CABARET at the Kit Kat Club (2024) Opening Night Critics' Reviews- Page 13

[TheQuibbler]

Posted: 4/29/24 at 7:19pm

I wonder if they’d consider (or be allowed to, from a union standpoint) doing away with the pre-show at a certain point to cut costs. 

[JasonC3]

Posted: 4/29/24 at 7:29pm

I'm not sure it is accurate to say Sweeney Todd is "floundering."

[TheatreFan4]

Posted: 4/29/24 at 7:58pm

TheQuibbler said: "I wonder if they’d consider (or be allowed to, from a union standpoint) doing away with the pre-show at a certain point to cut costs."

That would kind of ruin the novelty of it, wouldn't it?

[TheQuibbler]

Posted: 4/29/24 at 8:03pm

TheatreFan4 said: "TheQuibbler said: "I wonder if they’d consider (or be allowed to, from a union standpoint) doing away with the pre-show at a certain point to cut costs."

That would kind of ruin the novelty of it, wouldn't it?"

Maybe. It seems like a lot people think the pre-show doesn’t really do too much for the experience. The show and its potential for casting is, for me at least, the main draw. 

[TotallyEffed]

Posted: 4/29/24 at 8:26pm

I honestly could have done without the preshow. The transformation of the theatre was enough for me. They’re just hoping people will purchase those $29 cocktails.

[MezzA101]

Posted: 4/30/24 at 2:48pm

NYTimes: How a Broadway Theater Was Remade Into a Queer Cabaret https://www.nytimes.com/interactive/2024/04/24/multimedia/cabaret-broadway-set.html?unlocked_article_code=1.oU0.3ipg.XT86bfv7Hbxf

[binau]

Posted: 4/30/24 at 2:51pm

TheQuibbler said: "I wonder if they’d consider (or be allowed to, from a union standpoint) doing away with the pre-show at a certain point to cut costs."

Isn’t that exactly what they did in London? 

[TBFL]

Posted: 4/30/24 at 10:49pm

The pre show is still in the London production

[MemorableUserName]

Posted: 5/1/24 at 10:53am

Another review by a woman, the ever insightful Helen Shaw for The New Yorker. She didn't like it either.

https://www.newyorker.com/magazine/2024/05/06/stereophonic-theatre-review-cabaret

"Kander and Ebb’s musical about the guises of Fascism relies on a slow build from seeming liberation to revelation: an American named Cliff (Ato Blankson-Wood) bumbles his way through Weimar Berlin, intoxicated by the permissive night life and oblivious of the growing political horrors all around him. It was last on Broadway in 2015, with Alan Cumming playing the mischievous m.c.—a certain Puckish reserve is crucial to the role. The director of this revival, Rebecca Frecknall, approaches the material as if she’s exploring hidden meanings in a Jacobean text for people who have never heard a “thou” before. Hers is the subtext-as-atmosphere version of an auteur director’s treatment, offering at every moment the darkest, grungiest interpretation possible. From the outset, she has the cabaret dancers slither like demons in some medieval vision of Hell, which, paradoxically, renders the show both dull—oh, look, it’s the half-naked tubercular imps again—and a bit prudish. By shifting the early parts of the musical toward menace, Frecknall has made sexual licentiousness coincident with evil. Surely this is not her intention.

All is not ill: Gayle Rankin, whose voice is a big angry miracle, plays Sally Bowles, the cabaret’s down-at-the-heels star, and she scream-sings with such total conviction that she almost sells the show as her own personal nightmare. But Frecknall chooses Redmayne as her production’s centerpiece, and it’s been clear since he performed in “Red” on Broadway, in 2010, that he is most affecting when his impulses are reined in. When they aren’t, he can careen into absurdity, as he does here—inventing a German accent so pernicious (“Tomowwoar belongs toor me,” he sings) that you can’t always understand him, and an overly ornate physical vocabulary that’s one part silent-film Pierrot and one part Igor from “Young Frankenstein.” I have never felt so far from other audiences as I did knowing that this incarnation was beloved in London. Perhaps British viewers, familiar with stylization from Christmas pantomimes and music-hall tradition, enjoy a broader mode of performance than I do."

[nocek]

Posted: 5/2/24 at 3:55pm

I also hope Bebe gets a nomination

[dramamama611]

Posted: 5/2/24 at 4:53pm

She did, Tony nominations came out two days ago.

[sppunk]

Posted: 5/3/24 at 11:26pm

Was there tonight and the entire pre show thing was a cluster**** of epic proportions. You couldn’t get to a bathroom or a bar with the crowding and we were almost late to our seats because we had no idea where to go and could get staff to help due to so many bodies. 

The show itself is fine. Reviews are pretty spot on with this show imo. It’s nothing bad yet nothing super memorable except a poor, poor performance of Cliff. 

They don’t sell magnets either which was a bummer. 

[MemorableUserName]

Posted: 5/6/24 at 2:17pm

https://www.vulture.com/article/tony-awards-2024-welcome-to-the-phonys.html

own Sara Holdren and Jackson McHenry. These two critics have spent the past few months cramming their schedules with previews and spinning out reviews of all the big shows (and a clutch of small ones too). Now that they’ve seen it all, they’re ready to hand out some honors of their own — in categories the Tonys voters never dreamed of. Welcome to our awards show. Go ahead and call it the Phonys.

...

Best Performance As the Emcee From Cabaret

And it’s not from the actor who is currently playing the Emcee in Cabaret.

Sara: The best current performance as this kind of character is not the one by Eddie Redmayne, who’s in Cabaret at the Kit Kat Club on Broadway — it’s George Abud as Marinetti in Lempicka. He’s playing an artist who was the real-life father of futurism, historically shoehorned into the play. But that doesn’t matter, because he does what the Emcee in Cabaret is supposed to do: He guides us along as the world tumbles toward fascism. The opinions he expresses are explicitly ugly, but Abud does it with so much successful charm without giving away any of the menacing. Whereas Redmayne’s Emcee is just a mess, wiggling his fingers.

Jackson: He totally tips his hand. It’s odd to watch Cabaret and never feel like you’re being seduced by the Emcee. Redmayne’s Emcee is just going, “Welcome to Berlin, it’s evil,” and hopping around. There is meant to be a complicated dynamic with the Emcee where he’s both sort of queer and luring you into fascism. But this production seems to tell you, “All of this expression is going to lead to being a brown shirt.” It seems un-thought-through and un-nuanced. Abud is much more convincing.

[DAME]

Posted: 5/9/24 at 5:15pm

So Eddie and his co star were on Morning Joe this morning promoting Cabaret.  Hillary and Shania (sp?) were also interviewed in the same episode for Suffs.  It made me remember when the production first opened there was a discussion here about whether this Cabaret is Immersive or not.  In the interview both actors refer to the show as immersive more than once.  

[binau]

Posted: 5/9/24 at 5:38pm

I really don't understand how anyone could describe this production as 'immersive'. In my mind, an immersive production is something like Guys and Dolls in London or Here Lies Love where you can truly be part of the action and the actors/set actually interact with the audience. This production of Cabaret, from what I recall, is a traditionally staged musical with some pre-show entertainment. It does add to the 'immersion' but I wouldn't say it's immersive. 

[DAME]

Posted: 5/9/24 at 5:47pm

Well.. that is exactly how it is being described.  And that is how I felt about it when I saw it.  I thought it failed.  But I thought that is what they were going for.  

[dramamama611]

Posted: 5/9/24 at 5:57pm

It likely feels immersive in those crazy expensive table seats

[PegasusOasis]

Posted: 5/9/24 at 6:02pm

Do the audience members dancing on stage during intermission count as immersive? Plus, I think they call people on the phone at those tables.

Does the audience being on both sides of the stage make it immersive? Oklahoma!'s Circle in the Square town hall presentation was described as immersive.

I agree the preshow is absolute chaos when trying to use the restroom. You don't want to be rude and cut in while they are dancing with the people standing around, but you also need to get to the restroom so you can get seated ASAP. I also thought people seemed annoyed with dancers on the bar while waiting for a drink but that didn't bother me as much.

Updated On: 5/9/24 at 06:02 PM

[TotallyEffed]

Posted: 5/9/24 at 6:29pm

My issue with the preshow was how totally disorienting it was. It was very unclear which way to walk and there was really no comfortable place to just stand, take in our surroundings, and get recentered. It was overwhelming and a little uncomfortable. God forbid there was an emergency because it would be mass chaos. My friend and I went up to the mezz to look at the remodel then to our seats in the orchestra and that was honestly more enjoyable than standing around trying to find a place to watch the performers.

[The8re phan]

Posted: 5/9/24 at 6:34pm

Over-hyped and way over-priced.........

The pre-show at Moulin Rouge, and the atmospheric 'club' environment at Here Lies Love were done significantly better.   I was simply left feeling  "been there, done that, and it was far better back then."

Still a good show, it is Cabaret after all, but it totally lacked the impact and the bite of the Sam Mendes production.  This version added nothing to the piece for me, and just left me disappointed.
 

Updated On: 5/9/24 at 06:34 PM

[Huss417]

Posted: 5/9/24 at 8:43pm

TotallyEffed said: "My issue with the preshow was howtotally disorienting it was. It was very unclear which way to walk and there was really no comfortable place to just stand, take in our surroundings, and get recentered. It was overwhelming and a little uncomfortable. God forbid there was an emergency because it would be mass chaos. My friend and I went up to the mezz to look at the remodel then to our seats in the orchestra and that was honestly more enjoyable than standing around trying to find a place to watch the performers."

Spot on about an emergency. My first thought was also God forbid any type of emergency happened do any of the audience members have a clue on what to do. First thing I looked for were exits. This has been instilled in my head from when I was a kid.

I could have done without the preshow as it was a major cluster****. The show was fine but I was looking for more than just fine.

[TaffyDavenport]

Posted: 5/12/24 at 12:41pm

Saw the show last night, and, as someone who has seen Cabaret several times, but has never really loved it (as far as Kander and Ebb go, I think Chicago is far superior), here are some impressions:

1. I think it's a really good production: very cool, always interesting to look at, with great choreography. Some directorial choices worked really well for me, others not as much.

2. Gayle Rankin was fantastic, and her "Cabaret" was the clear highlight of the evening. Definitely like Jessie Buckley on the cast recording, restrained at the beginning, then fiery at the end, with a less "pretty" but very capable singing voice, and absolutely nothing like Amy Lennox's over-the-top performance at the Oliviers, which I hate. 

3. I thought Eddie was great, as well, and I no problem at all with either his characterization or his voice, which I really didn't get much "Muppet" from, and definitely not Kermit. It's a bit Lew Zealand with the flying fish, but not enough to bother me. 

4. Bebe was just fine for me, and that was surprising after hearing that she's the best thing in the show. Her accent was never believable, and I thought Steven Skybell, who I loved, outshone her at every turn. Her "What Would You Do?" was great, but, for me, it was too little, too late, and I left the theatre feeling "meh" about her. I really don't see her as being a contender for the Tony.

5. Ato Blankson-Wood is the clearly the weakest link, by far, and I thought he lessened the quality of the entire show, which is a shame. He's just not in the same league as everyone else.

Overall, I had a fun evening, and would see it again, for Gayle. Like I said, the show itself isn't one of my favorites, so my expectations were already not particularly high, but I was pleasantly surprised by how much I enjoyed myself. I was seated in the last row of the regular mezzanine, which was too far to see faces clearly, but offered a great overall view.

 

[jkcohen626]

Posted: 5/12/24 at 2:50pm

I was at the matinee Yesterday. I was a fan in London and I loved it here too!

Loved the new bars and would echo what others have said that, despite it being crowded, there was significantly more freedom of movement than in London. You didn't have to follow one path. 

I'd echo a lot of what Taffy said about the performances. I thought Gayle was amazing. I'll admit that I was a bit worried about her because I did not like her Don't Tell Mama at all. But then her Mein Herr was fantastic and she was wonderful for everything after that. Her Cabaret was outstanding. Agree that it was a huge highlight. Agreed about Eddie for sure as well. I'd disagree that Bebe was just fine. I thought she was wonderful. But, I would agree that Stephen was the star of the whole afternoon. He was just oozing with kindness and sweetness. A perfect performance. 

I sat in the 4th row of the West (new) mezz. It was really cool to go up there and be able to see some of the structures of the theatre. The view was fantastic. We felt very close and could make out facial features. There was an awesome moment in Willkommen where Gayle came through the first row after her etrance moment. She was climbing over people and saying hello to everyone. It was a ton of fun! As far as the staging, it was mostly sufficiently-in-the-round. The ensemble numbers were very well staged and made great use of the space and most scenes and duets were done with characters facing to the side or so we could see some faces, even if we couldn't see them all. The solos were more challenging, especially in the second act. What Would You Do and Cabaret felt VERY off balance in the way Bebe and Gayle faced. They turned throughout nthe song, but spent most of their time facing "front" and it felt like all the big moments and notes were towards the "front." I still think all the technical aspects of this production are superb, but I appreciated the lighting more this time. 

The first Tommorow Belongs to Me is still my absolute favorite moment in the production. Some other favorites were Mein Herr, Married, the little Married reprise and glass breaking, What Would You Do and Bebe's little monologue afterwards, and Cabaret. 

Updated On: 5/12/24 at 02:50 PM

[RWPrincess]

Posted: 5/12/24 at 3:29pm

I was also at the matinee yesterday. I was seated in the rear East Orchestra on the aisle, 2-3 rows from the rear. I paid $99 + fees when tickets first went on sale and I thought the view was perfect. There were a couple of times during the show when the ensemble was in the aisle so I guess that might be what they consider immersive in addition to the interactions with the tables. Sally also interacts with the front of the West Mezzanine when she is first introduced,

I am not a big Cabaret fan but I am glad I saw this production and would see it again. Gayle was the standout with Eddie a close second. I want Groff to win the Tony but I won't be upset if Eddie wins instead. Bebe and Steven were really good together.

I was among the first people to enter the theater so it was not as crowded downstairs when I was there. I also found that the bar and performances on the Orchestra level were not that crowded either. I was easily able to find open space to watch the performers. But I do agree that it can fill quickly especially downstairs. I was familiar with the exit layout from prior shows so I felt comfortable knowing where to go if needed. My main issue was I had preordered a charcuterie box and I had to ask 3 different people where to pick it up because I was getting inconsistent answers. And the email I got listed a pickup location but that is not where I ultimately picked up the box. They also do not make it easy for you to dispose of the boxes if you want toss it before or during the show.

I also visited the merch stand and was told that magnets would be available later in the season. 

 

 

Updated On: 5/12/24 at 03:29 PM

[TaffyDavenport]

Posted: 5/12/24 at 3:46pm

Broadway Covers Twitter posted that Gabi Campo is making her debut today as Sally.