The depth of humanity and style of Bebe Neuwirth's presence in the show as Fraulein Schneider is worth the price of admission. Unfortunately, the show's bizarre costumes evoke a dystopian 21st century circus more than the fragile failing Weimar Republic's Berlin the show is supposed to be set in. There is zero chemistry between Sally and Cliff: unfortunate casting. The shock value of the production overwhelms all else.
"Shock Value" is not only the key word/concept of this production, but also the description of Jamie Lloyd's minimalistic, beauty-devoid body of work. How badly raised one has to be in order to hate the classics so badly and put one's director EGO above the staging decisions?
I have seen two of Frecknall's productions - Summer and Smoke and Streetcar - and find her work very chic, self-conscious and highly derivative. There isnt a post modernist, deconstructive theatre cliche she misses. Her work is deep on the surface. This Cabaret, which i wasnt interested in seeing in London, sounds like a blatant re-working of the incredible and, truly, inspired Sam Mendes production which i saw three times.
This production obviously thinks it is so much more "innovative" than it actually is! The 1998/2014 revivals starring the SUPERB Alan Cumming also immersed the audience into the world of the Kit Kat Klub.... at studio 54. When I saw what this production was doing in terms of "style" costuming, I knew I didn't like it. I'm glad you felt the same as I do. The fact that you enjoyed the "pre-show" so much more than the production itself speaks volumes about the quality of this allegedly "daring and provocative production." I'll stick with the 1998/2014 revivals, Thank You.
It saddens me that theatergoers will never again get to see the real "Cabaret," as originally created by director Harold Prince and choreographer Ron Field. (The 1972 movie adaptation by director-choreographer Bob Fosse, though different, was equally brilliant.) I was disgusted when I saw the Sam Mendacious first Broadway revival, in which the show ridiculed the tender romance of "It Couldn't Please Me More" by lowering small plastic pineapples on strings from the rafters during the song. Regarding the current Broadway travesty: Do the show's creators really think anyone in 1930s Berlin would pay to go to a club with those talentless "entertainers"?
Thanks -- I think I'll skip it. Heard so many good things about it from the West End, but maybe the truth is coming out what this production is really like. I have a sneaking suspicion it's the same for Sunset Blvd.
@@yankee04 - Yes, and clips of people posting from outside the theater and of bits and pieces of the well-known songs. I know clips aren’t indicative of the entire show, but the hype seems to be so incredibly high, yet singing technique by Nicole seems extreme (growls and holding notes and excessive arms movements).
In conjunction with other reviews for this production. Makes me wonder what changed between the West End and here. Or are British and American tastes really that different from one another?
I've wondering the exact same thing. I seem to be in alignment with many of the critics here in the NY area, while the show more or less received raves across the pond.
@@onemansopinion8135 : Our superb 1998 production actually started its journey "across the pond" at a warehouse theatre in London. Freknell's production seems pretentious and self-congratulatory; like, "OH! LOOK WHAT I'M DOING WITH THIS CLASSIC MUSICAL!!" The 1998 revival, by contrast, took the story and wounded our hearts, and punched us in the gut, with it.
I am seeing it this weekend I will try to comment on my opinion. It is one of my favorites so I am hoping its spectacle and costuming don't over shadow its messaging.
Great review! As someone who loved and got to see the 90s revival several times, I gotta agree that this version looks even more demonic and twisted in the worst way possible. Plus, I'm not a Redmayne girl by any means and having him play one of my favorite Broadway characters in this manner just made me want to see this even less.
Opinions are subjective. Yours is wrong to him and many others who have said similar things about this production.Instead of your negative, hard-headed approach, a simple “I disagree and here’s why…” would have been classier and possibly helpful for other commenters still considering seeing the production. Instead, your hard-headed, classless, and rude “you’re wrong” just lets everyone know you’re an a*^hole.
it was just spectacle.,,,,nothing special....the actors were not spectacular in their performances....loved the older actors..playing the house-owner and her boyfriend.... no chemistry between CLIFF/SALLY.... nothing special in this show....
The depth of humanity and style of Bebe Neuwirth's presence in the show as Fraulein Schneider is worth the price of admission.
Unfortunately, the show's bizarre costumes evoke a dystopian 21st century circus more than the fragile failing Weimar Republic's Berlin the show is supposed to be set in. There is zero chemistry between Sally and Cliff: unfortunate casting. The shock value of the production overwhelms all else.
"Shock Value" is not only the key word/concept of this production, but also the description of Jamie Lloyd's minimalistic, beauty-devoid body of work.
How badly raised one has to be in order to hate the classics so badly and put one's director EGO above the staging decisions?
I have seen two of Frecknall's productions - Summer and Smoke and Streetcar - and find her work very chic, self-conscious and highly derivative. There isnt a post modernist, deconstructive theatre cliche she misses. Her work is deep on the surface.
This Cabaret, which i wasnt interested in seeing in London, sounds like a blatant re-working of the incredible and, truly, inspired Sam Mendes production which i saw three times.
VERY WELL SAID!!
This production obviously thinks it is so much more "innovative" than it actually is! The 1998/2014 revivals starring the SUPERB Alan Cumming also immersed the audience into the world of the Kit Kat Klub.... at studio 54. When I saw what this production was doing in terms of "style" costuming, I knew I didn't like it. I'm glad you felt the same as I do. The fact that you enjoyed the "pre-show" so much more than the production itself speaks volumes about the quality of this allegedly "daring and provocative production." I'll stick with the 1998/2014 revivals, Thank You.
It saddens me that theatergoers will never again get to see the real "Cabaret," as originally created by director Harold Prince and choreographer Ron Field. (The 1972 movie adaptation by director-choreographer Bob Fosse, though different, was equally brilliant.) I was disgusted when I saw the Sam Mendacious first Broadway revival, in which the show ridiculed the tender romance of "It Couldn't Please Me More" by lowering small plastic pineapples on strings from the rafters during the song. Regarding the current Broadway travesty: Do the show's creators really think anyone in 1930s Berlin would pay to go to a club with those talentless "entertainers"?
Agreed. The next revival should go back to the original concept. The Emcee is not the star
I just can’t see Berlin 1929/1930 in anything from the pics… 😢 I Love Cabaret!!
Thanks -- I think I'll skip it. Heard so many good things about it from the West End, but maybe the truth is coming out what this production is really like. I have a sneaking suspicion it's the same for Sunset Blvd.
I have high hopes for Sunset. Did you see the Olivier’s performance?
@@yankee04 - Yes, and clips of people posting from outside the theater and of bits and pieces of the well-known songs. I know clips aren’t indicative of the entire show, but the hype seems to be so incredibly high, yet singing technique by Nicole seems extreme (growls and holding notes and excessive arms movements).
In conjunction with other reviews for this production. Makes me wonder what changed between the West End and here. Or are British and American tastes really that different from one another?
I've wondering the exact same thing. I seem to be in alignment with many of the critics here in the NY area, while the show more or less received raves across the pond.
@@onemansopinion8135 : Our superb 1998 production actually started its journey "across the pond" at a warehouse theatre in London. Freknell's production seems pretentious and self-congratulatory; like, "OH! LOOK WHAT I'M DOING WITH THIS CLASSIC MUSICAL!!" The 1998 revival, by contrast, took the story and wounded our hearts, and punched us in the gut, with it.
I am seeing it this weekend I will try to comment on my opinion. It is one of my favorites so I am hoping its spectacle and costuming don't over shadow its messaging.
Great review! As someone who loved and got to see the 90s revival several times, I gotta agree that this version looks even more demonic and twisted in the worst way possible. Plus, I'm not a Redmayne girl by any means and having him play one of my favorite Broadway characters in this manner just made me want to see this even less.
I found it utterly disappointing. Surprised word of mouth has been strong.
Not one of my favorites
I think the music is great from this show but have found all the productions rather boring. I will pass on this one.
this "one man's opinion" is so wrong... the show is perfect and evokes berlin at the time.
Opinions are subjective. Yours is wrong to him and many others who have said similar things about this production.Instead of your negative, hard-headed approach, a simple “I disagree and here’s why…” would have been classier and possibly helpful for other commenters still considering seeing the production. Instead, your hard-headed, classless, and rude “you’re wrong” just lets everyone know you’re an a*^hole.
You weren't there in Berlin at that time or watched anyhting from that era, or you wouldn't be making that wrong affirmation.
That's too bad
it was just spectacle.,,,,nothing special....the actors were not spectacular in their performances....loved the older actors..playing the house-owner and her boyfriend....
no chemistry between CLIFF/SALLY....
nothing special in this show....