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[0:00] Mike Abrams: Welcome to The Wrong Cat Died, the podcast breakdown of the CATS atrophy. I'm your host, Mike Abrams, and we have another Vault episode. Every once in a while, we're going to pull back an episode from the past that we think is worth bringing back, and I'm so excited to bring back episode 172, which was recorded on June 28th of 2024 with Robert Silk Mason. Silk is Mr. Mistoffelees in the upcoming CATS The Jellicle Ball, which is transferring to Broadway and opening their first previews on March 18th, and it opens on April 7th. And I cannot be more excited for this transfer, but I'm very excited to bring this one back because I talked to Silk pretty early on in the production, and after seeing Silk's performance as Mistoffelees, they are fantastic.

The performance is just spectacular. It's like nothing I've ever seen, and I'm so excited for the world to learn more about Silk and everything that they are bringing to this role and to this production and to have their Broadway moment. So, enjoy this episode with Robert Silk Mason, who was and is the magical Mr. Mistoffelees in CATS The Jellicle Ball, this upcoming Broadway transfer, and formerly at the PAC. Enjoy having the best time hearing from Silk. There's a cat over here. There's a cat over there. And the wrong one died.

[1:37] Mike Abrams: Welcome to The Wrong Cat Died, the podcast breakdown of The Cat's Atrophy. I'm your host, Mike Abrams, and today we have another amazing guest. We are working with the Perelman Performing Arts Center, a reimagined production of CATS called CATS The Jellicle Ball to bring you a series of episodes throughout the run. I'm honored to have Robert Silk Mason here with me today. Silk is an incredible dancer, performer, artist, and now magician. They are the founding mother of the Kiki Royal House of Silk and play the magical Mr. Mistoffelees in this production. So, welcome to the show and thank you for joining me.

[2:07] Robert "Silk" Mason: Thank you so much. Thank you for having me. I love that you, I mean, you did some actual magic, some real magic on the show. So, we'll get into that and we'll get into your Mistoffelees, but I want to start at the beginning of, before you booked this, how familiar were you with CATS at all? Did you know much about it?

[2:24] Robert "Silk" Mason: I knew like little tidbits and pieces, and then once this came about, I was like, okay, I have to actually watch the production. I was like, I'm not going to be able to see it in person, but I was like literally scavenging, trying to find out where to find it. And then on Amazon Prime, that's where I ended up watching it. And then before the auditions, there weren't like, it wasn't anything to where I was like auditioning for a specific role. It was just like, you know, it's the audition. So when I was like, I don't know what's going to happen or if I'll even get anything, but I was like, I have to know what CATS is about. So that's whenever that came about and I watched it. And which movie was it? Was it the newer one of the 1998?

[3:01] Robert "Silk" Mason: Yes. It was the 1983, I think.

[3:07] Mike Abrams: Okay. So it was a stage performance that was filmed, right? Not the crazy one that made headlines in 2019.

[3:13] Robert "Silk" Mason: Okay. So you saw like CATS. You saw real CATS.

[3:18] Robert "Silk" Mason: I have never seen the movie.

[3:20] Mike Abrams: Okay. Maybe you can miss. You're not missing much.

[3:24] Robert "Silk" Mason: From the previews, what I saw from the movie, I was like, I don't know if I want to see that because it looks a little creepy. And then after I heard it was creepy and weird and stuff like that, and you know, props to all the celebrities that were on it. But I was like, I don't know. And still to this day, I haven't watched it. But at some point, I have an interest in watching it now since we're doing CATS The Jellicle Ball, because I'm just like, I want to see where everybody's interpretation is coming from. So I was like, you know, you got to have an open mind sometimes.

[3:54] Mike Abrams: Yeah. As a dancer, you probably will catch a lot more. Like I know you were trained at Juilliard and ballet because you saw the one that you watched was Julian Lynn and the movie is Andy Blankenbuehler. So you've got, it's like slightly contrasting in different styles, but still very similar because it's still at the end of the day CATS. But the new movie is very different. So we're going to skip through that.

[4:16] Robert "Silk" Mason: I'm going to have to dive into it at some point.

[4:18] Mike Abrams: Yeah, at some point, watch it, but it's a different experience because it's definitely not the same and they made some choices for sure. But I want to hear about then, so you get this role, you've watched the movie on Amazon Prime, but you have this ballroom background now. You have your house, your founding mother of the house. And you kind of, how was the process of the, here's this traditional, classical, well-known musical, but this re-imagining, like what was that rehearsal process like for you bringing these two worlds together?

[4:50] Robert "Silk" Mason: Well, one, I would say for the original version of CATS, I understood it because it was like, you know, it's literally cats, like they're feline, fearless, faithful and true. It's like they are able to always express themselves and be themselves for who they are and step up to the forefront and just be, I would say, rubbish. CATS tear things apart. I have two cats now, so I know how they work really well. But as far as ballroom, you have the categories. Everything is, I don't know if I can say this, but you know, soft pussy to the cut, all that stuff. So it's like, we're always attacking also the movements within the movements. Everything is either, I'll say, like a cat, it scratches themselves, you're scratching yourself or you're licking your hand or something like that.

Those are the things, the movements and gestures that we do in ballroom. And once we figured out how to marry that in rehearsals, it all just honestly made sense from whenever our Toronto Mari, whenever they did the first move, it was like, that's very, very cat-like because cats are also very regal, Egyptian, you know, we're here to show ourselves and make sure that everybody understands who we are.

[6:22] Mike Abrams: Yeah, the dancing is, it's such an interesting piece because as someone who doesn't know any dancing, ballroom or theater or anything in between, it was when I saw it, I was like, this fits perfectly. The ballroom, it's a catwalk, it's a runway, it works so well to marry these two worlds together. And I thought it was a very, very fun way to experience that and almost eliminate the biggest, the joke that gets made about cats so much as it feels because they're in cat, like they're in a unitard and with the hair and the tail and everything. And the fact that we aren't.

[7:01] Robert "Silk" Mason: Yeah, and you're not. And so by limiting that, it becomes more about the story and the personalities and the competition, which is what I love most about the show to begin with. And then also the backstories of who every individual cat is. That's how, that's kind of how we live through our lives in ballrooms too. Even though we're here presenting ourselves in front of everybody, Voguing, Kiki and Kakai with our girlfriends and stuff like that, but at the end of the day, we all have a life to go back to after this ball or something that we probably prepared hours for or months for and days and weeks ahead of time to come and walk this ball to either get through or to get chopped or something happened. It's like, oh my God, like all that adrenaline and all that rush is what we love the most. And then that's what drives us to continue to be ourselves and be free because what better way to be yourself.

[8:02] Robert "Silk" Mason: And going into that too, like all of us have also talked about how our characters are us, are who we are in life. So like me, Mr. Mistoffelees, brings on Deuteronomy back in the story and that's how the storyline goes. And he reunites the community and brings everybody together. And I take that for me, it's me with my kids in my house and understanding what I built my house for and bringing the community and making sure that Ballroom also, along with all the other facets of who I am, Ballroom is also what helped me throughout my life. And it could also help you in your real life and opening up my arms to all of these kids and people that want to be a part of it has been such a special time for me.

So for me to know how Mistoffelees is and how my life is and how that also marries together from my dancing to Ballroom to my modeling and singing, even like I've never sung like this before. Any production, I've never been a part of a production before. This is my first equity contract. It's like a dream come true. And of course I'm basking in the ambience and enjoying it. But I also want to, I've always wanted people to be a part of my life, but this is a big step forward, building my house.

[9:19] Mike Abrams: Yeah. So I want to dig a little bit deeper into one of those points that you mentioned, which is the story development, because I love the character development. So for you all, how much backstory did you go into? You said each character kind of has their own personality and their own person. Did you talk about it? And we'll get into the one in particular, which is your relationship with Tugger. But in general, how much of the story was brought into the different characters with a slightly different interpretation? Because you are in houses, you are in these competitions, but there's still these very deep Cats backstories that have been developed over 45 plus years.

[9:55] Robert "Silk" Mason: Yeah. I'll say for me, I'll start with Tempris, because Tempris starts out, she's a femme queen. She's out in Ballroom doing her thing. She's been known for who she is and what she does and tying in with Grizabella, who was the outcast of Cats, the story and how she comes in. She's like, this is me and this is who I am. I'm going to always make you remember that. And once Old Deuteronomy does this thing, it's like, it all makes sense. I don't know what, I don't want to say too much because everybody has to come and see it. But whenever he does his magic at the end, it really just ties everything in because once you see and learn who Grizabella is throughout the play, you end up wanting to know more. And then whenever she sings "Memory" and it's like, I'm going out onto the ballroom floor and I'm just itching to get to that point of where I used to be, the memory of being on the ballroom floor and going.

[11:09] Robert "Silk" Mason: Going to the fabric store or sewing your own clothes or going to your good girlfriend or gay mother or gay father's house and be like, this is the ball that I want to walk and this is, you know, what I want to do. And watching her walk out on stage and be like, this is the memory that I want, but it's like, oh my gosh, I don't know. And then when Tillabop comes up and reminds her, and then she sings the rest of the memory, I would say it's one of the most emotional points of the show for me. I'm about to get emotional now just thinking about it, because just thinking about how femme queens and trans women are also treated in society with that notion too, and then bringing that into CATS, it just really shows in like how, you know, that's how you address a cat.

You know, you have to learn and get to understand who these cats are. And then with Old Deuteronomy, who is Andre De Shields, being the, you know, the eldest, the regal, the deity of Broadway, first of all. Him as Old Deuteronomy was the smartest decision I feel like any production could have made, because especially for CATS, I'll say he is one of the most amazing men that I've ever met in my life. He's very nourishing, very kind. He makes sure that, you know, you're all right, but also he gets his stuff done. And being able to be a young adult and see everything that he has also been through and that he's done with The Wiz and all the other productions that he's been in, and know that I'm also standing right here in the same production as him, just watching him sing, it's like whenever he first, because in rehearsal, I was like, oh my god, I can't wait to hear him sing.

And then whenever he makes his entrance and then he sang, everybody in the room cried. I was like, oh my god, this is the most amazing production, just like this experience is so enriching, like the fruits that we have been receiving from this has been amazing. Yeah, and you know, the reviews have been incredible. And as someone who knows way too much about CATS, I walked in and was floored by how amazing it was that you all kept the essence of CATS, but brought this new version. Like it's still, like you still get the music, you still get the story, you still get the poetry. But I love the, as someone who has spent way too many episodes arguing against Grizabella, I thought the Grizabella arc was really, really fascinating by bringing the, you know, I don't wanna spoil too much, but bringing the dress out and having the story of her house and being able to come back on stage is a much clearer picture than even the musical does.

And you get even Junior as Gus, and you felt that same kind of energy and power, and everyone's just cast so well, and everyone brings such an energy to the show that you walk out, that I walked in with the highest of high expectations, and I walked out with just, I couldn't fall asleep that night. Like I just had so much energy from being there and everything you all brought. And I was, you know, front and center, like we were at the tables. And so, you know, we were dancing right in front of us the whole time, which was so fun. I would say we have to mention with Junior being on Paris is Burning, you know, he was the original, he was, he's the OG, you know, of Ballroom, like the deity of Ballroom.

And I will say Gus Junior LaBeija is the most iconic elder that I've ever met in my life. He really is articulate with the things that he does, and has been very open with this process to understand what Broadway and musical theater is. And I know like everybody has their own, you know, relationships and times with how they, you know, cope with this process. But I have really, really, really, really been grateful to watch his process with this, because like with everybody, you know, we all were, we all were like, okay, what this, what is this going to be? What is this going to be? And then as soon as he started his part in his role, he just, he became Gus. He is Gus. Like he's literally Gus.

And, you know, to also be in a room with him has been such a delight. Yeah, he is the essence of Gus, right? He's exactly what you think of when you think about it. And I loved him. But I also was like, he's not ready to go. And he's the most common choice that's not Grizabella. Because I was like, you can't, you can't send him to the Heaviside Layer. He's still living his life way too much to be ready to go. Yeah. He's like, because listen, he could do it again.

[16:12] Robert "Silk" Mason: We're going to take a quick break, and then we'll be back for more of The Wrong Cat Died. So we've got to talk about the Tugger-Mistoffelees relationship. Because you all love him so much. Yeah. And we're doing an episode with him too. So I'm excited to hear his interpretation of this other half as well. So just to give you some backstory from my experience with this, this was one of the first things I learned about was about this relationship. And there's, I did my first, one of my first episodes I ever did, I dug into it because it's most of the fan fiction. It's most of the pictures drawn. It's most of the art is that combination. It is, there is a deep belief that they are, there are some more relationship there.

And you all lean into that more than I was expecting. As you talk, I'm going to, as you talk, I'm going to find these photos that I found online on Pinterest of Rum Tum Tugger and Mistoffelees together in relationship. When I was like, oh, this is a thing. This is a thing. It's a full thing. Okay. This is so fab. And you all lean into it. So did you discuss that relationship? Because you all kind of played into it more than I think the musical version does even. The musical version has some pieces to it, but you all really lean into it.

[17:38] Robert "Silk" Mason: I'll say we didn't dive too much into it in the beginning because they really wanted us to focus on, you know, learning our parts in the roles and stuff like that. They were telling us like, you know, in this, we want to create a world where Rum Tum Tugger is very, you know, on his toes and on his feet and fascinated about Mistoffelees, you know, how he sings about him in the song and he's, you know, his manner is vague and aloof. You could think there's nobody shyer because his voice, his name has been heard on the roof. You know, it's like if you're in a relationship with somebody and it's like, so who is this? And it's like, oh, this is my boyfriend. Like, you know, this is who he is. It's like, you know, you're, he's literally telling you about who his partner is.

So like, you know, they wanted to create the world around that, but the surprise didn't come until later on. So, so, um, it was like, uh, it was, uh, it was, uh, it was not interesting, but I was very, I was all for it because I was like, you know, the story I've been hearing so much about it. And also Sidney is the most handsome man I've ever met in my life. So I was like, of course, we're not going to, we're not going to spoil the surprise, but I will, I did send a message to one, uh, listener after this, like, after I saw it being like, you're, you're going to like the Tugger-Mistoffelees like, just, just wait, it's going to come to see the show in a couple of weeks. I was like, you're going to love it.

They're going to be very excited to see that. So one of the other things I wanted to ask you about was the dance in particular, because there's for Mistoffelees, there's these, the very well-known turns, but then there's also, this isn't, you know, Julian Lynn's choreography. This is a mix of ballroom choreography. And you do some splits and stuff with your body. I still like can't, I can't fathom how you physically are able to do that. But can you talk a little bit about as, as someone who was, you know, trained at Juilliard, like as a trained dancer, like the going into this, like, how much did you particularly work on your numbers, knowing that there's this element that a lot of people expect from the Mistoffelees number? Was that brought in? Because I know you, I saw you weave it in, in a certain way.

[20:03] Robert "Silk" Mason: So when we first started, I don't, I don't think we really got to Mistoffelees until the third workshop. And then, because I didn't do this, the second workshop that they had was something different. And then, yeah, the third, the third workshop, we dove into it. And I was understanding how everything went, because they were like, you know, Mistoffelees walks runway. And, you know, and it's in the category. And how, for me, whenever I'm battling, I like to do a lot of tricks. I do a lot of turns, things like that. So they're like, we want to bring that in. And then also, you know, I have to have, I do contemporary, some jazz and stuff like that a little bit. And then we also put in some jazz setting and majorette.

I did majorette for two years when I was in South Carolina. Shout out to the elite forces of destruction. Hey, girls. But I did majorette with them for two years when I was in South Carolina. But figuring out how to mesh them with the, you know, enormous amount of times that Mistoffelees does in the regular production. And he's, you know, spreading out his magical flair throughout the audience and on the floor. For me, like, I wanted to bring, of course, myself into it, because my quirkiness within Mistoffelees' pizzazz, it has allowed me to really command the space in the area so that the notion of the original Mistoffelees still stays within the bar of Mistoffelees.

[21:47] Robert "Silk" Mason: Yeah. And that was, I thought, was such a, again, a cool part of that was you saw elements of it, but then I also saw like you, you know, we got your experience and your, you know, your take on it, which is really unique. There's a clip of me on OTA where it's actually the night that I won. I think it's in November. And I was processing the girls that night. I was not playing. I was like, I am over it. Also, there was a lot going on at that time. So I was like, I need to, but also for Ballroom, like it is a very big opportunity.

[22:48] Robert "Silk" Mason: I was like, I'll be making the girls disappear. And then I looked at them and I turned around because I always do this thing where I'm the tallest girl, not in the scene, but I'm usually the tallest girl that'd be walking. And I turn and I do like, oh, I didn't see you there. And I turn around and I continue walking. And then I win grand prize.

[23:10] Mike Abrams: I love it. So that is a very good question. Because as someone who is experienced in ballroom and comes from the ballroom scene and mixing in with the theater people, a lot of the people that listen to this show know CATS from the theater side. So what is, for someone who's coming to see it, how much ballroom do they need to know? What's the stuff that they should understand walking in to really fully embrace the entire production?

[23:40] Robert "Silk" Mason: I would say the integrity of what ballroom is. Because ballroom isn't just something that you can just come into and do. It's not going to be something that you fully understand because it's also dramaturgy and terminology that people may not understand. Like femme queen or butch queen or female figure. Somebody's going to look and be like, well, what does that mean? Which I wish that they provided in the program, which is more dramaturgy on what those different things mean. Also, cunt or that is fabulous or fab. Those are things that they would need to brush up on. But also just the minds of where we also live within the LGBTQ community as also one with being a community. There's a lot of communities that aren't really communities, but ballroom is also about family.

They need to know that ballroom isn't just something that, like I said, you can't just come and do. Not necessarily because you can be a 007, but it is also good, which I told people too. I was like, if you're not going to join my house, it's also good to also just be connected. Find those connections within ballroom because somebody in there could either save your life. Somebody in ballroom could also either give you an opportunity, something that or just amp your life up and give you something that you could have never even imagined. And coming in to see CATS: The Jellicle Ball and bringing the aspect of a ball into CATS, I would say, look up some things on YouTube. And like Junior LaBeija says in the beginning, if you don't know about ballroom or have ever seen ballroom, Google me.

Google Junior LaBeija, Google Paris is Burning. I think it's still on YouTube. I would say that in all of totality, Google Paris is Burning and Junior LaBeija, because it will definitely give you so much information on what ballroom is, the House of Extreme Organza, the Royal House of LaBeija, the Royal House of Nino Arici, the House of Mugler, Miyake Mugler, all of those houses. Make sure that you do your research on houses and what the integrity of what ballroom comes from.

[26:16] Mike Abrams: Yeah. And I love that you mentioned there's obviously the ballroom and the dance, but there's also the family aspect. And that's a huge part of what CATS is too, which is the Jellicles are a tribe and a family. And so it was just such a perfect parallel to bring these worlds together. And the way it turned out is incredible. And I'm glad you're getting all the props y'all deserve for it. It's been such a wonderful time.

[26:40] Robert "Silk" Mason: It's been a very emotional time. I've been crying. I've been crying. I don't even be crying during the performance, especially when Grizabella comes out and do her thing. I'll be like, ugh. Let's do the rapid fire. So if you could go on for any other Cat, whether you could sing it and dance it, just if you could go on one night, who would you want to perform as?

[26:59] Robert "Silk" Mason: I'll say either Cillabub, because I could sing. I was telling somebody the other day, I was like, I'll eat Cillabub up. I just love it. And then what else? Who else? I'll say Tumble Brutus, because Tumble Brutus has so many cool aspects and different things that he does in the play.

[27:27] Mike Abrams: Yeah, I love that. The Cillabub whole story is fun throughout the whole thing. Who are your favorite and least favorite Cats personality-wise? So who would you be good friends with and which one would bug you?

[27:33] Robert "Silk" Mason: I would say Grizabella. I would be very good, good, good, good, good friends with Grizabella, because when I was younger, I was raised by my grandmother and my grandfather and my aunt and my uncle. It was me, my older brother, and my younger sister. So I've always had elders or just people that I've looked up to in my life that have made sure that I'm okay and that I've also been able to either take care of. I took care of my grandmother before she passed and my grandfather before he passed. And just being able to also just be there for people and family means a lot to me, but also the people that have come before me, because we can be stubborn as young kids and things like that. And I've learned a lot in life, and I've definitely had... I've told you so.

So to be able to understand Grizabella's role and be like... Also, in general, I like to be aware of where I am and the older people in the space. I don't want to say older people, but you know what I mean. Because you have to understand and respect them. They weren't born yesterday, so don't try it.

[28:54] Mike Abrams: Do you have a least favorite? Which one bugs you?

[28:59] Robert "Silk" Mason: I would say... Oh my God, I love Macavity. I feel like we would be good friends, but I'd be like, I'm going to watch you, girl, because I'm going to... I don't be doing all of that. I don't trust Macavity. I don't be doing all of that. Well, it's not that I don't trust them, because I'd be the one to be like, so if you're going to do that, just make sure you give me something too. I love it. Just make sure that I could... Best in the glory. And we all good. If you need somebody to help you cover up, I got you. I love it. We can have some fun with this.

[29:38] Mike Abrams: What's your favorite song in the show?

[29:42] Robert "Silk" Mason: I'll say Grizabella, the Glamour Cat.

[29:44] Mike Abrams: Okay. Yeah. So my question is, I've been trying to figure out, what would you name a house if you were Mistoffelees? What would Mistoffelees house be named?

[29:48] Robert "Silk" Mason: I wouldn't want it to be the... It probably wouldn't be the house of Mistoffelees. I don't know. Okay. Or is he not leaving one? Honestly, I was about to say, honestly, for me, even though I have my own... I don't think Mistoffelees would have his own house.

[30:06] Mike Abrams: Okay. So whose house would he be?

[30:13] Robert "Silk" Mason: Yeah. I feel like he would be a very big, like, leader and supporter of the community. Somebody that you can go to and they just have it for you.

[30:19] Mike Abrams: Yeah. Okay. He could be somebody, a lending ear, a shoulder to cry on, somebody that you could keep around.

[30:26] Robert "Silk" Mason: Okay. Yeah. So my important question is, I've argued at length that I don't think Grizabella is the right jellicle choice. So do you want to defend Grizabella? Or who would you choose to be your jellicle choice if you were picking?

[30:41] Robert "Silk" Mason: I have three. Okay. I would say me, of course, because I bring all the Deuteronomy back. So I think that I was like, girl, why not? But also I just think that would just make too much sense. I would say Tumble Brutus because they're just a firehouse in the production. They do so many things that other people can't do that I've also literally never seen before. So I would say Tumble Brutus and Victoria. I was like, because also Victoria is just so beautiful. They're very big caretaker within the scene of what CATS: The Jellicle Ball is. Um, Primo, who is Tumble Brutus and Baby, who is Victoria. Also in my life, I feel like they have made a big impact on me. So I feel like if also, if it were to be something in real life too, like, I feel like they would be the ones to be chosen.

[31:47] Mike Abrams: I love it. I love any way that's not Grizabella chosen. So I like, I do, I have heard people have argued on this podcast for Rastafaris because of bringing old dude. So it has, there's, there's a couple of votes for that exact reason. So I love it. Um, how can people stay in touch with you on social media?

[32:06] Robert "Silk" Mason: Um, I would say you can find me and friend me on Facebook at Robert Mason, and then you could follow me on Instagram at underscore Robert Silk, Mason underscore. And also you can also follow my house page at the Royal House of Silk.

[32:22] Mike Abrams: We will tag everything as well as how to get tickets to the show and share everything as well. So this has been so fun. Thank you for coming on and sharing your experience. It was a blast.

[32:33] Robert "Silk" Mason: Yes. Now I got to stretch and meditate before this next show. I'm excited to see my family and friends and my kids. It's going to be a great time.

[32:40] Mike Abrams: I love it. Yeah. We were recording this right before between shows, but before your family is going to be at your production tonight.

[32:52] Robert "Silk" Mason: So you shouldn't be the Jellicle choice tonight because everyone's there waiting for you.

[32:56] Mike Abrams: Yes. I don't have a group of people waiting for me. That is awesome. Well, this has been so fun. So thank you. And thanks everyone else for listening to this episode of The Wrong Cat Died. The podcast breakdown, the cat's feet to follow along. You could subscribe on Apple Podcasts, Spotify, or any else. This is a podcast. Follow us on Twitter, Instagram, TikTok, or check our website, thewrongcatdied.com.