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[0:15] Mike Abrams: Welcome to The Wrong Cat Died, the podcast breakdown of The Cat Statutory. I'm your host, Mike Abrams, and today we have another amazing guest. You probably know her as Gloria Estefan from On Your Feet, or from A in the recent Lincoln Center play, N.A., or from many TV and movie credits. But what you might not know is she was Grizabella in an all-girls Catholic high school in Miami back in the day. So welcome, Ana Villafañe, and thank you for joining me.

[0:41] Ana Villafañe: Thank you. Thank you for having me. I'm so excited. This is one of my favorite topics.

[0:45] Mike Abrams: I know. So let's start with how we got here, because I think that's hilarious in itself.

[0:51] Ana Villafañe: An origin story.

[0:52] Mike Abrams: At BroadwayCon.

[0:53] Ana Villafañe: That's true.

[0:54] Mike Abrams: You came, and you were the panel after me, and you were with Eli, right?

[0:57] Ana Villafañe: Correct.

[0:58] Mike Abrams: Take a bow. I love Eli. Great.

[1:00] Ana Villafañe: Oh, my God. Amazing.

[1:02] Mike Abrams: But I had just had the Pearlman Performing Arts Center. We did the dance, and everyone told me that you were obsessed with Cats, and that you were so mad you were missing it because you had to do your shows. And I was like, oh, okay, whatever. We'll talk. And then I get home, and I'm seeing your story. And not only did you post on the way to BroadwayCon, but you threw in all the Cats music as you could, even though you weren't coming to talk about Cats at all.

[1:26] Ana Villafañe: No. Cats is just a way of life, I feel.

[1:28] Mike Abrams: Just everything for you.

[1:29] Ana Villafañe: Yeah. I'm dying laughing because I have been obsessed with Cats for so long. I've also been obsessed with Andrew Lloyd Webber in general, but Cats in particular, it's one of those shows that if you do it, it's a forever thing.

[1:43] Mike Abrams: Even high school.

[1:44] Ana Villafañe: You are a jellicle. Correct. You are a jellicle cat, and that is it. But you are correct. I went to BroadwayCon in between shows, straight from Lincoln Center and back, and I was devastated to have missed you guys, but I did catch, I mean, pun intended, the tail end.

[2:01] Mike Abrams: Oh, yeah.

[2:03] Ana Villafañe: And I got to just, I don't know, just feel the love and feel the energy in the room. And it was great. It was great.

[2:10] Mike Abrams: We were doing the dance.

[2:11] Ana Villafañe: I know. I know. I'm so jealous.

[2:12] Mike Abrams: Did you learn it?

[2:13] Ana Villafañe: The choreographers were there.

[2:14] Mike Abrams: Yeah.

[2:15] Ana Villafañe: You should have come in at the very end and picked it up.

[2:17] Mike Abrams: And just started. And just joined the jellicle ball.

[2:19] Ana Villafañe: The group there, myself included, were not trained dancers.

[2:23] Mike Abrams: Right.

[2:24] Ana Villafañe: Most of us were not ready for that experience.

[2:26] Mike Abrams: I just wanted to give you your moment, okay?

[2:28] Ana Villafañe: Yeah.

[2:28] Mike Abrams: I just wanted to give you your moment. It was not my moment.

[2:32] Ana Villafañe: It was super fun, and there's great videos from that.

[2:35] Mike Abrams: Yes. Okay, so give me the history, though. Was it pre-high school? Like, when did you become obsessed with Cats?

[2:41] Ana Villafañe: I mean, look, I've been a fangirl in terms of just, like, being a theater nerd forever. I did my first musical when I was nine, and it was an Andrew Lloyd Webber show. So, you know, I drank the Kool-Aid pretty early, and I would listen to all the different albums, all the different versions, all the different iterations of all the greats, right? So, whether it's Starlight Express, whether it's Cats, whether it's any musical. Specifically, Aildub, right?

[3:08] Mike Abrams: Yep.

[3:09] Ana Villafañe: And when I was a senior in high school, and yes, it was an all-girl Catholic high school run by nuns in Miami, Florida, with no theater, mind you. We had a cafetorium, so it was a cafeteria with a stage where we did masses, and there was no theater program to speak of. But, you know, the director, the choir director, wanted to put on Cats. And we all, as a graduating class, wanted to do, like, The Sound of Music or something, not Cats. But then, you know, somehow we ended up doing Cats, and all the departments came together, and, you know, the art department made the sets and the costumes, and the dance department was involved, everybody was involved. And when the auditions came, and it was, you know, it's senior year, it's like the big show.

[3:59] Mike Abrams: Yeah.

[3:59] Ana Villafañe: And when the auditions came, I'm a 17-year-old girl, so I want to be a sexy cat. I want to be, like, I really wanted to be Rum Tum Tugger, again, since it was all girls.

[4:07] Mike Abrams: All girls, yeah, you could have. You had a chance.

[4:08] Ana Villafañe: So that was my dream. I wanted to be, like, that hot cat, right? But I got cast as Grizabella, and I was so mad. And it's funny because the girl, Carol Ordonez, who got Rum Tum Tugger, wanted to be Grizabella, and I wanted to be, you know.

[4:22] Mike Abrams: She just switched.

[4:22] Ana Villafañe: So, exactly. And so it was a really big deal at the time, like, you know, like, that moment of, like, looking at the cast list after the auditions. And I was like, fuck, I should have sung less.

[4:31] Mike Abrams: Yeah.

[4:32] Ana Villafañe: Like, I should have danced more at the audition and sung less. But it all worked out, you know. I actually got signed off of that show, and it led to my career, which is hysterical.

[4:42] Mike Abrams: So, definitely the origin story.

[4:45] Ana Villafañe: It's your, it's like your villain origin story.

[4:46] Mike Abrams: It really is.

[4:47] Ana Villafañe: It's your Joker. It was that you got Grizabella instead of Rum Tum Tugger.

[4:51] Mike Abrams: Correct. And my vendetta ever since has been trying to just—

[4:53] Ana Villafañe: Prove it. Prove everybody—

[4:55] Mike Abrams: Prove that I can dance, too.

[4:57] Ana Villafañe: I want to go back to, can you imagine being in the room with all the school, like, the nuns of the school being like, well, we want to do Sound of Music. And it's like, no, we want to do this story where basically they're all going to crawl on top of each other.

[5:08] Mike Abrams: Correct.

[5:09] Ana Villafañe: And then we're going to sacrifice one at the end.

[5:12] Mike Abrams: That is correct.

[5:12] Ana Villafañe: It's like such an opposite of what you would expect in your other choice was one where literally the main character goes to a nun.

[5:19] Mike Abrams: And there's nuns.

[5:19] Ana Villafañe: There's a nunnery.

[5:20] Mike Abrams: Correct. I think that it was easier to not have boys. Do you know what I mean?

[5:24] Ana Villafañe: Yeah.

[5:24] Mike Abrams: Because they could, like, gender, like, I mean, technically it was very ahead of its time.

[5:28] Ana Villafañe: Yeah.

[5:28] Mike Abrams: We did a gender neutral Cats, and it was just—

[5:32] Ana Villafañe: But they were still Tugger, and they were still all—

[5:34] Mike Abrams: Oh, yeah. Nothing was changed. No part of the storyline was changed. No lyric was changed.

[5:39] Ana Villafañe: It was just all females. Like, it was kind of a feminist movement.

[5:43] Mike Abrams: Yeah. That is so bad. Okay. Well, now we got to walk through some of the parts of this, like of this lore of it.

[5:48] Ana Villafañe: Absolutely. Wait, I also have to tell you that, okay, so for anybody listening right now, long story, but this interview was supposed to happen approximately an hour and a half ago, but I had left my ID because I switched bags this morning when I was leaving my apartment to come do this. And instead of putting in my wallet, what I did was I brought my unitard from my high school production of Cats. I kid you not. And I tried it on this morning. I was going to wear it, but I thought it would be really weird on the train.

[6:18] Mike Abrams: No, wait, so—

[6:19] Ana Villafañe: This is—

[6:20] Mike Abrams: Well, it wouldn't be weird on the train. That's not my worry. I've seen weirder on the train.

[6:24] Ana Villafañe: That is incredible. So we are recording this live, and we're recording this in a very corporate setting because that's where we can do live. So it wouldn't have been weird on the train, but it would have definitely been weird walking around this building we're at.

[6:35] Mike Abrams: I love that you—

[6:36] Ana Villafañe: Yeah, so that's why we're delayed, is because the unitard took place over—

[6:41] Mike Abrams: Yeah.

[6:42] Ana Villafañe: But that's very— Is that from the show?

[6:44] Mike Abrams: Yes, that is from my high school production of Cats.

[6:46] Ana Villafañe: It's very not Grizabella.

[6:47] Mike Abrams: No, so I wore this because I had to still do the opening number.

[6:51] Ana Villafañe: Yeah, baby grits.

[6:52] Mike Abrams: I had to still do— Right. I had to do— And then this was under my coat.

[6:56] Ana Villafañe: Okay.

[6:57] Mike Abrams: And then this was with heels, these silver heels, and my hair was all curly, and dusted gray. But you guys can't see this, but it's gray. We'll take a photo.

[7:10] Ana Villafañe: Yeah, we'll take a photo of it.

[7:11] Mike Abrams: It's all gray, black, and orange, and striped. And then the tail is gray, white, and black, and a little bit of orange.

[7:18] Ana Villafañe: It does feel very Tugger.

[7:20] Mike Abrams: You know, listen—

[7:21] Ana Villafañe: Little Skimble, maybe?

[7:24] Mike Abrams: She was a hybrid. She was a hybrid. But as soon as I put on that dusty coat, it was all Griz.

[7:30] Ana Villafañe: Yeah. Oh, wow. That is—

[7:32] Mike Abrams: So you're welcome. I brought a relic.

[7:34] Ana Villafañe: I'm not only amazed that you still have it, that it's made it from Miami to New York.

[7:40] Mike Abrams: Oh, yes.

[7:40] Ana Villafañe: Do you just put this on randomly?

[7:42] Mike Abrams: I mean, I put it on this morning. I literally put it on this morning, and I was like, I should wear it, but there was no way.

[7:47] Ana Villafañe: No, no, no.

[7:48] Mike Abrams: There was no way.

[7:49] Ana Villafañe: But at least you got into the mindset for today. You are ready to go. Okay, so—

[7:53] Mike Abrams: I mean, minus not having my wallet.

[7:55] Ana Villafañe: Yeah. Yeah, that's okay. We're here. We're here, and we're making it work.

[7:59] Mike Abrams: All right, so take me through what the process is like for putting on a show. How many actual performances did you do? Did they give you all the story? What do you remember of it?

[8:13] Ana Villafañe: I remember, I mean, we did the whole, you know, the origin of the T.S. Eliot poems and everything, and a lot of studying the film, the film version, the—

[8:24] Mike Abrams: 1998.

[8:25] Ana Villafañe: 1998.

[8:26] Mike Abrams: 1998.

[8:27] Ana Villafañe: Yeah. Oh, yeah, because 81 is the show itself, right? So, 1998, like a lot of the film, a lot of studying Cats, like the actual animal. I was very into that. I was also very into the idea of being disposed, you know, in terms of playing Grizabella, and in terms of a feeling like the forgotten cat, if you will, or like someone who already peaked, and who is—

[8:59] Mike Abrams: At 17.

[9:00] Ana Villafañe: Right, exactly. I really had to tap into something, but also just like that feeling of being ostracized. So, that's kind of what I drew from, to be honest, because I was kind of a weird kid, and like, you know, had a lot of things going on that made me feel like I could never really be part of the group, and I loved, actually, those scenes.

[9:21] Mike Abrams: Yeah.

[9:22] Ana Villafañe: Like, I loved coming in that first time, that first time coming in as Grizabella, and just feeling so shunned, and feeling so— And I remember, because all of my friends are on stage, and I'm in high school, and I'm just like, oh my god, everyone's being so mean to me, but I did actually really understand her, to be fair. I will say, I mean, for my high school casting department, they did kind of nail it because I did have a lot to draw from.

[9:48] Mike Abrams: I mean, I don't want to judge off the rest of your school here, but you have to probably be one of the best singers, too. Like, I mean, you very clearly are incredibly talented, and have taken off doing this professionally for a long time, that maybe they saw something.

[10:03] Ana Villafañe: Yeah, I mean, listen, I was very much that girl, like with the singing, and I was the president of the choir, and all those things, and mind you, I didn't even want to go to that school because I wanted to go to the performing arts school, but my parents made me go to the high school that I went to because my sister went there, and it was a Catholic school, and they told me they didn't want me to end up weird, and I was like, ha-ha, I still did.

[10:30] Mike Abrams: The Catholic school is not gonna—

[10:31] Ana Villafañe: Yeah, I know, exactly, right? But I was always singing, I was kind of anti-choirs, I hated the concept of blending your sound, I always felt like that was so mean, I always felt like, why? People should sing like themselves.

[10:47] Mike Abrams: Yeah.

[10:48] Ana Villafañe: So, singing was very much my thing, growing up, and so, yeah, I guess, you know.

[10:57] Mike Abrams: Who taught you the show? Was it a nun? Please tell me it was a nun.

[11:02] Ana Villafañe: It was not a nun, it was Dr. Walter Bussey, who was our choir director, and the music guy at school, but it was kind of us, we kind of took from the show, I mean, from the movie, and kind of from the music itself, and from the lyrics, and from the score.

[11:22] Mike Abrams: But did you get into some of the darkness and craziness? That's a lot for 17, that's quite a show.

[11:28] Ana Villafañe: Yeah, I mean, so, I grew up with a disability, and so, for me, personally, I really just injected a lot of that into it. Because I was a kid who couldn't always play at recess, or, you know, during phys ed, and all of that, like, I had to sit out a lot as a kid growing up. So, I just took from that, and I took from my own experiences as a kid with a disease for old people, because I've had rheumatoid arthritis since I was seven. So, like, I was like, oh, I get this. Like, I actually kind of understand being, like, the one who can't really be at the party. And I think, regardless of, like, being disabled or not, like, I think, actually, a lot of kids can understand that because kids can be brutal.

[12:18] Mike Abrams: Yeah, high school was, like, a lot of Grizabellas.

[12:20] Ana Villafañe: Exactly, that's what I mean. So, like, if you're, like, sitting at the dance, not feeling like the pretty girl who everybody wants to dance with, like, you have it, you have the well to draw from. But, like, did they tell Victoria what she's doing when she's doing her thing?

[12:35] Mike Abrams: I don't know.

[12:36] Ana Villafañe: Again, it's not weird.

[12:38] Mike Abrams: Yeah, it's a very existential show.

[12:40] Ana Villafañe: Yeah, like, there's a lot to it. I didn't recognize or know at all before I started this show. Like, what I saw, I was just like, oh, it's well-known dancing, singing. But then when I first saw it, there were children everywhere around me. And for a while, I joked, I don't think children should see it. And then as I've learned more, I'm like, there's a couple very clear moments where, if you're paying attention or if you know it really well, these are sexual or dark or...

[13:03] Ana Villafañe: Totally.

[13:03] Mike Abrams: And so, like, I think back to, now I'm like, kids go see it, it's going to go right over your head.

[13:07] Ana Villafañe: Correct.

[13:07] Mike Abrams: But, like, you're in that formative stage where it's like, you're going to get it, you understand it, you know it, and you're probably seeing it. Now you're being asked to do it in front of a bunch of nuns. Like, it's, like, crazy.

[13:18] Ana Villafañe: I mean, I feel like, you know, that's the beauty of theater in general, right? Like, you get to kind of pick your own adventure. And, like, the people who stay with it usually are the ones who did go deep into the characterizations, into, like, the writing, into, you know, the subplots, whatever. And then there's the people who are there to perform, and there's the people that are there to, you know, do the splits and twirl, which is also fine. There's different levels of storytelling. And I think, like, I, from a very young age, was always asked to do, like, the crying monologue or whatever. So, I guess, like, that was always going to be, like, my thing, and I just didn't really realize it.

But I think there's somebody, there's something for everybody when it comes to Cats. Obviously, aesthetically, there is so much technique, there's so much visual, there's so much aesthetically going on. It's so conceptual and creative, like, you know, all of it. And then peeling back those layers, you really find the depth, which, like, leads perfectly to this summer, the Cats at Downtown, which was genius.

[14:30] Ana Villafañe: And I wept. I mean, I think I told you, actually, I literally wept during the over, like, just when I sat down and the music started, I lost it because it immediately transports you. And yes, the music is, like, a little weird, and it's all a little weird, but you just have to kind of, like,

[14:46] Mike Abrams: Welcome back to The Wrong Cat Died. Today, I’m thrilled to have Ana Villafañe with me, who played Grizabella in her high school production of CATS at Our Lady of Lourdes Academy. Ana, how are you doing today?

[15:16] Ana Villafañe: I’m doing great! Thank you so much for having me, Mike. I’m really excited to talk about CATS and my experience with it.

[15:36] Mike Abrams: Absolutely! So, let’s dive right in. You mentioned that you played Grizabella. What was your initial reaction when you found out you were cast in that role?

[15:56] Ana Villafañe: Well, when the auditions came, I’m a 17-year-old girl, so I wanted to be a sexy cat. I wanted to be Rum Tum Tugger, and since it was an all-girls school, you could have that. That was my dream. But I got cast as Grizabella, and at first, I was a little disappointed, but then I realized how much depth the character has.

[16:16] Mike Abrams: That’s interesting! What do you think made you change your mind about Grizabella?

[16:36] Ana Villafañe: I think it was the challenge of portraying such a complex character. Grizabella has this heartbreaking story, and I felt a connection to her struggles. It became a journey for me to understand her and bring her to life on stage.

[16:56] Mike Abrams: That’s a beautiful perspective. How did you prepare for the role? Did you do anything special to get into character?

[17:16] Ana Villafañe: Yes! I listened to the soundtrack on repeat, watched different productions, and even read up on the character’s backstory. I wanted to embody her emotions and really connect with the audience.

[17:26] Mike Abrams: That’s great! What was it like performing in an all-girls production? Did it change the dynamic of the show?

[17:36] Ana Villafañe: It definitely did! There was a unique energy among us. We all supported each other, and it felt like a sisterhood. It was empowering to see everyone step into their roles, especially since we were all passionate about the musical.

[17:46] Mike Abrams: I love that! Now, what was the audience's reaction to your performance as Grizabella?

[17:56] Ana Villafañe: The audience was really receptive. I remember hearing sniffles during “Memory,” and it felt amazing to know that I was able to touch people’s hearts with my performance.

[18:06] Mike Abrams: That’s incredible! “Memory” is such a powerful song. How did you feel when you performed it?

[18:16] Ana Villafañe: It was nerve-wracking but also exhilarating. I poured all my emotions into that song, and it was a cathartic experience for me every night.

[18:36] Mike Abrams: I can only imagine! Now, aside from CATS, what other projects have you worked on that you feel connect with your experience in this production?

[18:56] Ana Villafañe: I’ve done a few other musicals and plays, but I think the most significant was when I played a character who also had a lot of emotional depth. It reminded me of Grizabella and how important it is to tell those stories.

[19:06] Mike Abrams: That’s a great connection. It sounds like you’ve really embraced the emotional aspects of your roles.

[19:16] Ana Villafañe: Absolutely! I think it’s essential to connect with the characters on a deeper level, especially in musicals where emotions run high.

[19:36] Mike Abrams: Definitely! So, what’s next for you? Do you have any upcoming projects or roles you’re excited about?

[19:46] Ana Villafañe: I’m currently working on a few things, but I can’t share too much just yet. I’m excited about the future and hope to continue performing and telling meaningful stories.

[19:56] Mike Abrams: That’s fantastic! I can’t wait to see what you do next. Thank you so much for joining me today, Ana. It’s been a pleasure talking about your journey with CATS and Grizabella.

[20:06] Ana Villafañe: Thank you for having me, Mike! I had a great time.

[30:02] Ana Villafañe: I don't know if it's like, in youth again, and but with all the experience or wisdom, even if it's not like frontal lobe, but like subconsciously, yeah, with that pre-experienced life. So that's where it's in there. Because if that's the case, I feel like I want her to have one more year with her family. So I wanted to next year's choice. And if I interpret it as death now with nine lives, but like, I'm going to come back as a totally different being, right? And we had just accepted her. So I don't want her to be accepted, and then go and be the choice and go back. This is where the Perlman's version kind of ruined it, because it didn't feel like death. It felt like going back into the world as Grizabella, which is like, yeah, that's exactly what I'm what I want.

But I want her to stay one more year. Because you were bullied, you were like, exiled. And now it's like, welcome back. And then my version was like, bye, right. But maybe there's time. Maybe going to the Heaviside Layer is like, everybody does know for a period of time. It's kind of like when you're nominated for an Oscar. Yeah, but it's that night. I know, but once a year that night, well, that's the question, right? So if you are your argument, I have zero disagreements with, right, except for we disagree on what that is. So that's where I argue differently, right? Is if it's gonna be like, we're gonna send somebody to start next, I'm sending Gus. Right? I hear you. I hear you. Truly, I'm sending if I'm treating this like American Idol or X Factor, I'm probably sending someone else anyways, right?

Because who's your choice? Well, I mean, my choice by logic is Gus based on exactly that I want the exact same story. And I want Gus to then go because I think he's past his time totally needs it in the time to go. And he can now start fresh, right as a new person and Grizabella still gets her redemption still gets to be accepted into our family. But now I could be the year where somebody else's like, everything she used to look at how great she is. We love her, right? I really want an audience voted version. Because I think that would be really fun. And I think it would also bring some really fun to the cast of like, I was at a show the other day, and the person that I had interviewed for the show, they had their whole like 100 dance students there.

And let me tell you the energy every time she was on stage was insane. And I keep thinking, like, imagine if we did an audience vote, right? And like, she's Rum Tum Tugger or whatever, go that night, because they got 100 students cheering for them. So I do think that that's kind of fun of like, who brought it who had a different like energy? Who did this? Does this city skew a little bit more towards being Tugger fans, right? Words, they really embrace monkeys trap, like, I think that maybe city by city on tour would be that way. Yeah, that's what I really want. My original joke, what started this whole thing was I saw Leona Lewis, and I saw X Factor, right? X Factor created Fifth Harmony and One Direction by bringing a bunch of individuals together.

So I was sending Tugger and Mistoffelees together. Send them up. That's the boy band. Yeah, that's the boy band. I want the two of them to go. And they leaned into that at pack, which was great. But that's that was my vote. How did you feel about the movie? Which movie? Oh, the 2019 one? Yes. I think there's a good movie there if they re-edited it. Oh, wow. I do think that review. That's my review. I did see, I mean, I talked to somebody recently who's in it. Yeah. So they were Macavity girl. They're in Moulin Rouge, Sofia Carmen Jones. And it was kind of interesting to hear how like, they thought about it. My gripe with that whole movie from day one was they have some of the most talented dancers you will ever find.

Andy Winkler, you're doing the choreography. I couldn't see it. I know because of the way they jump around. Like I even rewatched her scene trying to be like, all right, where? And I was like, she was just there and then it jumps me. So I think if they just would have zoomed out a little bit. Yeah, some of those scenes allow it to be almost the stage version. Yeah. And you can still do some versions of it. But like, I think if you do that, it would have been much better. Yeah. In that sense, because you would have seen the talent that they had in the cast come out a lot more. There still would have been some of the like, it is a little over the top and the CGI was a little crazy. Some of the distortions of proportions.

And I mean, like, I could have got over all that, though, because like, it's still cats. Like, exactly. That's I was a happy person at that premiere. I was because again, it is so it is such like part of my lore. Yeah, that I'm obsessed with cats. That like, those that's the only reason why I was at both the opening for the revival. Yeah. In 2016. And at the premiere, like, I'll be there. Because I got invited just because of my obsession. Yeah. Because I've been so open and so like, vocal about the championing this musical. I went to we went to a press viewing like the week before the premiere. Yeah. And it was not done. You know, like, at that point, they were still kind of working on it was very strange.

A lot of it just seems like, it seems like there were some people, I don't know who, but there were some decisions made that like, almost honestly ruined it for a lot of like, really talented people that put together probably like there's some really great performances in there. Yeah. And I just like, I feel bad because it became a, you know, a complete laughing stock. It's again, why this happened is I saw the trailer, right? And I made a joke. I made the joke about Grizabella being the wrong choice and the movie was going to set the record straight. That is the genesis of this entire show. Wow. Was that trailer is now because yeah, five plus years later. Well, and I embarrassingly I like went up to Sir Andrew at the after party at Tavern on the Green and I was like, I am just so obsessed with you, blah, blah, blah.

I don't know if you remember me. He's like, of course, I remember because we met at the White House in 2016. When I was we were doing like a Thanksgiving thing and I don't remember what show he was. I think maybe he was there with cats. Yeah. And I was there with On Your Feet. And I was so embarrassed that he even remembered me. And I was just like, I've like, this was the day. This is the day like I never have to do it. There's nothing. I can't top that. Yeah. I mean, like I was like, what's your dream role from any of his shows? Take care. Let's take cats out. I've always wanted to play Norma Desmond. I cannot wait to watch Sunset Boulevard now that it's here. I wanted really badly to see it last year in London.

I think Jamie Lloyd is a genius. I'm actually really excited to hear Nicole on the entire score, not just, you know, my favorites. I grew up singing as if we never said goodbye. I also honestly I think that Mandy Gonzalez is going to be absolutely like I'm gonna have to go for each of them. Yeah. You know, for Nicole, for Mandy and for Caroline Bowman. I think that those voices between Nicole, Mandy Gonzalez and Caroline Bowman, like that's that is fierce. Yeah, that show is going to be I have not had a chance to see it yet. I'm excited. Yeah. Another Isabella. Yeah. On stage. Exactly. I'm in the coal. This has been so fun. How can people stay in touch with you on social media and all the other things you're working on and doing?

So fun. Um, I am mostly on Instagram. I want to say Instagram and threads and a VF any official and TikTok, but I always I pretty much forget that I have TikTok. And then every month I like, remember and go on for one day. Yes. But I'll get better. I'll get better. But I'm very excited to come back on stage and to be bringing Sinatra to Broadway and to continue being a little Jellicle cat on my free time. You know, yeah, we're gonna manifest a Grizabella in your future. Yes. That's the goal. I'm so glad we got to do this. Thank you for your time. And thanks everyone else for listening to this episode of The Wrong Cat Died. The podcast breakdown, the cast fee to follow along. You can subscribe on Apple Podcasts, Spotify, or any else. The podcast falls into their Instagram and TikTok and threads at The Wrong Cat Died or check our website, therightcat.com.