Qween Jean Is Inviting You to CATS: THE JELLICLE BALL: 'Come and Be Yourself'

Costume Designer and activist Qween Jean is helping redefine the look and spirit of CATS: The Jellicle Ball, the revival that reimagines Andrew Lloyd Webber’s classic through the lens of New York City Ballroom culture.

In Qween Jean's interview with BroadwayWorld, she reflects on how her connection to the Ballroom scene shaped the show’s costumes and storytelling. She shares how categories like Runway and New Way Vogue informed the design process, and how the production honors both the individuality of its performers and the legacy of the pioneers who built Ballroom culture. Qween Jean also reveals some hidden details in the costumes, and explains why the show ultimately invites audiences to celebrate freedom, joy, and community. Read the full interview here!

I am so excited to talk to you about this show. How much did you know about Ballroom culture when the concept of this revival was pitched, and what did your initial research process look like?

I was very familiar! I am immersed in the world as an organizer. And so, it felt serendipitous, but it also felt divine that as a Costume Designer I could contribute in this way, for a community that I revere and respect so much, and that has a legacy around freedom, expression, and joy. And so, this invitation was really magical! The concept itself is so original. But I also think it centers the beautiful lives of the pioneers that have shaped New York City culture as we know it.

Cats is one of the most successful and iconic shows of all time, and it’s never been done like this. In creating the costumes for CATS: The Jellicle Ball, did you intentionally embed any visual callbacks to the original Broadway production, or did you approach this as a completely new production with a new aesthetic?  

It’s definitely the latter! [laughs]. I design to see new bodies within the stories, as well as the artistic vision. But visually, with costumes, I wanted to really celebrate each individual performer's own unique personality, as well as their own feline power. And so, I think that with our design, we’ve been able to really marry that in a very fun and unique way. It definitely feels 'cat', it definitely feels fashion, and it feels like it’s New York City, and that is something that I’m really proud about. It just feels like home. I hope that people are able to recognize silhouettes and different details throughout the entire show that feel nostalgic, which I think is important, to honor this masterful revival that we’re doing.

There are certain characters where those details are woven into the tapestry of Cats, and I wanted to honor that as well. So, it’s a ‘yes, and,’ [laughs]. Yes we can honor the legacy of it, and we can celebrate each artist that is stepping into the role, and do something completely dynamic. And I feel transcendent. Their performances transcend all of our expectations.

Are there any details in a few costumes, or even one specifically, that when you were working on it, you were like, ‘Oh, I’m going to put this little nod to New York, or nod to Ballroom culture in there’ that maybe an audience wouldn’t know on their own, but you could tell them to look out for it?

Yeah! This question is so up my alley! To start, Skimbleshanks, the Railway Cat. For me, I knew exactly who that cat was [laughs], who is played by the magical, legendary Emma Sofia. And I really wanted to honor the New York Latinas who are incredible, magical essential workers, and to honor them in this really powerful, beautiful way. I’ve seen how people show up to work and still honor their own individuality, and I think that’s something about New York maybe exclusively [laughs]. People always show up proudly. There’s a pride that I wanted to honor within the costume head to toe!

So, from the really imaginative hair design that’s by Nikiya Mathis that celebrates a very feline femme fatale aesthetic, that also honors the athleticism and physicality of New Way Vogue. And that’s the category that Skimbleshanks is competing in. Old Way versus New Way. And so, wanting to uplift them, and also to uplift the thousands of workers that make this city run. And they do it with style and grace. And it’s not always an easy thing to do. But to ingratiate people with genuine care, is why I love being here.

So, we wanted to honor that in the design. And I will also say, another character that folks know well is Jennyanydots, and as a Mother for the House of Dots, we really wanted to honor her distinct qualities of her unique coat. Her unique skin. And so, I think that’s something that folks can keep an eye out for in the design.

This process sounds so cool, and creative, and like such an amazing tribute to a community that has contributed so much to New York, and to culture in general. You mentioned the Ballroom categories briefly, like New Way Vogue. When you were creating these costumes, how much of it was thinking about categories like that, versus culture, versus the performers themselves? What went into that?

This question is really helpful for audience members to be able to come and witness this masterful production. It was integral for me in creating each character's track to understand what is being asked of each performer. For example, when you think about magical Mr. Mistoffelees, who is walking in the Runway category, this is a category that we know innately has to have a visual impact, but most importantly has to be punctuated with a sickening shoe [laughs] or footwear that allows the judges or folks on the panel to see the power in the prowl when someone is walking the category.

And so, there are distinct qualities that the costume has to be able to allow each performer to be a success in the competition. And I think that is also true when we think about the category Body. We have Luscious Body, Muscular Body, Model Body. When thinking about each artist that is stepping into that role, we want to celebrate them, obviously, but also know what the category is calling for, to ensure that everyone not only looks the part, but is undeniably ready to snatch and get their trophy.

So that is something we really had to strategically work in collaboration with, so that dramaturgically it all suits and fits itself. But also too that you are genuinely eager to see what is happening next. So I think that we are captivating everyone’s attention right away. And I’ll say this, with this ensemble? Baby! Prepare, prepare, prepare. And most importantly, come and be yourself. I think that that theme is one of the most powerful invitations that I’ve seen yet on Broadway, to come one and come all. We are celebrating culture, community, in a way that I think folks like to promote, but to see it in action is rare. And for me, that in itself is quite a revolution.

What do you hope that audiences take away from this very special, original revival?

Everyone is already in love with the music, but I feel that they’re going to fall in love again with each character, with seeing the innovation, and the creativity of a community that has quite literally had to create its own space. New York City Ballroom has withstood the test of time, and is now a monumental, global movement for expression, movement and liberation. So, we are in service to that work. We are in service to the pioneers that maybe did not see us on the other end of this rainbow being able to thrive in this unique way. But we are. And so we give gratitude, and we uplift. There was pain that they had to navigate, that allows us now to have endless joy as we celebrate. We also bring their journeys with us. And that is something I will say people can look forward to.

We have an homage to the leaders in the community, and leaders today that embody freedom, that embody joy, and undeniable beauty. And that is the costume that I am excited for folks to be able to experience and truly enjoy. And that will be worn by Mr. Ken Ard, who is a legend, and who was the original Macavity on Broadway. And they’re playing DJ Griddlebone. I am deeply, deeply impassioned to be able to honor our legacy in this way. So that’s another costume folks can look forward to.

Do you have any final thoughts you'd like to share?

This is a story about resilience, and more specifically, it is a testimony to personal drive. I moved to New York City wanting to find a place that I could call home, but most importantly, a place that I belonged to. People that would genuinely, wholeheartedly care for me, and that is Ballroom. And the artistry within Ballroom is something that changes lives, it opens doors for people, for artists, who may not have had that before. So, I just wanted to say thank you. I am excited for young people, and other artists, who are coming to see the The Jellicle Ball. And I hope that they leave inspired. And that you have the power and the voice to lead your life and your dreams in any way. And that it is worthy.

CATS: The Jellicle Ball will open at the Broadhurst Theatre on April 7, 2026.