I’ve been privileged to be one of the few survivors of the 1966 opening of this landmark musical when its original production opened on Broadway. I was then a young theatre agent representing John Kander and Fred Ebb, its composer/lyricist. Under the direction of Hal Prince and the choreography of Ron Field, it established them all as major talents who would create the new wave moving stage musicals from light and frivolous entertainments to theatre pieces that were brave and bold, properties that demanded more of their audiences and gave them relevant substance to chew on.
In this imported British production, without changing the original script, British director Rebecca Frecknal has imaginatively revised the style of the piece into something far more gritty and powerful. Starting with the performance of Eddie Redmayne as the MC, the blatant Kit Kat Club has now become the setting for the entire piece–home not only to the MC as host but to all the characters as well who populate the original book writer’s, Joe Masteroff’s, world of Berlin in the 1930s when Adolf Hitler and the Nazis who followed him emerge to destroy everything in their path.
Redmayne’s performance is astonishing; it doesn’t diminish the power of American Joel Grey who until now has owned the role, but it takes off on its own trajectory. As soloist and leader of the gifted company of singer/dancers, it brings deserved roars of approval several times throughout the evening. Bebe Neuwirth performs her own miracle by bringing powerful conviction to the role of Frau Schneider–one that was memorable as created by Lotte Lenya 60 years ago. Her delivery of “What Would You Do?” In the second act is a knockout. Ms.Neuwirth has been delighting us for many years now, and it’s lovely to see her landing so solidly in this rich supporting role. She is joined very happily by Steven Skybell as her unfortunately doomed suitor Herr Schultz.
Sally Bowles was played by Liza Minnelli in a film version of the story as written by Jay Presson Allen, and it became the role that anointed her a star. I don’t know the other work of Gayle Rankin who plays Sally in this outing, but her British stage credits are impressive. My own thought about her work in the role of Sally is not a good one. It is her choice to play Sally not as a neurotic, immature, but ambitious loser, but as someone who under any sort of pressure turns psychopathic. Her attack on “Don’t Tell Mama” and the title song, “Cabaret,” at the conclusion are in my opinion examples of her losing it too far down the road to madness . Ato Blankson-Wood is stuck with the character Clifford Bradshaw who is based on the real Christopher Isherwood, whose stories sired the musical. His relationship with Sally Bowles has problems, but they don’t much involve us. The show really comes alive when Redmayne’s MC and Bebe Neuwirth along those marvelous inhabitants of the Kit Kat Club are giving their all to us.
The Scenic, Theater, and Costume Designers along with the Conductor and Choreographer are all equal costars of this remarkable musical. From the moment you circuitously enter this cabaret, you are transported to a wild and exciting wonderland you won’t quickly forget.