André De Shields, the celebrated theater veteran from Baltimore, has experienced a career full of extraordinary moments. Yet, he was still taken aback by an unexpected outburst from an audience member during the Off-Broadway run of ‘Cats: The Jellicle Ball,’ a groundbreaking reinterpretation of Andrew Lloyd Webber’s classic musical set in a queer ballroom competition.
“When I first heard it,” De Shields recounted, “I initially thought, ‘Who’s daring to call me a bitch? Do I need to tap into my Baltimore roots? Where’s my blade?’”
He then recalled being halfway down the stage’s runway when, with unmistakable ballroom flair, someone from the audience with a fan declared: “Bitch, you ate that!” It dawned on him immediately that he had just received one of ballroom culture’s highest compliments. In that instant, he recognized it as his initiation into the world of ballroom.
As Old Deuteronomy, the venerable patriarch of the Jellicle Ball, De Shields presides over a fiercely competitive, dance-infused annual gathering of cats, ultimately deciding who ascends to the mystical Heaviside Layer. Now, he’s gearing up for the Broadway debut of this Zhailon Levingston and Bill Rauch production, with previews starting March 18 at the Broadhurst Theater.
De Shields, 80, a Tony winner for his role as Hermes in ‘Hadestown,’ isn’t the only revered icon joining the ‘rough-and-tumble kittens.’ Junior LaBeija, 68, a legendary ballroom figure and unforgettable M.C. famed for his sharp wit captured in the 1991 documentary ‘Paris Is Burning,’ will be making his Broadway debut as Gus the Theater Cat. (A New York Times review of the show’s 2024 Off-Broadway run at the Perelman Arts Center praised LaBeija’s Gus as ‘a catty old queen’ who ‘can still throw ample shade,’ while commending De Shields’s ‘unsurpassed ability to freeze attention onstage.’)
The younger members of the cast have found immense inspiration in the veterans’ wisdom and sheer presence. Robert Mason, known as Silk, who portrays Magical Mister Mistoffelees, expressed how deeply he was affected by De Shields and LaBeija’s willingness ‘to share who they are as Black queer men in this world, being able to continue following their dreams at their age and knowing that this is where Black excellence can get to.’
Mason, 26, shared a particularly touching memory of receiving an invitation from De Shields to walk with him in the 2024 Village Halloween parade. He explained that ‘being able to be in the space with them truly opened my eyes to the heights I can reach and the achievements I can still pursue.’
On a brisk winter afternoon, De Shields and LaBeija convened in Midtown Manhattan at the intimate AMT Theater (run by a friend of De Shields’s) for a lively discussion. They talked about the profound connection between elder ‘cats’ on the runway, the essence of mentoring new generations of artists, and even reminisced about the mid-1970s, when LaBeija, then a young admirer, struggled to afford a ticket to see De Shields and Stephanie Mills in ‘The Wiz.’ These are excerpts from their conversation:
Had you two met before doing ‘Cats: The Jellicle Ball’ Off Broadway?
ANDRÉ DE SHIELDS No, though I was certainly aware of his iconic status from watching ‘Paris Is Burning.’
JUNIOR LABEIJA When André was on Broadway all those years ago, I simply couldn’t afford to see him and Stephanie. My ballroom girlfriend and I would go to the theater just to wait for the doors to open, hoping to catch a glimpse or hear their voices. I was drawn to drama and theatricality, but I never wanted to be an entertainer. I detested it. It felt horrible to me. I vowed never to be a Stepin Fetchit, a Dorothy Dandridge, or a Hattie McDaniel, tap dancing for an audience. And yet, look where destiny has led me.
DE SHIELDS Exactly where you were meant to be.
LABEIJA He is the sole reason I remained in the show, truly. When you encounter such greatness, you feel compelled to preserve it for others. I’d constantly ask, “André, why aren’t you in Madame Tussauds wax museum?” [De Shields laughs.]
DE SHIELDS That’s precisely why ‘Cats: The Jellicle Ball’ launching on Broadway now is so significant. I view it as a convergence of history and evolution. While we in the arts aren’t typically meant to be political, I must acknowledge that this wouldn’t be happening now were it not for our current political landscape. Society, in all its American facets, simply hadn’t matured enough to shed rigid traditions and embrace what was once considered an ‘oddity.’ We, the members of the Jellicle Ball—those of us who have lived on the fringes of society for much of our lives—were still underground, the missing piece. It never stopped us from creating profound, enduring art. It just took everyone else a lifetime to finally recognize, appreciate, and desire it.
How do you envision the relationship between Old Deuteronomy and Gus?
LABEIJA One day, I arrived at rehearsal early, determined to make a strong impression—no ballroom diva antics. I sat outside and listened to Grizabella singing ‘Memory.’ The lyrics resonated deeply with what I wanted Gus to convey. I wanted the audience to understand my love for Deuteronomy. When I saw him, and bowed in homage, I sent a subliminal message: ‘I will accept you choosing her, because I’ve chosen to grow old and die by your side.’
DE SHIELDS I wonder if you recall this specific moment in Act II. Gus the Theater Cat was at the center of the runway, and I was at the far end, seated on my throne, having just asked him to sing again. A palpable frequency emanated from Gus, traveling directly to me. As he delivered his tour de force, I saw a younger version of him onstage, a memory of our vibrant youth, when we were deeply in love. It was completely unscripted. Nobody knew it would happen until it did.
You both have been groundbreaking performers, each in your own right.
DE SHIELDS We are, if you will, perfectly ‘typecast’ in a very intelligent way. We embody the elders; we are the longest living, the most experienced. The only true private moment in the show unfolds between Gus and Deuteronomy.
What wisdom did you share with the younger cast members?
LABEIJA My primary role was to serve as a wellspring of information, encouraging everyone to be free, to be authentically themselves as artists. You’re not just an entertainer; you are an artist. I simply demonstrated that I’m here, having learned my craft in ballroom. You, in theater, know how to do it through theatricality and dramaturgy, all those terms I’ve come to understand.
DE SHIELDS Indeed, I offered my assistance, not through formal classes, but by simply sharing what I know, making it freely available. If you desire it, it’s yours. Remember, the true strength of your character lies in your ability to be still.
You’ve both spoken about fostering support and avoiding judgment, but isn’t a significant part of ballroom about judging?
DE SHIELDS You are judging from a place of unconditional love. There’s nothing inherently wrong with judging or having an opinion, as long as you are not projecting your own insecurities onto that opinion and, in turn, onto the person you’re speaking about.
LABEIJA Humans naturally gravitate towards groups or spaces where they feel safe and comfortable. Ballroom served as a sort of charm school, where you learned to hone your artistry before venturing into the mainstream. For anyone watching ‘Cats: The Jellicle Ball,’ I hope you take away the profound family values we showcase.
Entrances are crucial in this production. What’s the secret to a memorable one?
DE SHIELDS If you’re not prepared, if you haven’t fully inhabited each moment, your entrance won’t feel genuine. If you have to pause for a breath just before you step onstage, it reveals a lack of confidence—not necessarily in your actions, but in who you truly are.
LABEIJA In theater, he is unapologetic and utterly unbothered. In ballroom, I am unapologetic and utterly unbothered. Together in theater, I have truly learned about Black excellence. It’s not just a feeling; it’s a living reality. This play powerfully showcases Black excellence. One night, I asked André, ‘Where are you off to?’ He replied, ‘Oh, I’m going to gather with friends and enjoy champagne and caviar with my family.’ Excellence! I’ll definitely keep that lesson in my back pocket.
Additional cinematography by Jensen Gore.