New ‘Cabaret’ on Broadway is dark and decadent
The Tony nominations are out and “Cabaret at the Kit Kat Club,” the latest revival of the Kander and Ebb classic, has received nine nominations.
More than a musical, the production is an experience that attempts to charm and captivate before you ever set foot in the theater.
You don’t want to miss it.
The fun begins as soon as your ticket is scanned. You walk down an alleyway to the entrance of the Kit Kat Club. All adults are offered cherry schnapps, and then people wind their way to a bar where they see dancers and performers and musicians on mini stages. They’re quite good.
Taking place in Berlin as the Nazis are coming to power, “Cabaret” dazzles and delights. It also will move you to tears. It’s shocking, sometimes troubling, and full of a near-perfect set of songs that many theater lovers know by heart.
“Leave your troubles outside.” No problem. “Here, life is ... beautiful?” It’s certainly something. After the pre-show, you make your way to the marvelously transformed theater in the round. Little tables are placed close to the stage, and there’s traditional seating in the orchestra and the mezzanine.
Soon all goes dark. We hear a drum roll and a cymbal crash, and the Emcee appears.
Eddie Redmayne won an Olivier Award in 2022 for this role in London. It’s a far cry from Alan Cumming’s sexy and in-your-face portrayal in the 1998 revival. Redmayne is meek and mischievous, in a freakish clown sort of way. He wears outlandish and creepy costumes, yet there are moments when he seems insignificant.
That is not the case for Gayle Rankin as Sally Bowles, the toast of Mayfair and the star of the Kit Kat Club. Rankin’s raw energy, intensity and emotion is evident when we meet her, but she screams her way through songs like “Maybe This Time.” It’s astonishing.
What’s behind this approach? As a character, Sally is eccentric and vivacious, a natural entertainer with a powerful voice. But she’s also vulnerable and afraid to face reality. Rankin is unafraid to display this inner conflict, and it’s a welcome approach.
Both Redmayne and Rankin received Tony nominations, as did Bebe Neuwirth as Fraulein Schneider, who runs a boarding house. Neuwirth, in one of the best performances of the season, makes you smile and breaks your heart. Also nominated is Steven Skybell, who is indeed excellent as Herr Schultz, a man who brings Fraulein Schneider fruit. Surrounded by craziness and dancing, watching this romance blossom is wonderful.
As Clifford Bradshaw, the American novelist, Ato Blankson-Wood rarely grabs attention. He’s fine at conveying this man entering a new country, but not convincing once his character becomes a part of Sally’s life.
Let us not forget the dancing boys and girls, who add to the night’s decadence as they prance and march and scamper all over the stage.
Tom Scutt takes us into this revolutionary world with his scenic and costume design. Kudos also to Guy Common’s makeup, Sam Cox’s hair and wigs, and lighting by Isabella Byrd. Choreography by Julia Cheng is lively and fun.
It’s not easy to make everyone in the theater feel like they are not missing out. Some in the audience may have moments where they see Redmayne or Rankin’s back, but the actors soon turn around. Every performer plays to everyone.
Director Rebecca Frecknall is to be congratulated for taking risks and making it all work. Will everyone like her creation? No. “Cabaret” is too beloved, so some people may leave unhappy, angry or annoyed.
But there is not a moment when she disrespects the creators.
So, as Sally sings, come hear the music play.
Go: “Cabaret at the Kit Kat Club,” August Wilson Theatre, 245 W. 52nd St., $89 to $699; 888-985-9421, kitkat.club/cabaret-broadway.