{"id":11848,"date":"2022-01-13T16:30:31","date_gmt":"2022-01-13T16:30:31","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=11848"},"modified":"2022-11-03T18:27:13","modified_gmt":"2022-11-03T18:27:13","slug":"west-ends-cabaret-revival-pretty-wonderful-though-not-as-life-changing-as-they-say","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2022\/01\/13\/west-ends-cabaret-revival-pretty-wonderful-though-not-as-life-changing-as-they-say\/","title":{"rendered":"West End’s Cabaret Revival Pretty Wonderful, Though Not As Life-Changing As They Say"},"content":{"rendered":"\n

It’s Theatre Thursday! I lost track of days again! What is time! Today’s show is the new production of <\/em>Cabaret at London’s Playhouse Theatre, which marketing and publicity says has been renamed The Kit Kat Club, but unless that name lasts beyond this production it doesn’t really count. You know the Playhouse, it’s the one just past the Enbankment arches where there’s a Subway I actually ate at once.<\/em><\/p>\n\n\n\n

London’s latest version of Cabaret is the hottest ticket in town, and with dern good reason. With Eddie Redmayne as the Emcee and Jessie Buckley as Sally Bowles, the star power is out the wazoo and ticket prices have reflected that. It’s the most expensive show the West End has seen in a while, with little way around it. And while it is indeed a wonderful production with some great performances, it is not as life-changing or once-in-a-generation or sell-your-soul-to-see-this as some critics have fallen over themselves to proclaim. If you’ve seen a strong production of Cabaret in your life (which is likely, considering how prolific productions have been for so many decades and how strong the bones of the show are to lend itself to strong productions even without this star power), this one won’t be much different, so do not sell your soul. If you do have a ticket though, well, splendid.<\/p>\n\n\n\n

Cabaret, as you know, tells the story of Sally Bowles, an unsteady but effervescent English cabaret performer in a seedy Berlin nightclub just as the Nazis rise to power. Threaded through the story of Sally and her new American writer beau and the world they’re in are scenes from the cabaret, led by an unsettling-sexy-scary-phantasm type jawn whose scenes when well-directed (which they are here) can Mean More than They Seem.<\/p>\n\n\n\n

Although no one is talking about it, I was extra curious\/anxious to see this show again after the recent controversy over Rare Earth Mettle, Jewish casting, and general treatment of Jewishness in London theatre. Cabaret was written by Jews and is literally about Nazis taking over and German Jews getting a glimpse of what’s to come, but some productions feel like they are taking that into account more than others in a certain ineffable way. The last Broadway revival had a vibe running through it like it acknowledged it was by and somewhat about Jews, even though it’s About an English gentile girl. This one does not, although the performance of Schultz (Elliot Levey) is very good. I think this comes back down to the difference between theatre in New York vs. London which I’ve written about a lot and don’t feel like doing today.<\/p>\n\n\n\n

There are three big selling points of this production: First, the theatre itself. Yes, it has been transformed from the minute you walk in the door, which is about 20 minutes later than you thought you would because it takes motherforking forever to be let in. This is because, fortunately, staff is checking for negative LFTs (and haven’t even half the swiftness of Broadway staffers in checking patron by patron) and also, unfortunately, they are clearly slowing down the inflow of people because it’s super crowded inside, and also, fortunately, everyone who enters gets a free drink from one single bartender per route of entry (just like who designed this system guys) (oh you get either a beer, a tiny thimble of Schnapps, or a bottle of water. pretty cool). The frustration of waiting out in the cold for so long despite your ticketed ‘entry time’ being 39 minutes ago quickly fades when you enter the completely reimagined space, which has shadowy figures hither and yon playing instruments, ‘dancing’, and generally creating the vibe of a seedy old German club, I mean, I’m guessing. While it’s fun to look around and become immersed in the experience before the show begins, I’m not a huuuge fan of seedy underground clubs, or clubs in general, and I’m really not a fan of milling about with hundos of unmasked jackwagons. So, while it was cool, this whole shibang wasn’t as mind-blowingly amaaaz as everyone says. That’s just me that’s just me; everyone else was totally oohing and ahhing at the scantily clad writhers scattered about.<\/p>\n\n\n\n

More importantly: the second and third selling points of this show, the two stars. Eddie Redmayne is as good as they say. He’s doing this weird hunchback-of-Notre-Dame meets sickly-Victorian-boy meets haunted-marionette thing that really works for the Emcee. His approach was different enough from the legendary Alan Cumming performance I feel like I just saw on Broadway, so there weren’t many reasons to compare the two, I think fortunately. Cumming does have that unabashed unhindered and almost uncomfortably high awareness of sexuality though, like oozing out his pores, and Eddie does not, so that makes the sessual bits (like “Two Ladies”) feel a bit awks, a bit mismatched. But he sounds great and he’s so fully committed to this pretty insane role.<\/p>\n\n\n\n

The real star for me is Jessie Buckley as Sally Bowles. At first I was left a little wanting when her opening number, “Don’t Tell Mama”, was more spoken than sung, which is a peeve of mine, but with every minute she keeps leveling up. Her first scene with Cliff, with all the Britishisms about what ‘one does’ and all was pitch perfect and reached new levels of hilarity that I never really got before. Her instability and her sense of self are clear without being annoying. She keeps building this character and its anxieties and fears throughout the show so that her final swansong of “Cabaret” was shockingly strong and completely untethered. Husbo thought it was a little too unhinged, but I loved it. Buckley wholly nails that vibe of Sally being a manic pixie girl but in a nightmare instead of a dream. She is wonderful.<\/p>\n\n\n\n

The supporting cast is strong too, with the side plot between Fraulein Schneider (Liza Sadovy) and Herr Schultz carrying the day, in large part due to the power of Sadovy’s numbers. I like Omari Douglas but felt he was miscast as Cliff here, perhaps because he was the one onstage I could tell was capital-A Acting. But my criticisms are small, really. This production is so well directed that there are still parts that are creeping up on me, like how Eddie is dressed up as a Halloween-ish depiction of death conducting the cast during the Act I closer ‘Tomorrow Belongs to Me’, get it, because it did? you get it. It’s always interesting to see how they can make yet another production of this oft-performed classic feel warranted, and this one was. More than anything though, it cemented that these two stars are motherforking Stars that I hope continue in theatre for a long time.<\/p>\n\n\n\n

INFORMATION<\/strong><\/p>\n\n\n\n

Strongly recommend sitting up the dress circle. It’s cheaper (somewhat) and easier to get to the bathrooms. The first act is LONG, like an hour 40? The second is an hour.<\/p>\n\n\n\n

No one wears masks because they are drinking the whole time. The assholes next to us had bottles of wine and whenever they would refill their glasses, they would cheers and clink their glasses. We were close to screaming but they always chose their moments to prevent this, like doing it at the emotional climax of ‘Maybe This Time’. I FORKING HATE YOU. A lot of people in the cabaret tables up front were obviously there to be seen, in a pathetic but unavoidable in the social media age way. There was this girl sitting right in front in like a silver and white Sexy Baby costume who was gasping and clutching her throat the whole time in wonderment so fake and performative, it was plainly a 2 1\/2 hour audition for her. I hope she gets the attention she so badly craves. Anyway what I’m saying is it was a bad audience but WHATEVER.<\/p>\n","protected":false},"excerpt":{"rendered":"

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