Before Old Deuteronomy can announce his decision, Grizabella returns to the junkyard and he allows her to address the gathering. Her faded appearance and lonely disposition have little effect on her song ("Memory"). With acceptance and encouragement from Jemima and Victoria, her appeal succeeds and she is chosen to be the one to go to the Heaviside Layer and be reborn into a new Jellicle life ("Journey to the Heaviside Layer"). A tyre rises from the piles of junk, carrying Grizabella and Old Deuteronomy partway toward the sky; Grizabella then completes the journey on her own.[i] Finally, Old Deuteronomy gives his closing speech to the audience ("The Ad-dressing of Cats") and the show comes to a close.
The development of Cats was also plagued by financial troubles. Mackintosh struggled to raise the £450,000 ($1.16 million) needed to stage the musical in the West End as major investors were sceptical of the show's premise and refused to back it. Lloyd Webber personally underwrote the musical and took out a second mortgage on his house for the down payment of the theatre. He later recalled that if Cats had been a commercial failure, it would have left him in financial ruin. The remaining capital was eventually financed by small investments procured from 220 individuals through newspaper advertisements. After the musical became a massive hit, the rate of return for these investors was estimated to have exceeded 3,500%.
You receive (1) one copy of the Deluxe Edition of Magical Kitties Save the Day, including Power Cards, custom dice, wooden tokens, Magical Kitties & The Alien Invasion, and all of the stretch goals unlocked during the campaign. (See Backer Level chart on the campaign page for specific content.) If you will want your rewards shipped to an address in Canada, please select this reward.
Another poorly understood element of cat hunting behavior is the presentation of prey to human guardians. Ethologist Paul Leyhausen proposed that cats adopt humans into their social group and share excess kill with others in the group according to the dominance hierarchy, in which humans are reacted to as if they are at, or near, the top. Anthropologist and zoologist Desmond Morris, in his 1986 book Catwatching, suggests, when cats bring home mice or birds, they are attempting to teach their human to hunt, or trying to help their human as if feeding "an elderly cat, or an inept kitten". Morris's hypothesis is inconsistent with the fact that male cats also bring home prey, despite males having negligible involvement with raising kittens.:153
Beyond the megamusical, Cats also led the Broadway trend for musicals aimed at families and tourists, which would later take the form of the Disney Theatrical Productions and jukebox musicals. The marketing campaigns for the musical targeted family audiences at a time when this demographic was not a consideration in the industry. Composer Joe Raposo said of family musicals in 1986: "Cats is a wonderful proof of what an audience is out there, untapped. People do want a theatrical experience for their children." Thanks to its easily accessible spectacle, the original Broadway production also tapped into the then-burgeoning tourist boom in New York and its audience shifted increasingly towards foreign visitors in its later years. Billington also specifically traces the rise of the jukebox musical genre back to Cats, citing the latter's disregard for dramatic text in favour of an all-encompassing theatrical experience.
Lloyd Webber began setting Eliot's poems to music in 1977 and the compositions were first presented as a song cycle in 1980. Producer Cameron Mackintosh then recruited director Trevor Nunn and choreographer Gillian Lynne to turn the songs into a complete musical. Cats opened to positive reviews at the New London Theatre in the West End in 1981 and then to mixed reviews at the Winter Garden Theatre on Broadway in 1982. It won numerous awards including Best Musical at both the Laurence Olivier and Tony Awards. Despite its unusual premise which deterred investors initially, the musical turned out to be an unprecedented commercial success, with a worldwide gross of $3.5 billion by 2012.
Nobel laureate and Pulitzer Prize-winner Toni Morrison, the author of such acclaimed works as "Song of Solomon," "Beloved," "Jazz," and "Love," died on Monday, August 5, 2019 at the age of 88. In this profile for "CBS Sunday Morning" which aired on April 4, 2004, the writer talked with correspondent Martha Teichner about her youth and education, and about the two most important things in her life: to mother her children, and to write.
The "Growltiger's Last Stand" sequence has been changed multiple times over the course of the show's history. In the original London production, the "last duet" for Growltiger and Griddlebone was a setting for an unpublished Eliot poem, "The Ballad of Billy M'Caw". For the original Broadway production, the Ballad was replaced with "In Una Tepida Notte", a parody of Italian opera. The mock aria was introduced so as to add more slapstick humour and its lyrics are based on the Italian translation of the "Growltiger's Last Stand" poem. This new version was eventually incorporated into all other productions of Cats.
Domestic kittens are commonly sent to new homes at six to eight weeks of age, but it has been suggested that being with their mother and litter-mates from six to twelve weeks is important for a kitten's social and behavioural development. Usually, breeders and foster/rescue homes will not sell or adopt out a kitten that is younger than twelve weeks. In many jurisdictions, it is illegal to give away kittens younger than eight weeks of age. Kittens generally reach sexual maturity at around seven months old. A cat reaches full "adulthood" around one year of age.
The Late Latin word is generally thought to originate from an Afro-Asiatic language, but every proposed source word has presented problems. Many references refer to "Berber" (Kabyle) kaddîska, 'wildcat', and Nubian kadīs as possible sources or cognates, but M. Lionel Bender suggests the Nubian term is a loan from Arabic قِطَّة qiṭṭa. Jean-Paul Savignac suggests the Latin word is from an Ancient Egyptian precursor of Coptic ϣⲁⲩ šau, 'tomcat', or its feminine form suffixed with -t, but John Huehnergard says "the source [...] was clearly not Egyptian itself, where no analogous form is attested." Huehnergard opines it is "equally likely that the forms might derive from an ancient Germanic word, imported into Latin and thence to Greek and to Syriac and Arabic". Guus Kroonen also considers the word to be native to Germanic (due to morphological alternations) and Northern Europe, and suggests that it might ultimately be borrowed from Uralic, cf. Northern Sami gáđfi, 'female stoat', and Hungarian hölgy, 'stoat'; from Proto-Uralic *käďwä, 'female (of a furred animal)'. In any case, cat is a classic example of a word that has spread as a loanword among numerous languages and cultures: a Wanderwort.