space, I immediately understand, wait, this is above me.

[47:10] Xavier Reyes: I think she needs an upgrade.

[47:12] Xavier Reyes: She needs a second chance.

[47:15] Xavier Reyes: Yeah.

[47:16] Xavier Reyes: I love it.

[47:17] Xavier Reyes: This has been so fun.

[47:18] Xavier Reyes: How can people stay in touch with you?

[47:20] Xavier Reyes: And then the cast album will be out in a few months, weeks?

[47:24] Xavier Reyes: I don't know if the date's official.

[47:26] Xavier Reyes: October.

[47:27] Xavier Reyes: The end of October apparently.

[47:28] Xavier Reyes: End of October.

[47:29] Xavier Reyes: Yeah.

[47:30] Xavier Reyes: OK.

[47:31] Xavier Reyes: Fingers crossed.

[47:32] Xavier Reyes: But how can people stay in touch with you?

[47:33] Xavier Reyes: Mostly on Instagram.

[47:34] Xavier Reyes: Even though I lost it earlier this year, I made a new one.

[47:36] Xavier Reyes: And my Instagram is at Xavi.

[47:40] Xavier Reyes: So X-A-V-I, the first four letters of my name.

[47:43] Xavier Reyes: Reyesactor.

[47:44] Xavier Reyes: So at Xavi Reyesactor.

[47:46] Xavier Reyes: Amazing.

[47:47] Xavier Reyes: We will link that.

[47:48] Xavier Reyes: We will link the cast album.

[47:50] Xavier Reyes: Yeah.

[47:51] Xavier Reyes: If you can figure out how to get to the New York Public Library, I think you have the archival footage there.

[47:55] Xavier Reyes: Right.

[47:56] Xavier Reyes: I don't think it's there yet, but it'll be there soon.

[47:59] Xavier Reyes: Yeah.

[48:01] Xavier Reyes: And then at some point, there'll be a bootleg or some version that people can find online.

[48:05] Xavier Reyes: Yeah, there's some stuff already online.

[48:07] Xavier Reyes: Yeah.

[48:08] Xavier Reyes: I'm not going to link that, but you can find it.

[48:11] Xavier Reyes: You can find it.

[48:13] Xavier Reyes: Again, so fun to have you on.

[48:15] Xavier Reyes: Thank you for coming on to share your story.

[48:17] Xavier Reyes: Thank you for your time.

[48:18] Xavier Reyes: It's been so fun.

[48:19] Xavier Reyes: You're great.

[48:20] Xavier Reyes: Thank you for your time, and thank you for being part of this moment since day one.

[48:24] Xavier Reyes: We really appreciate you.

[48:26] Xavier Reyes: I love it.

[48:27] Xavier Reyes: Well, thank you, and thanks, everyone else, for listening to this episode of The Wrong Cat Died, the podcast based on the Catastrophe.

[48:30] Xavier Reyes: To follow along, you can subscribe on Apple Podcasts, Spotify, or Apple Podcasts.

[48:34] Xavier Reyes: Also, social media at TheWrongCatDied or check out our website, TheWrongCatDied.com.