This transcript was automatically generated and might contain errors.

[0:00] Mike Abrams: There's a cat over here. There's a cat over there. And the wrong one died. And the wrong one died.

[0:15] Mike Abrams: Welcome to The Wrong Cat Died, the podcast breakdown of The Cat's Astrophe. I'm your host, Mike Abrams, and today we have another amazing guest. Previously, she was Jellylorum on the US National Tour 5 of Cats in 2001, but you can currently see her at the Hudson Theatre in Once Upon A Mattress. So welcome, Wendi Bergamini. Thank you for joining me.

[0:33] Wendi Bergamini: Hi, thank you for having me. This is so exciting.

[0:36] Mike Abrams: Yeah, I'm excited because I got to see Once Upon A Mattress and I loved it. It was so fun and so silly and cute. I like feel-good theatre and it is everything that you need in times like this. So we'll get to that. I do want to talk to you because I always love the overlap of the two shows. But I always start with your Cats history. So I know that you did it in 2001, but what was your exposure to it first?

[1:01] Wendi Bergamini: Yes. Oh, that's such a good question. So I've been thinking so much. I'm so excited to do this podcast. It brought back so many memories. I have to admit, I listened to the entire Broadway cast album today. It brought up so many emotions and so many memories and I'm glad I did. But to answer your question, there were three foundational musicals in my young life. It was Cats, Phantom of the Opera, and A Chorus Line. And Cats was the first live musical I ever saw as a kid. And I think I might have been around nine years old. And I remember we were sitting in the mezzanine at I think it was at the Curran Theatre in San Francisco. So there was a national tour, which meant a lot to me that it was my first national tour because I felt like I could reach other people through what I was doing.

And I remember those green eyes coming out into the audience and I was mystified by this theatrical concept that really got me into the story. So that was my first exposure to Cats. And I thought this is magical. My parents said I sat on the edge of my seat the entire time. I clearly remember Victoria, the white cat. She was everything magic to me. And I think beyond that, it was then getting the chance to audition for it when I was living in Los Angeles. And that started my journey.

[2:24] Mike Abrams: Yeah. So nine years old, not scared at all, not confused by the plot. It's all going over your head. It's just the magic of theatre at that point.

[2:33] Wendi Bergamini: Exactly. I don't know if I really paid attention to any plot, but I was mesmerized by what was happening. And I do admit, I was very scared in the green eyes because they were right there, right? It was so cool. And I was far enough away from the stage to feel engaged, but, you know, very curious about who are these cats and what is going on and all of the dancing. I mean, storytelling through movement is so powerful. And it really made an impact on me at a very young age. And the score is legendary. I feel like that's one of the scores that stands the test of time. It literally is now and forever. I will be the one to say it.

[3:14] Mike Abrams: At that point, were you a kid that was doing dancing? Were you already involved in arts? And this was a really massive production version of seeing that? Or was this still kind of before you got into this?

[3:27] Wendi Bergamini: I think it was before I got into it. I think it was literally the door opening to, wow, what is this world of theatre and the magic of live performance? I don't think I was participating in any arts at the time. I think, you know, going to school and having my childhood interests, but I wasn't out there singing on a stage or taking any dance classes. I had taken ballet very young, and I took a break from it. And I think this was what was the spark to take a greater interest in it.

[4:02] Mike Abrams: Okay. Okay. So fast forward to the audition.

[4:08] Wendi Bergamini: Yes.

[4:09] Mike Abrams: When is this? This is your first tour, you said.

[4:11] Wendi Bergamini: Yes.

[4:12] Mike Abrams: It was early in your career.

[4:13] Wendi Bergamini: Yes.

[4:14] Mike Abrams: What do you remember from that whole process and going through it at that point in your life and career?

[4:21] Wendi Bergamini: So I had graduated from UC Santa Barbara and did some theatre on the coast. And I moved to LA thinking Los Angeles is my thing. I'm ready for it. I'm going to pursue the on-camera career. And that day there was an open call for one of the Star Trek series. And I went to the Paramount lot. And I'm like, I'm waiting. I'm going to get seen. I'm going to get seen. And I think it was hours upon hours, and I didn't get seen. And as you do, I said, you know, I didn't have an agent. I didn't have a manager. I looked at, you know, the auditions for the day. I wrote them all down. And I thought, oh, I wonder if Cats is still seeing anybody. So I drove back over to the Valley. And I think it was at Debbie Reynolds Studios that was having the auditions.

And I walked up with my headshot. I parked my car. I went in. I had my dance bag. I had my music with me because you just throw everything into the trunk of your car and hope for the best. And I went in and I said, can I still get seen for this? And they were like, sure, sure. We're seeing a couple more people. So I go in. I can't remember what I sang. I don't remember. And I remember staying. And my friend Julie Garnier was there who I met doing Cats. We did the dance call together. So we met there essentially. And we're friends to this day. Sort of the start of a lot of friendships that have lasted a lifetime. And I danced and I remember feeling really good about what I did. And I thought, this is so cool.

I'm so glad I drove back over here and did this audition. And then I sort of let it go. And I think maybe a week or so went by and I get a call that said, you have a call back for the national tour of Cats. And it's in New York City. And I thought, oh, my gosh, this is so amazing. Now, full disclosure, the only way I knew New York City was I moved there when I was 17 to start school at NYU. And I stayed for one semester. And I decided, you know what, if I come back here, it will be for grad school or for work. And I went back to California. So I thought, okay, I know New York well enough that if I fly out there for this callback, it's going to be an amazing experience. So there I go off on a plane and I do a callback and I get called back the next day.

And I remember the dance call. I remember a work session with Kristen Blodgett. And just having the most amazing experience to have. It was really big at the time to feel like I was flying to New York for a callback for this national tour of Cats. I just thought that was the coolest thing, even the experience of it all. And I didn't know. They usually never tell you in the room, you know, you're cast, you're not sort of a, you know, when you see that on a reality TV show, you're like, what does that ever happen? That's so cool. And I think I found out maybe a couple weeks later. And that was my journey to booking the job. It was really exciting altogether. It was just a really a touchstone moment in my career, how exciting that was.

[7:19] Mike Abrams: I always think about these inflection points or these moments. And to think for you that if you got seen by Star Trek, you might not have gone this path of a career, you know, like it could have taken you down TV and everything. It's just like them not seeing you at that moment got you in your car that took you across town that took you to New York. It's such a simple thing of where if that changes, it dramatically changes the course of your life.

[7:49] Wendi Bergamini: It's like the if then theories. It wasn't five o'clock, it was three o'clock. They could have stopped the call. It was so many variables. And this was how it all lined up. And I really do feel like it was meant to be I think it was it was not only a doorway into Cats and performing. And, you know, I already knew I have my BFA in acting and knew that this is what I wanted to do. But it was because of that, that I packed up my entire studio apartment in Burbank. And my dad watched my car and I had ever I gave up my apartment, I didn't sublet. And while everything was in storage, my a year into the contract, I thought, you know, we could renew or not. And I thought, you know what, I have everything in storage, my friend is renewing, I can sublet from him and see if New York might be for me.

[8:40] Mike Abrams: Yeah.

[8:41] Wendi Bergamini: And I gave myself six weeks in Rum Tum Tugger sublet on 42nd Street. And from there, things expanded and grew. And it was a sign that I was meant to be here for this time.

[8:56] Mike Abrams: Right career.

[8:57] Wendi Bergamini: Yeah.

[8:57] Mike Abrams: Okay. So let's talk about your experience as Jellylorum.

[9:03] Wendi Bergamini: Yeah.

[9:03] Mike Abrams: So I always love it's it's hard. It's it's fun to think back when we're thinking back over 20 years that at this point, what do you remember about how you were directed to play the character or how you were able to build your story?

[9:18] Wendi Bergamini: Right? Well, I remember the team was very clear. And to this day, I have so much love and respect for them. Kristen Blodgett, Richard Stafford, Suzanne de Verito, it was so wonderful to work, you know, you were treated as if you were doing a Broadway level production. And that felt so nice. And you wanted to meet that level. You had learned so much in your artistic career and studied so much. And this was the chance to put so many things together, reflecting on musicality, reflecting on quality of movement. And Jellylorum doesn't dance everything in the Jellicle Ball. But the things in the opening number and in the Jellicle Ball were so specifically taught by Richard in such a beautiful way, that it still listening to it, I was hearing Richard's voice or Suzanne's gentle corrections in my head.

Those things live with you, they create your artist. And I remember that they all, the very first thing they said was, there is a very real plot to Cats. It is not just poems put to song. And talking about this real meaning behind the Jellicle Ball and who goes to the Heaviside Layer and the relationships between the cats, our first opportunity to enter a room one by one and learn cat-like behavior. We talked a lot about the cat's body, that it took a while for this to settle into your physical musculoskeletal structure to become a cat. And the similarities between cats and humans, that it wasn't so distant. So I remember all of this about this process. And it was a beautiful process in which they spoke a lot about the legacy of the show, and the legacy of what the creative team wanted to put in place for the show, and feeling that beautiful gift to carry that forward through our national tour.

And in terms of Jellylorum, I remember them talking about her love of Gus and their special relationship, and how much she just really took care of him and respected him and really knew about his history. And the gentle quality in which she is able to bring to this beautiful life story of Gus. And then in our production, we had the entire sequence with Growltiger and Griddlebone. And thinking about that, I thought, you know what, I think that was really my first opportunity to express my comedy. So you have this chance as Jellylorum to have this beautiful, sweet, almost lullaby, caretaking, gentle nature of singing of someone's life history. And then you flip it, and you have long nails on these gloves, and you get to play this comedy side, and all the operatic training that you've gone through gets to come out in this fantastical, really fun way. So I really enjoyed the process of learning about her and stepping into Gus's story as one of these characters. It was really, really fun.

[12:28] Wendi Bergamini: You mentioned that there is this kind of deep plot that is real, and that's there, but it's kind of hard to find if you're nine, or if you're seeing it for the first time and don't really know what you're kind of going into.

[12:42] Mike Abrams: So how did you like doing this eight times a week all over the country, sometimes probably two cities at a time? How do you think about articulating that story to an audience that probably, especially for you in 2001, is probably less familiar than people are today? People today probably are a little bit more familiar with what Cats is, but at that time, you are early going around the country. That's very interesting. I think it's taking what the creative team had set and really being with each other as this core ensemble group of actors, singers, dancers. It really felt like we were working together to tell a story of tonight is this extremely special night and really making it fresh for ourselves every night, really exacting the choreography.

I remember our dance captains were excellent as well in terms of guiding us, keeping everything fresh, moving from city to city. I think the adventure of it all was very entwined with what we were doing at the time of how exciting we're here now. It was a lot of everyone's first national tour to explore our country and see different states and be in different areas. Then to bring the story that you knew would be lasting in the minds of not just young people, but anybody of any age, to bring something that was really unique and really special and truly nothing else like it.

[14:12] Wendi Bergamini: Yes. I mean, I think it was interesting that we teched and we opened in Atlantic City in Harrah's Casino, which was really interesting. We had a great time there. Also, just to be by the beach while having our days off was really cool. That was pretty smooth. We had a really great time bringing it there. Very soon after we opened was 9-11. That was heartbreaking to process. The company was in Florida. I was actually stuck in Atlantic City. I had gone back for a weekend and I couldn't get to San Bernardino, California. I actually think the company flew on, I think it was Sunday or Monday. I was supposed to fly a day or two later and I got stuck. I couldn't reunite with the company. Eventually, I did.

I think it was maybe San Francisco was where it was. It certainly was something as a group that we were able to process. And traveling almost every week was intimidating. Just comprehending what had happened at that time and to be with a group of people who were able to at least uplift the spirits of others and use our show as a vehicle to connect with people and bring joy in a time that felt very scary to a lot of people, ourselves included.

[15:59] Wendi Bergamini: A couple of months after that, when we were in Vegas, this is on a lighter note, our trucks broke down somewhere between somewhere and Vegas. All we had were costumes. We had no set. There was no tire. There was no raising anything to a heavy side layer. Our opening night in Las Vegas was literally a three black curtain, proscenium sort of black box presentation of Cats with nothing but costumes. The audience loved it and we had a great time. But it is very jarring when all of your spacing is based on items that are on the deck. You travel your floorboards and one of them has, I can't even remember, it's been quite some time, but like a matchbox and this curve of this and you're on this little seam.

So you're taking your spacing off of this. So it was definitely keeping us on our toes. But it was very interesting for the audience to experience something like that and for us to tell a story for the story's sake without anything else. We just thought it was really funny and also really moving. And the audience did have the chance to come back another night as well and see it again, which I think most of them did. But that was quite a wild experience.

[17:22] Mike Abrams: Yeah, no boot drop, no tire, just you and the floor.

[17:26] Wendi Bergamini: Nothing. I mean, it's fun to hear those stories because I think that's what's really fun and beautiful about live theater is you hear these very unique one night things. And there's a lot of people that seek that out to be able to be at that moment. And it's always, I think, fun to reflect on those are probably the most memorable ones for you because it's different. Otherwise, you're doing the same thing over and over and over and over again. But that kind of leads to my next question, which is, I think some of the cool parts of Cats is because the relationships are kind of open-ended, because it's a little loose in the plot, even though there is story. How much did you kind of tinker with night to night on, okay, I'm going to be more playful with this cat tonight while still staying kind of true?

Who was Jellylorum's, besides Gus, I'm going to go and maybe spend some time over here or flirt with this cat over here? Or what does that look like when you're doing it all over the country so many times?

[18:30] Wendi Bergamini: Yeah, I think we definitely, as any artist in any show, you definitely try to keep things fresh. And I think with each other, with a sense of play, that was allotted to us, without disrupting the show and without disrupting the honors and wishes of the creative team. I think I played a lot with the kittens and sometimes would scold one or sometimes be gentle with another one. And certainly when a swing was on, one of my best friends was a swing. So whenever he was on, we would have a different relationship and the same characters that may have been side by side. And it would be different than when it was with the person who was normally on for that track. So we definitely had a good sense of play and good relationships.

And sometimes you would give a cold shoulder and see what someone would do. And sometimes you would play a little bit. And with the tails, it's so much fun to play with your tail or hide in the tire or all within the bounds of keeping your spacing and keeping your respect and integrity of the show.

[19:29] Mike Abrams: Yeah. How does that differ from, I mean, we're going to transition eventually to Once Upon a Mattress, but you've done a lot of other stuff in your career. And it feels like Cats has way more freedom for that because of just the way it's set up compared to some of the other shows, which are much more structured and blocked. You have to be here at this moment at this right time. Is that right? Does it feel that way?

[19:48] Wendi Bergamini: Yeah. I think even just in your cat-like behavior, you can choose to do anything at that moment in time that wasn't distracting. There were parameters in terms of, you don't want to cross all the way from right to left while something is going on. But the use of your claws, the use of your paws, the use of your posture, are you stretching? Even just in your own individual choices without interacting with any other cat. But certainly, that is a really good point because sometimes the kittens would fight. Sometimes they would cuddle. Sometimes they would isolate. Sometimes they would push one away. I think it did give itself a lot of wiggle room night to night. And I think when you're in certain shows, there's some relation of doing that to a degree, but maybe not as much as adding your own spins or turns or quick darting glances to certain things.

Or there's a fly tonight or making each other laugh with the improv that you're able to come up with, which was all within the world of the show and not distracting from the main event of what was going on. If Mistoffelees was dancing, playing with some of the magic and playing with each other or singing a little closer to each other one night, things like that.

[21:04] Mike Abrams: We're going to take a quick break and then we'll be back for more of The Wrong Cat Died. I want to pivot, but what else is there? We'll get back to Cats at the rapid fire at the end, but any other thoughts before we get to Once Upon a Mattress?

[21:17] Wendi Bergamini: I don't know. It's one of those shows that came along at the right time that was very foundational to me in terms of learning what I learned, the team that we were working with. I have friendships that have lasted from that show since we did it, and we are all still close to this day. It was such a bonding experience, such a beautiful experience, and such a legendary piece of theater to be able to perform. I wish I could do it again. I would love to do the show again. It's so much fun.

[21:50] Mike Abrams: Who do you want to play next time?

[21:53] Wendi Bergamini: Honestly, I love the role so much again and again.

[21:56] Mike Abrams: Okay, great. Let's pivot to Once Upon a Mattress. I had so much fun seeing you perform on the show. It is so fun. What is someone who is listening to this, and they're going to come see you at the Hudson, what can they expect, or what are you hoping that they see from this production?

[22:18] Wendi Bergamini: Oh my goodness. From the start of the process in the room, Lear and team were very clear about this is comedy for the sake of comedy, that people need this at this time. It is so much fun being able to be a part of something like that. Just pure comedy. It's so wonderful. It is so much fun. It is so light. I mean, I can't even tell you the belly laughs that we hear from the audience or from ourselves trying to not laugh at certain things night by night. It really is. It's pure joy in the show. It's wonderful. It is so much fun to be a part of. It's so much fun to hear how people respond to the show and how much this is really adored and cherished at this crazy time in the world.

[23:07] Mike Abrams: Yeah. It was really fun to be in the audience and see where the moments are, because there's some things that are just so silly and funny, and it made me laugh every time. And there are others that are very clear, like, this is a laugh moment. And there's some where I'm like, I don't know how you don't break more doing that. Watching some of those moments, you're like, I don't know how you can watch this and not be laughing. Or maybe you're just turning and hiding it from us all.

[23:37] Wendi Bergamini: I think it's a combo of all of those things. The skill set of trying to not laugh is an entirely new, expanded upon version in this show because there is so much that happens on a nightly basis, which is awesome, too, because there are certain times where somebody will bring something new, and you're like, oh, my gosh, that is so funny. And I literally have to stand here and look at a deadpan. There's a moment between Michael and Sutton that every night I have to speak right after, and I'm like, oh, my gosh, oh, my gosh, oh, my gosh, how can I do this? You can do this. Just keep a straight face, because it's so funny.

[24:07] Wendi Bergamini: It's almost like zoning out a little bit, so you're not taking in their actual moment, just knowing it's your turn. One of my favorite things to do, and I did this with Amanda, and I want to do the same exercise with you, is I want to, if the Cats were going to be cast into the roles of Once Upon a Mattress, who would they be? Who are we going to put in? I'm going to give you some names, and I want you to tell me which cat would be the best to play. This is probably the most difficult show I've tried to do this with. Most of the time, the Cats line up personality-wise pretty well with a lot of these shows. This one is probably the hardest, so let's start with the jester.

[24:49] Wendi Bergamini: Okay, I think the jester is probably going to have to be Monkey Strap.

[24:55] Mike Abrams: Okay, yeah, because it's kind of narrating.

[24:57] Wendi Bergamini: Exactly, yeah, and I think Daniel Breaker as Monkey Strap would be awesome.

[25:02] Mike Abrams: Yeah, I agree. I think I had originally written it could be a little Mistoffelees, just because of some of the humor, but I agree. I think it's Monkey Strap. What about the wizard?

[25:23] Wendi Bergamini: Oh gosh, that's a hard challenge. I think, who would play the wizard? Well, I think the wizard would obviously lend himself to Mr. Mistoffelees, but I think Brooks in the role would be an awesome Bustopher Jones.

[25:45] Mike Abrams: Yeah, that is perfect. I agree completely. This was the hardest one to cast because personality-wise, there isn't really a cat that kind of fits naturally with this role. But I like Bustopher. That's a fun mix. What about Sir Harry and Lady Larkin?

[26:06] Wendi Bergamini: Oh gosh. Well, I was thinking Sir Harry has a lot of characteristics of Rum Tum Tugger.

[26:14] Mike Abrams: Yeah, I agree.

[26:16] Wendi Bergamini: I think that'd be cool. I think Lady Larkin, well, maybe we need to double cast Jellylorum and Griddlebone and share the role. Or, you know, if it's Nikki playing it, she has such a beautiful voice that has these elements of purity that Cillabub would be also very beautiful.

[26:37] Mike Abrams: Okay. Yeah, I originally had Victoria in that same kind of role.

[26:41] Wendi Bergamini: Ooh, yeah.

[26:43] Mike Abrams: But I think there could be a Bombay Arena, too, with the whole kind of playing off of Tugger and their dynamic in the show.

[26:51] Wendi Bergamini: Yeah, that's cute. I love that.

[26:53] Mike Abrams: What about the King?

[26:55] Wendi Bergamini: Old Deuteronomy.

[26:56] Mike Abrams: Yeah. Part of me also thinks Gus.

[26:59] Wendi Bergamini: Or Gus.

[27:00] Mike Abrams: Yeah.

[27:01] Wendi Bergamini: I think Gus. For sure, Gus. Yeah.

[27:04] Mike Abrams: What about the Queen?

[27:06] Wendi Bergamini: I think we just have to say that she's Grizabella.

[27:11] Mike Abrams: I have a hot take.

[27:14] Wendi Bergamini: I think she's Macavity.

[27:15] Mike Abrams: Ooh, I like it.

[27:18] Wendi Bergamini: I think she's a little bit of the villain, but she's not really the villain. She's still part of the family, but kind of there to cause some problems, right? So that's why I love it.

[27:32] Mike Abrams: That's really cool. What about Prince Dauntless?

[27:37] Wendi Bergamini: Okay, Prince Dauntless. I would either say... I mean, Skimbleshanks has such a fun, lively energy. Who am I forgetting?

[27:48] Mike Abrams: You probably have one, don't you?

[27:50] Wendi Bergamini: I have Mungojerry, but I think Mungojerry's much smarter. I think Mungojerry's very conniving and smart and knows what he's doing.

[27:59] Mike Abrams: Right, right.

[27:59] Wendi Bergamini: Prince seems kind of doofus-y and silly, but I see some of that still mischievous, of like, I want to get my way, but I'm a young, everything's going to happen type of prince.

[28:13] Mike Abrams: Cute, yeah. Okay, and what about the Princess?

[28:17] Wendi Bergamini: Oh my gosh, Winifred. Certainly elements of Jenny on Edox. Trying to think who else she'd be great as. I see Rumpleteazer, too. Just, again, some of the mischievous pieces, too, of her. Her entrance and everything to go with that. I don't know. Something about the two of them felt very Mungojerry, Rumpleteazer.

[28:40] Mike Abrams: Yeah, that's cute. I like it.

[28:43] Wendi Bergamini: This is my favorite. It's one of my favorite things to do because it's such a fun way to think. And it's also one thing I just have always admired about Cats is, I think the reason it's done so well for so long is that there's almost one character that you probably associate with, like, as a person. You see representations either of yourself or people you know, and people that you love, and it kind of brings that whole family dynamic together of, we've got that crazy uncle, and we've got this kind of villain. We've got the cousins who are a little mischievous. It's a piece of everything that you can represent. And I've always loved that because I feel like that's why people latch on to certain characters and dislike certain characters. And it's the beauty of it. And it's fun to look at that from other shows where characters are sometimes maybe there for much more reasons or much more pronounced than Cats where it's a little bit looser.

[29:37] Mike Abrams: What's your pitch? I mean, we've got a couple more weeks after this comes out with the show. What's your pitch to the audience to come see you all?

[29:44] Wendi Bergamini: Oh, my goodness. I think that Once Upon a Mattress is such a wonderful bite out of comedy. It's family friendly. It's so, so, so much fun. It's I honestly think it's a show not to be missed this season. It really is so much fun. And every audience is different. Every show is different. It's alive. It's exciting. The orchestra's on stage. The cast is amazing. Sutton is a legend. Michael, Yuri, the whole cast, it's comedy gold. It really is wonderful. It's some of the most laughing I've heard in a theater this season. And that was it was so fun to be there. And it's a big theater too. So it's like you hear the sound, which makes it twice as fun. I love it. Let's go back to some Cats rapid fire to close this out here because we've got to get to the million dollar question.

[30:39] Mike Abrams: Okay, so I kind of answered this a little bit already. But if I'm going to change it, so usually, I want to know if you could play any role for one night in Cats, which cat do you want to go on as?

[30:48] Wendi Bergamini: Oh my gosh. That's such a good question. I mean, look, I love Jellylorum. If I were to play any cat, I think maybe Bombalurina. She's so awesome. Such a fun one. It's so fun to sing and kind of just be able to go out there and do that.

[31:08] Mike Abrams: I agree. I think it's always fun to think too, which is like, do you want to do what is your personality or what's so far from your personality? And for one night, sometimes it's fun to be like, this is at least the way I think about it. It's so far away from me. That'd be fun to do it once.

[31:25] Wendi Bergamini: Who are your favorite and least favorite cats? Meaning, which one would you love to hang out with? And which one's going to bug you a little bit?

[31:31] Mike Abrams: Who are my favorite cats? Skimbleshanks, Gus. Let's see. Who else? Sillabug. And I think the Rum Tum Tugger would just be really, really fun. He'd be a fun hang. It'd be a lot, but it'd be fun.

[31:47] Wendi Bergamini: Yeah.

[31:48] Mike Abrams: Okay. What is your favorite song from the show?

[31:51] Wendi Bergamini: Oh, gosh. My favorite song from the show. I think off the top of my... I mean, look, that overture is not to be beat. I think there's something when you hear that overture that is... and that portion in the Jellicle Ball, the actual orchestration of the Jellicle Ball itself is hands down my favorite piece of music in the show. But I think my favorite sung song would... it's a tie between Skimbleshanks and Macavity. It's... the more I listen to it, those are the more, depending on my energy levels, are the two that you go back to the most. It's like, if I want to be upbeat, I want Skimbleshanks. I want that fast pace. If I want something slower, but really... I don't even know. Macavity is usually one of my favorite answers to this question now. I always ask a fun one, and I'm not sure I'm going to be able to answer it. But I want to ask this based on the beginning of this episode. Which cat do you think would be best in Star Trek?

[32:57] Wendi Bergamini: Oh my gosh. Who would be best in Star Trek? Oh my goodness. It has to be a little bit of a far-fetched cat, I think. I think I'm going to vote for Mr. Mistoffelees.

[33:10] Mike Abrams: Okay. Bring the magic to the team.

[33:14] Wendi Bergamini: Absolutely.

[33:15] Mike Abrams: I feel like it's got to be Skimbleshanks though, right? Who's going to be the most keep-everybody-in-order? I feel like he would have a good role with their crew.

[33:23] Wendi Bergamini: I think Mistoffelees would be the quiet one in the back, with the big ears, just hanging out. And then something goes wrong with the ship, and magic.

[33:34] Mike Abrams: This is a crossover I hope happens at some point.

[33:36] Wendi Bergamini: Yes. Oh my gosh.

[33:37] Mike Abrams: I don't know if it ever will.

[33:39] Wendi Bergamini: Maybe it'll be Star Cats.

[33:41] Mike Abrams: We can manifest it into life.

[33:44] Wendi Bergamini: My million-dollar question. This whole podcast centers around my argument that I don't think Grizabella is the right Jellicle choice. So I'm hopeful, having a Jellylorum here, that you are going to agree with me. But my question is not for you as Jellylorum. My question is for you as Wendi. Who is your Jellicle choice and why?

[34:02] Wendi Bergamini: I think we're leaning in the right direction and saying that it would be Gus.

[34:05] Mike Abrams: Yes.

[34:05] Wendi Bergamini: I think he has lived a long, beautiful life. I think he's done a lot. He's shared a lot. He's shared his stories. He's done everything. He's ready. He's owned. It's time. And if they're accepting Grizabella back, give her a chance to hang out with Rum Tum Tugger for a moment before she disappears, right?

[34:28] Mike Abrams: It's my exact argument. Give her a year.

[34:30] Wendi Bergamini: She needs some dancing through life, right?

[34:32] Mike Abrams: Yeah. She's next year's choice. Let her go next year.

[34:35] Wendi Bergamini: Yes, there you go.

[34:37] Mike Abrams: No arguments. That's my exact take at the moment. So I love it.

[34:44] Wendi Bergamini: How can people stay in touch with you on social media? We'll obviously post how to see Once Upon a Mattress and links to tickets for that. But how can people stay in touch with you?

[34:52] Wendi Bergamini: Yes, absolutely. You can find me on Instagram at WendyBergieBaby. That's W-E-N-D-I B-E-R-G-I-E B-A-B-Y. That's the best place to find me on social. And you'll find me on the company's website as well.

[35:07] Mike Abrams: Amazing. And that is where I'm sure we can keep up with all the other things I know that are coming down the path for you. So I'll be excited to see the other projects you're working on as well. And I just posted some Cats photos, which I had never posted before, which I thought was very exciting. I tagged The Wrong Cat Died.

[35:25] Wendi Bergamini: Yes.

[35:25] Mike Abrams: I thought, oh my gosh, this is so exciting. So maybe I'll post another one when we know that this is airing.

[35:30] Wendi Bergamini: Yeah.

[35:31] Mike Abrams: It's just so fun. It's such a, it really is. I can't thank you enough for having me on here because it really is a wonderful reflection back to one of the most foundational pieces of theater that brought me into the theater as an observer. And as a performer, one of the most foundational shows that I have ever done that sharpened my toolkit as a singer, an actor, a dancer, a company member, and maintaining the integrity of a show, not just for a few weeks, but for a full year of touring around the country, which has its own inherent challenges when you're traveling once a week, sometimes twice a week, and knowing that at the end of the day, you're representing someone else's dream. They wrote this, they produced it.

It was done in London, it was done on Broadway. It had many, many other cast members and to carry on with a legacy and to honor that is so important to my artistic soul. So it was a gift to revisit all the memories and think of all the wonderful people that I got to share that with.

[36:32] Mike Abrams: Yeah. And it's great to have you on. It's so fun to hear. This show has touched so many people's lives, but also so many careers have been influenced either from this show. I love the thing you said right at the beginning, which is you saw a tour and then you had the chance to be a tour to hopefully, I'm hopeful that one day someone's like, I saw Wendy and I was inspired. And then I did Cats, someone in the most recent U.S. tour or there's this with it still going on. It's still currently running in certain parts of the country and on the Caribbean cruise. And I'm sure it'll continue to have a further life in other places. It's cyclical and it's cool to hear that. And that's why I still record these is I love hearing the history of it and how everyone got involved, but also what it led to beyond the snapshot of your career where Cats was the piece of it.

[37:25] Wendi Bergamini: Yeah, absolutely.

[37:25] Mike Abrams: Well, it was so fun to have you on. So thank you so much for coming on and sharing your story and sharing about Once Upon a Mattress, which I again, I run to it before. While you have a chance before it closes, it's so much fun.

[37:36] Wendi Bergamini: Yes. At the Hudson. Come see us.

[37:39] Mike Abrams: At the Hudson. Amazing. Well, thank you. And thanks everyone else for listening to this episode of The Wrong Cat Died, the podcast breakdown the Cats atrophy. To follow along, you can subscribe on Apple Podcasts, Spotify or any of us podcast. Follow us on Twitter, Instagram, TikTok and threads at The Wrong Cat Died or check out our website, therongcatdied.com.