Cabaret
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Cititour.com Review
The Kit Kat Klub is back open for business after 10 long years, which is great news for theatergoers who didn’t see Sam Mendes’ revolutionary reimagining of the Joe Masteroff-John Kander-Fred Ebb musical “Cabaret” in its first incarnation at the Roundabout Theatre’s Studio 54. Adapted from Christopher Isherwood’s “The Berlin Stories,” the original 1966 Broadway production “Cabaret” was dark-tinged, but still rooted in musical comedy. Three decades later, Mendes and co-director Rob Marshall turned this material into something less traditional and far more shattering.
While audience members paying a return visit to the show (and venue) may find themselves at a disadvantage in relation to the newcomers – no longer surprised by Mendes’ jaw-dropping ending or battling the ghosts of great past performers in their heads – “Cabaret” still remains one of the most invigorating and disturbing experiences in town.
Much of the credit for the production’s electricity belongs – then and now -- to Tony winner Alan Cumming, whose singular interpretation of the club’s emcee remains indelible. Cumming may seem a tad less limber than he did 15 years ago when he first said “wilkommen” to this demanding role, but his go-for-broke spirit remains untouched. Moreover, his transformation from the louche, devil-may-care performer we see in the first half of the show to a man personally affected by the Nazi’s takeover of Germany seems even deeper than before.
Cumming’s glittering star turn also blazes brighter this go-round in contrast to the work of Oscar nominee Michelle Williams as the club’s headliner Sally Bowles. Williams’ Sally is an intriguing and often effective combination of emotional frailty and sheer spunk. But the actress doesn’t fully project the pure party girl spirit of Sally, a self-absorbed good-time-gal who remains completely oblivious to the political changes swirling around her. As for Williams’ singing voice, it’s deep, fairly strong, and slightly monotonous – especially during her surprisingly somber rendition of title tune – which actually suits the role of Sally just fine.
If Williams isn’t as perfectly marvelous as one might wish, Mendes’ casting of the show’s key supporting roles is spot-on. The superb Linda Emond projects the perfect air of world-weary practicality as seen-it-all landlady Fraulein Schneider. (I suspect a long-overdue Tony Award might be in her near future). As her kindly suitor Herr Schultz, the Jewish fruit store owner, the always wonderful Danny Burstein is all charm and misguided optimism. The handsome Bill Heck is decidedly macho as Sally’s bisexual love interest, American writer Cliff Bradshaw; Gayle Rankin in superbly sardonic as the sharp-tongued prostitute Fraulein Kost; and Aaron Krohn is disarmingly genial as Cliff’s friend Ernst Ludwig.
So what good is sitting all alone in your room when there’s someone, no matter your taste or sexual preference, to happily keep you company at Studio 54.
By Brian Scott Lipton
Visit the Site
http://www.roundabouttheatre.org/shows-events/cabaret.aspx
Cast
Alan Cumming, Michelle Williams, Danny Burstein, Linda Emond, Bill Heck, Aaron Krohn
Open/Close Dates
Opening 4/24/2014
Closing 3/29/2015
Preview Open/ Preview Close Dates
Preview Opening 3/21/2014
Closing Open-ended
Box Office
212-719-1300
Theatre Info
Studio 54
254 West 54th Street
New York, NY 10019
Map
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