I’ve been a reviewing critic for nearly 15 years. And there’s no irony lost on me that on the day my personal publication, TheatreBloom, turns 10 years old, Cats at Cockpit in Court will be closing its three-week run, concluding the main-stage 2024 season for that company. The “Local Limelight” was a series of interviews that was cooked up during the pandemic, when everyone was wondering if we’d ever get to “theatre” again (like it was a true verb.) And it’s designed to shine a spotlight on someone in the community who gets up to great things, has a good time, and is involved in whatever project they’re currently involved in.
The first two interviews in the series were long-standing actors with whom a great many people were familiar. I’m humbled and honored to get to feature this director, dancer, choreographer, friend, and champion of theatre as the third in this on-going series— I have always been blown away by her work and have never heard anything less than positive from anyone when she’s been spoken about. I am truly thrilled to introduce to the “Local Limelight” Series— the one and only Bambi Johnson.
Thank you so very much for taking a half-hour out of your incredibly busy rehearsal schedule to sit down and chat! It’s such an honor and I have been planning on featuring you in the series for quite some time, just wasn’t sure when we could make it happen— and now here we are! You are of course, Bambi Johnson. And I’m so thrilled to have you here. Now, how long have you been doing theatre?
Bambi Johnson: Since I was 12. So for 55 years.
You do theatre and math! That’s one more than me! What got you into theatre when you were 12?
Bambi: My mom was a dance teacher. I grew up in a dance studio and in fact, I’m named after a famous ballerina. Her name is Bambi Linn— that’s her last name and my mother made that my middle name. Bambi Linn dances the dream ballet in the movie Oklahoma. She in fact is still alive. That’s who I’m named after.
Oh wow. Have you ever met her?
Bambi: No, but wouldn’t that be awesome?
I feel like we need to make that happen somehow.
Bambi: I was classically trained— ballet, tap, jazz. My mom got a gig doing the choreography for Oliver! at Dulaney Summer Theatre many moons ago, when I was 12. I went to auditions with her and the bug bit me. I snuck into the audition, sang “Consider Yourself” and got cast. The best part— I will never forget the look on my mother’s face sitting at the audition table when I walked in— she’s like “What are you doing? No!!” And then I got cast!
Oh that’s incredible. And sounds hilarious!
Bambi: I did four more years of ballet and then boom I switched over to theatre.
Do you have a favorite show?
Bambi: I have a couple. Cats. But Cats is in a category all by itself. It is my talisman, it is my pinnacle, it is my everything. So we won’t even count that one because nothing can stand up to it. It is its own little thing and you’d be surprised at how immersed in this world I am…it’s crazy.
Well, actually…
Bambi: Well, maybe you wouldn’t be surprised.
No I would not. I think we’re just going to write to Andrew Lloyd Webber and ask him can we start calling it Bambi’s Cats. But are there other shows, acknowledging the fact that nothing can hold a candle to Cats, that you would say are a ‘favorite?’
Bambi: After Cats, believe it or not and I think this is going to blow you away because I’m a dancer, you would think it would be a dance show, but I flipping love Man of La Mancha. I can feel Don Quixote. I feel him. I like chasing windmills; I like dreaming the impossible dream.
Oh wow! That is really surprising. Have you ever directed a production of it or been a part of a production of it?
Bambi: Never, ever, ever. My mother did the choreography for it the year after Oliver! and I played the album until it warped. I have just loved it ever since. So maybe it’s not a good point to go back to it because it might be different for me at this point.
I feel like that should at least maybe be a bucket list project for you.
Bambi: It probably should, shouldn’t it.
Any others?
Bambi: There are so many that I love so much. Oh! I know! Cabaret! That is one of my all-time favorites. Cats, above all else, Man of La Mancha and Cabaret. And a whole bunch more.
I feel like there is probably not a project that you’ve ever put your hands on that you haven’t been in love with in some way. Because you are very devoted to what you do.
Bambi: That is true, I do get devoted and I do immerse myself in it. And I immerse my audience in it.
Can you think of a particular project over your career that has been your biggest challenge?
Bambi: Wow, give me a minute to really think about that. There are just so many, I’ve done so much it’s hard to think! Jesus Christ Superstar comes to mind at Street Lamp (Street Lamp Community Theatre; Jesus Christ Superstar March 2018, Directed & Choreographed) because I went outside the norm and stylized it with a steampunk-ish, post-apocalyptic feel complete with using cellphones as lighting effects. Also, staging the big production numbers and the bloody crucifixion scene in that space was just as challenging, if not more so than Spring Awakening (circa 2012/2013 Spring Awakening, Choreographed.)
Spring Awakening comes to mind because one of the biggest challenges there was nobody wanted to touch the intimacy choreography and it was sent off to me. I got really involved with that and figuring out how to do it with these teenagers, to make it work, make it believable and bring in special effects so that we’re not really doing what you think we’re doing, because we did not do it like they did it live. And then a lot of that subject matter is so heart-wrenching and then to set the choreography to that— and we did a lot of dream ballet stuff when they were singing ballads. That was definitely a big challenge and I think it turned out beautifully but I don’t think I can definitively say that it was my biggest challenge.
Then there’s also SpongeBob (Tidewater Players; The SpongeBob Musical, September 2021, Directed & Choreographed), a huge show with tons of special effects that had to feel bin in the small of the Opera House. Here I am in this small space with this big spectacle of a musical that needs all of these special effects, and I’m pulling out all the bells and whistles and every special effect I can think of in this little, tiny space. Making a big show big in a little space is a big challenge!
It’s one that you do exceedingly well, though. I mean, I saw Cats on that same small stage two years ago and it was brilliant.
Bambi: Thank you, thank you so much. Cats (Tidewater Players; Cats September 2022, Directed & Choreographed) like you said, is another big show in that small space of the Opera House. I mean, how do we even begin to send Grizabella to the Heaviside Layer in a space like that? As you know, for that show I even took out seats and built ramps out over the audience.
Or how about Cabaret (Phoenix Festival Theatre; Cabaret, June 2023, Directed & Choreographed) dealing with the “political correctness” of it all and honoring all those who suffered at the hands of such evil. Of course, it was a challenge, but it was a love project too; I felt intimate with Cabaret because I had done it before, but compared to something like Spring Awakening, which when I had done it was still relatively new as far as being a musical goes, and that presents its own challenge.
Then my mind jumped to Disney’s Tarzan (Aug-Sept 2014; Disney’s Tarzan, Directed & Choreographed) which was my first time working with a fly system and teaching flight choreo. Or when I used lasers to create the water scenes in Disney’s The Little Mermaid (April 2016; Disney’s The Little Mermaid, Directed & Choreographed.)
Oh and then there’s Bring It On (Circa 2015; Bring It On, Director) where I was trying to coordinate a national cheer team into the show by rehearsing them separately from the cast and then blending the two sets of choreo during tech week. There are just so many. I don’t think I could ever have an answer for which one was the most challenging or if there even was one that was more challenging than all of the challenges that I’ve taken on over the years.
(We got a ‘phone-a-friend’ response from Bambi’s husband, Eyvo, who had this to say— “All of them. Because you make them challenging. That’s what you do to yourself. You never just ‘do a show.’ In your mind, it has to be better than your last show. Plus, so many of these shows are done so much that you are always looking to create something new or different for the audience to see or get from it. You challenge yourself…so you don’t need a show to do that!”)
Bambi: And I love his answer because he nailed it! Can I just change the answer to that question? They’re all challenging; it’s impossible to pick one. Honestly, I don’t even want to do a show if it’s not a challenge. That’s the joy! I love challenges, it keeps me from getting stale and doing the ‘same old’ ‘same old’. It lets me reimagine. I mean Cats has been out forever and ever and ever, and I had done it once before so when it came up at Tidewater in 2022, I thought, “I’m not going to do the same thing, there’s no possible way I can do the same thing!” I love that kind of challenge. It pushes me creatively, it pushes me intellectually, it pushes my heart because I have to be true to these pieces because I don’t want to cheat them; it just pushes me and I love a challenge.
This is— well, one of a million reasons— why people love you and love your work. I’ve never seen a show of yours that I have not enjoyed thoroughly. I have never walked away from one of your shows feeling like I’ve had anything other than a magical, special experience from getting to see it. Now, you tend to err toward the darker side of shows. What is it about that darkness that you find so fascinating?
Bambi: It’s so funny. I live the glitter-filled, bouncy, Disney-life. I’m hyperactive, I love all things cheery and bright. So it’s the other side of me. I call her Vanessa. Vanessa likes the dark side and Vanessa likes to explore. And she loves her heart torn apart. And my closest people know that. And they’ve said, “Oh that was a Vanessa moment.” And I have no idea where that name came from.
Isn’t that the name of the Sea Witch in Disney’s original animated The Little Mermaid when she shows up in human-form trying to crash the wedding?
Bambi: Oh my gosh, yes it is. Isn’t that crazy? I’d never thought of that. But I do like the dark side because it’s humanity. It’s raw. It’s what’s in our heart, it’s what’s in our soul. I can feel it even just talking about it. If we don’t explore the dark side, we can’t appreciate the bright side.
I think because theatre is a form of escapism for so many of us and because like you just said, you live the bright, shiny, happy, Disney life, you gravitate toward the darker things in theatre because that is your escape.
Bambi: Yes. It is! I love exploring it. My mom had a really rough life. It was tough. Maybe it helps me to understand her better.
But you don’t just explore it, you don’t shy away from it.
Bambi: To shy away from it, it’s just like I say when I address evil. I got a lot of pushback on the Nazi flags in Cabaret. But they’re essential to show that darkness— what happened in real life history was monstrous. It was evil; they were monsters. And if we tone that down? If we pull it back and hide it? We help them. We have to make them look as ugly as they were— and not just with Cabaret this is anywhere— if something is evil you have to call it out for what it is. Otherwise, you’re enabling it because you’re sugar coating it and you can’t.
You truly get that and you get it on a visceral level. There are so many directors and designers and performers out there who just don’t want to acknowledge it because it makes them feel uncomfortable. And I think that is one (of a great many) thing that makes your productions so authentic. It speaks to a level of authenticity that so many other people are either just completely ignorant of or afraid of and you’re not afraid of it.
Bambi: Thank you, truly. We shouldn’t be afraid of it. We need to call it out.
I’m glad you’re not afraid of it. Now, this is what— your 17th time doing Cats?
Bambi: Hahaha! No! It’s only my third time.
That seems impossible. I feel like perhaps in a previous life or lives…but really, only three?
Bambi: Yes, I swear, only three. 2016, 2022, and now. And John Desmone called me up and he said, “You’re doing Cats again? What is it with that show?” And I said, “John! I would do Cats anytime, anywhere. You want me to come up and do it in your backyard? I’ll do it.”
Oh my goodness. See, I feel like I would actually come and see Bambi’s Backyard Cats. Because I know it would be extraordinary and unlike anything I’d ever seen before. But tell me, why when you got the call from James Hunnicutt here at Cockpit in Court, did you just immediately jump to— ‘of course!’
Bambi: Oh yeah. No brainer. That was an easy yes.
Now have you worked at Cockpit before?
Bambi: I have, but I haven’t done it for many years. I think the last thing I did here was Hairspray and you’re going back some years for that. But I’ve never directed here, I’ve only choreographed here. So this is my directorial debut for Cockpit. Usually I work with John Desmone whenever I’m here. But as soon as James called me, I was down for it. First production meeting— “I would love this, this, this, and this, but what are my limitations because I can work with them. I can make it happen and I will make it magical. Because it has to be.”
Why are you so excited about this particular production of Cats? As we’ve established, it’s only your third time out with it, and you do have quite a few new faces involved— I think there’s only seven or eight people returning from the 2022 Tidewater Production?
Bambi: We do! And I love meeting all these new people! I think I get more excited each time because I get more confident each time. I was so nervous to put my favorite show, with all that dancing, in front of people for the first time and it went very well. So I was excited to get to do it again two years ago. And now the third time is better. I think each time I do it, I’m more confident in myself, in my choices, and in how I feel about this piece, that it gets better every time.
I love hearing you say that. I’ll admit it, when I came out in 2016, I was very skeptical. I knew I’d liked your work before, but I also knew that it was Cats. And I was not a fan of the musical at the time. But you made me a convert. I thoroughly enjoyed it in 2016. Again in 2022 and am really looking forward to seeing it now in 2024.
Bambi: That’s the best compliment you can give me. The majority of theatre people have that attitude “I don’t like Cats.” I don’t know what it is, nobody likes Cats. And I want to turn them!
I honestly think it’s because they’re looking for a plot.
Bambi: I really think they are. They don’t understand. I always say, “Just read the book of poems and come see the show.” There’s no plot. And it’s not the ‘plot’ to this show that makes it so special to me or to anybody else. It’s the backstory of how it came to be. Start with T.S. Eliot, go all the way back. These were little poems that he would write to his godchildren when he wrote letters. Eventually they were put in a book. Andrew Lloyd Webber’s mother read that book to him constantly as a bedtime story book. He loved it; it was beloved to him. Webber set it all to song and presented it as a concert. It wasn’t a musical; it was a concert initially. T.S. Eliot’s wife was there. She was sobbing, she was wrecked, she loved it. She gave Andrew Lloyd Webber all the unpublished poems and said, “Please make a musical.”
So he went forth and made a musical. ‘Grizabella The Glamour Cat’ is not published anywhere. It was an unpublished work that T. S. Eliot’s wife gave to Andrew Lloyd Webber. T.S. Eliot never wanted it published because it was too sad for children. Andrew Lloyd Webber, being the genius that he is— and we do love him— put that story of Grizabella as a loose story to tie all of these little poems together. It is basically just poems set to music and dance to illustrate them. He tied it together loosely with Grizabella’s story. If you can just sit back and enjoy it for that? And all the different cat personalities, which are so spot on! If anybody owns a cat you’ll find your cat in this show. If you can sit back and watch that? You’ll enjoy it. Just be entertained by it, don’t look for any deeper meaning. If you want to find deeper, you can, but don’t go hunting for it. There’s no great plot. The plot is in the story that got it to the stage, in my opinion.
What has been your biggest challenge with doing Cats this time around here at Cockpit in Court in 2024 at this point in your life?
Bambi: Quite honestly? Just the drive! Haha! And it isn’t that long? 50 minutes with traffic? I mean I’ve driven over an hour or hour and a half to do shows, but I got so used to doing theatre right there in Havre de Grace where I could walk over from work! Now I have to get in the car and drive all the way down. That’s the only challenge. It’s been a pleasure cruise so far, knock on wood. The administration has been very supportive in giving me almost everything I’ve asked for. The cast is very talented, easy to work with, and I love every one of those precious human beings in this cast. And I love the space. It’s always been one of my favorite spaces. The only challenge is that I don’t let my audience down.
You still have a cat in your house of many pups, yes?
Bambi: I do! I have a big ol’ 20-pounder. A Tortie. And her name is Michonne. She’s named after my favorite character in The Walking Dead. She’s beautiful and fierce, she’s a survivor. And she rules those four yorkies. She weighs as much as all four of them put together. It’s so funny because they’ll be yipping in her face, and she’s just laying there, half-eyed closed with this attitude of “You’re ridiculous.” And then they finally just walk away from her. She’s so cool.
What is it that you’re hoping people will take away from coming to see Cats this time around?
Bambi: Exactly what you said. You’re a convert. I want them to be converted. I want them to walk away loving the show. Enjoying it, feeling good about it, just walking out feeling good, singing the music. That’s all. There’s no great life lessons in this one.
I really love hearing your take on this. And as you may have heard, as I’ve been interviewing all of your ‘Cats’, you have quite a few converts in the cast. A few from the Tidewater Clowder as well as several in the Cockpit Clowder who are all now converts. And every single one of them I’ve spoken to has nothing but high praises to sing about the experience of getting to work with you. Many of them said that they only even came out to audition for the show because of the opportunity to work with you. A few of them were so thrilled because you don’t usually work this far down into Baltimore and that’s been their only opportunity to work with you because you’re generally too far out of their drive-range. Nothing but extraordinary things about how wonderful and magical it is to work with you; how much they truly love the show and the experience, and how much you’ve really brought them into loving it as well.
Bambi: You have no idea what that means to me. I am so humbled by that. It means a lot. I love people.
You are incredibly loved. It’s always a joy to talk to the people who work with you. I don’t ever have to censor or redact anything that they’re saying when I’m talking to them about theatre experiences with you because they are filled to the seams and bursting over with the joys of love and life and being nurtured by you and they love the atmosphere and working conditions you create. You are the experience of experiences for 100% of these people.
Bambi: I try so very hard to see them as more than just a group or pieces to making a show. I love getting to relate to these people on an individual level, each and every one of them is unique and a special part of the production and I love getting to know them and work with each and every one of them.
Having spoken with everyone in this cast, I can tell you that that truly shows. In their words, they have all said how much they truly appreciate that you are a hands-on director, how deeply and passionately you are involved with them and with the material, how that if they’re not understanding something not only do they feel safe and comfortable approaching you about it but that you’ll work with them in a kind and supportive way until they get it, and they all really, really appreciate the opportunity to be a part of your experience.
Bambi: You’re going to make me cry. I love hearing that and am so, so humbled by that. I want to make a difference in people’s lives.
You truly do. Now, do you have any projects on the books for once Cats closes?
Bambi: Well…yes. I was going to take a little bit of a hiatus. But then I got a call. And it’s not directing. I’m going to be choreographing another project with John Desmone. I love working with John. He was just offered something and he said he wanted to put together a ‘dream team.’ He talked to Nathan (Musical Director for Cats, Nathan Scavilla) and we’re going to all work on a project together soon. But I don’t think I’m allowed to say it just yet.
Oh my! I’m pretty sure I can hear the bells.
Bambi: Yes ma’am, you can!
Well that’s excellent. I look forward to that motion in the ocean sometime in the near-distant future. Now, what does it mean to you to be a Jellicle Cat? I feel like since I asked everyone in your cast this question it was only fitting to also ask you.
Bambi: Well, you’re going to take me down this rabbit hole, aren’t you? Jellicle Cats are magical. But I have to say that every cat is a Jellicle Cat. It’s not like it’s a breed or a genre, it’s a state of being. Being a Jellicle Cat is a state of being. They are nocturnal creatures and they become magical at night. So you know at night when you’re sound asleep and the cats have the zoomies all over the house? That’s their Jellicle state of being in my mind. Because if you listen to the song, it says, “Jellicle Cats are black and white, Jellicle Cats have moonlit eyes, Jellicle Cats are rather small, Jellicle Cats are roly-poly…” they describe every single cat, every single type of cat. So every cat is Jellicle. It’s a state of being. When the moon comes out, they come out to celebrate, and they celebrate procreation, rebirth, and rising to the next level. That is what a Jellicle Cat is. They’re very magical, they’re nocturnal, and it’s an elevated state of being that all cats can attain. They do attain.
The word Jellicle, let’s go back so I can show you just how deep down this rabbit hole I am. There was an unpublished poem that T.S. Eliot wrote to his goddaughter. And it was called “Poor Little Dogs and Dear Little Cats.” And she, in her little girl voice, with her little girl lisp, came out sounding like “Pollicle Dogs and Jellicle Cats.” And that’s where those two terms came from. That’s the history of that.
THAT is magical.
Bambi: T.S. Eliot turned that into a state of being.
I love it. I love learning all of this. Now Bambi, if you could be anyone in the show, who would you be?
Bambi: Oh easy. Victoria. She’s a dancer. And I’m a dancer. And she doesn’t have to sing. And I do not sing. Well, I sing but you do not want to hear me sing. I always warn my cast, “I’ll go off. I’ll start belting and singing but believe me you do not want to hear it.” Think of cats in the alley at night. That’s about my level of singing. I can’t carry a tune in a bucket. Once I got into musical theatre, my mother put me into voice lessons with my piano teacher and I had two lessons before she said to my mom, “Keep her in dance.” So it has to be Victoria because I can relate to her, who she is, what her background is.
However, as I get older, I really am starting to identify with Grizzy. The glory days are fading further and further back of what I can do physically, I’m losing the flexibility. And it’s fine. It’s another stage of life. And as I watch my beautiful assistant to the choreographer, Whitney (Three-peater Cat, Whitney Russell) and my dance captain, Kaitlynn (Tidewater & Cockpit Cat; Kaitlynn O’Connor), as I watch them dance, I think “I used to dance like that. Ooh, wow, I sound like Grizabella.”
As long as it’s not the shunned side of Grizabella, we’re good.
Bambi: Oh I hope not! I don’t identify with the shunned side but I do identify with the glory fading side. And that’s awesome because now I’m elevating to a new level and I really enjoy watching the young ones, thinking “Gosh, I remember back in the day…”
I think you have all the energy of the young ones if not the full physicality of them, for sure.
Bambi: I feel like I still have energy.
I mean, you just did two intensive back-to-back projects, Oliver! up at Tidewater and now Cats here at Cockpit. I would say that’s energy. Now, dream projects that you have yet to tackle?
Bambi: There are things coming down the pipe that are on Broadway now that I cannot wait for. Beetlejuice. I would love to do that. Water For Elephants. But dream projects that are currently available in reality? Believe it or not, I’ve never done Chicago. And as a dancer, I would love to try to tackle that and I would love to get really abstract with it. But the rights are never available. When the window for rights opens, it opens a sliver, slams shut, and when we hear it slamming shut that’s about the time we hear that the rights were available.
I’m trying to think of other projects. I’m very lucky that I’ve been able to check a lot off of my bucket list. Believe it or not, Oliver! was a big one on my bucket list because it was the first musical I ever did.
You quite frequently get to do shows with your husband, Eyvo, who is not involved with this production of Cats but I believe was involved with the 2016 production as Mr. Mistoffolees. What is it like getting to work with your husband when he’s a part of the shows that you’re working on?
Bambi: It’s a dream. I love working with him. His strengths are my weaknesses and vice versa. Every show I do, whether he’s in it or not, I have him come and give me notes. Because he picks out all the stuff that I miss. We are a true team. We truly are. I think together, we make a really good director. I love working with him. Through the years I have seen husband-wife teams that work together and are truly wonderful, and I thought years ago “I would love to have that relationship with somebody.” Because I was married before Eyvo.
My ex-husband rolled his eyes at theatre. That mentality of ‘go play’ but come home and be a housewife and a mother, that was him. He was not someone who validated or respected any of this and I could only do theatre if nothing at home suffered. There were about 15 years where I didn’t do theatre. I got out of that relationship, met Eyvo, and am living this dream. Eyvo and I have been married for 18 years. We have that dream of being this wonderful husband-wife duo who work together and achieve amazing things and I love it.
I am so thrilled to hear that you two have each other. I’ve watched Eyvo work over the years and he’s wonderful and you two really are the dream-team. Why is theatre so important to you?
Bambi: It’s life. Theatre is life. And it’s an escape from life. It just explores everything about humanity, everything that we are. I can’t even come up with the words. My heart is so full when I’m in the theatre. And it’s the rehearsal process that I love. I do love going to the theatre and checking everything at the door and immersing myself in the story. It’s life. It’s my breath. Listen to me— I sound so super dramatic! But it really is. It’s life. It’s a mirror— like in Cabaret when I used the mirror? It lets us do all the things that we would love to do but are afraid to do out in the world. It lets people who they want to be. I watch these kids grow through the rehearsal process. I love seeing the confidence in them. There’s nothing better than sitting in the audience and watching them get a standing ovation. It’s everything to me, it’s everything watching them be proud of themselves, accomplishing this, being and becoming. Just reading their biographies already, the things that these kids are saying? It’s amazing! How they’re reading their characters, how they’re growing with it? And saying things like “I guess by the end of this I’ll be a dancer.” And it’s so rewarding to see and hear all of those things.
They get so much of that from you. You really are this entity that has created this incredible opportunity for so many of them. You are this nurturing force that lets them feel like they are in a safe space, that they can ask questions without feeling stupid or worrying that they’re going to get yelled at or get in trouble, that they can do their thing and if they don’t get it you’re going to work with them.
Bambi: That’s what I want them to feel.
You’re getting that 100% across the board. I had those exact responses when I interviewed the entire cast of the 2022 Tidewater Clowder and I’ve gotten that this time interviewing the entire cast of the 2024 Cockpit Clowder. You’re bringing this to them.
Bambi: You are so kind and I am really so humbled and so joyed to hear this. We all get so beat up in the world, I want to be that person who makes them feel good about themselves. And if that’s how I’m coming across at the end of the day, then I’m good. And I’m on the right path and I’m doing what God has ordained me to do.
You are living the dream. If you have to sum up your experience, this time around here at Cockpit in Court with Cats and all of the incredible things that come under that umbrella, using only one word, which word do you use?
Bambi: Fulfilling. Every rehearsal I go home and I feel sated.
Cats plays July 19th 2024 through August 4th 2024 in the F. Scott Black Theatre of The Robert and Eleanor Romadka College Center at the Community College of Baltimore County Essex Campus— 7201 Rossville Boulevard, Essex MD. For tickets call the box office at (443) 840-2787 or purchase them online.
To meet the nearly 40 cats involved with Bambi’s production, attend the “Return to the Jellicle Ball” interview series, with links below:
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Cats at Cockpit in Court