Tuesday, October 6, 2015
In case there was any doubt, Valerie Eliot confirms that yes, it's true; her late husband, T.S., considered cats to be, well, the cat's meow. He liked dogs. He liked pigs. He even wrote light verse about pigs. But cats "had a special place in his affection," and that affection evolved into "Cats," a long-running musical sellout in London. And, last night, "Cats" opened on Broadway with the largest advance ticket sale in history.
‘CATS’ PREMIERES ON BROADWAY IN 1982
True, Mrs. Eliot says, a $4 million musical is not what her late husband had in mind when he wrote "Old Possum's Book of Practical Cats" in the late '30s. His idea then was to amuse his godchildren. He would be pleased, however, she thinks, at its stage form: "he loved the music Hall and this is the closest his work could have come to it."
Furthermore, despite the fact that many critics regard "Old Possum's Book" as a trivial digression from Eliot's serious poetry and criticism, the man himself rather liked it. In his later years, says Mrs. Eliot, he would keep a copy beside his bed and fool with the text, changing a word here and there, adding or subtracting a thought.
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New York Daily News article on 'Cats' in 1982.
Mrs. Eliot is in New York this week for the Broadway opening of "Cats," to which she contributed material she gathered while editing Eliot's papers. She is a striking woman, sharp, pleasant, articulate, well-dressed, well spoken, and except that her once-copper hair is now silver, she is probably not much different from the way she was when she married Eliot in 1957. She was turning 30 then; he was 68. She had been his secretary. By all accounts, the marriage was blissful; after Eliot died in 1965, Conrad Aiken wrote in Life that Valerie had kept him alive those final eight years.
Since then, she has immersed herself in Eliot's written legacy; several years ago she released the fascinating first drafts of his poem "The Waste Land," with the original editing of Ezra Pound scribbled in the margins, and she is now working on his letters.
"We had originally planned three volumes for the letters," she says. "Now it looks like four." She is clearly excited about what she has found; in one letter to Aitken, for instance, Eliot parodies his own propensity for obscure literary allusion by creating fictitious references. "That one will require a lot of footnotes," she says, laughing.
Not that she minds. In fact, she's delighted with the prospect of one work which can reflect all her husband's dimensions, not just the side his advocates call "serious" and his critics call "stuffy." To underscore the point, she notes that Eliot himself, in his public poetry readings, always inserted a cat stanza or two among the more straight-faced verse.
And oh yes, there's one more thing about Tom and animals. One day during an auto ride, he and his chauffeur fell into a conversation about dogs, and the chauffeur explained that his own dog was just lovable, not pedigreed. "He's not what you'd call a consequential dog," the chauffeur said.
"Tom just loved that phrase," Mrs. Eliot recalls. "And he immediately got the idea to write a book on 'consequential dogs,' as a companion to the cat book." She shakes her head. "Alas, he never got to it."
Alas, indeed, for the dog lovers of the world, who missed their golden opportunity for equal time on the Broadway stage. But they can console themselves in the knowledge that where T.S. Eliot and cats are concerned, they did have influential friends in high places. "Cats are fine," says Valerie Eliot. "But actually, I think I prefer dogs."
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