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billpottsismygf · 4 months

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Right, okay, overall that episode was great. Really fun, really atmospheric. Effectively straddled the line between hilarity and terror in the spice girls scene. NPH exceeded all my expectations as the Toymaker; he was giving very Emcee in Cabaret vibes when he was doing the camp German thing, but then was able to reign it in and be in control and frightening when he switched into an English accent. He was defeated a little too easily for my liking, but that's far from the biggest problem with the episode.

Now. The bi-generation. I hate it. I don't necessarily hate that it happened - I quite like that Fourteen and Fifteen got to work together - but I hate that it wasn't resolved at the end. If this had been a two parter, the regeneration could have been a fun cliffhanger and led into a part two where there were some more games with the Toymaker - since his part could easily have been extended, as could John Logie Baird's - and where the bi-generation got resolved. As it is, however, now there are… two Doctors… Permanently? If it is going to be resolved in the future, though, why not just do it now?

My main issues:

It undermines Ncuti Gatwa as the Doctor. It feels weirdly like he's a secondary Doctor, rather than being The Doctor. Especially being the first black Doctor in the main running order, that's just a bit suspect. Although the final shot was of Fifteen heading off in the TARDIS, the focus of the end of the episode was so much on Fourteen instead of this exciting new era. This should be a fresh new start with Ncuti Gatwa at the helm, but instead he feels like an after thought. (He has given one hell of a performance so far, though, so I'm still incredibly excited to see his Doctor shine.)

It undermined what felt like a lovely bit of character growth, with David Tennant's Doctor being ready to leave this time.

I just don't believe that the Doctor would settle down like this? I get it, he's traumatised and needs to heal, but I still don't believe he would act like this! I usually think RTD is fantastic at character things, but that final scene was weird and wrong (I also don't believe Wilf would ever shoot moles). Even the idea that he's taking little trips doesn't make sense. The Doctor is incapable of not accidentally getting embroiled in a war or an invasion.

RTD has already done this! Why does he have an obsession with creating an additional David Tennant Doctor and then getting him to settle down into a human family life? And it worked better last time! At least then it was a Doctor that was part human and locked off in a parallel world.

Why are there two Doctors now??? This is just weird????

There are two TARDISes as well! Our favourite ship has been split in two… That's a sentient being!

The one thing that is slightly saving it for me is that Fifteen appears to still canonically come after the end of Fourteen's time as the Doctor, rather than Fourteen having the ability to continually regenerate into other Doctors. My only evidence for this is that Ncuti's Doctor says that he's mentally healthy now because David's Doctor did the work. So… Does Fifteen have the memories of Fourteen's time with Donna and family? Are they going to have to meet up and re-merge at some point? That would be better than the alternative, which would be for David Tennant to just perpetually be around as the Doctor. I love the man, and was even saying that I was surprisingly sad at how quickly our time with Fourteen would be over, but I don't want it extended like this. Not like this!

It's such a shame that what was otherwise a pretty good episode, if a little rushed, has been completely overshadowed by this bad and pointless decision.

Anyway, we got some hints about the future. The Toymaker has called on his legions, there's the One Who Waits, the tooth with the Master has been picked up by someone with red fingernails (again!). I'm still looking forward to what's to come; it just feels like this brand new adventure has been held back somewhat by clinging onto the, admittedly wonderful, David Tennant.

#doctor who #the giggle #doctor who spoilers #the toymaker #ncuti gatwa #david tennant #mine #dw60 #fifteen #fourteen #dwmine #reactions

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beggars-opera · 3 months

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youtube

He really said "what if the emcee from Cabaret was also a space alien" and I respect that

#Youtube #I love the 80s

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differenteagletragedy · 3 months

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hello, i've been thinking about musical theatre nerd Baxter since the Phantom of the Opera ask, and now i need headcanons about it, please, personally, i also think we would've made a great Orpheus for Hadestown

I love all the theatre nerd Baxter talk, it's so fun to think about!

-- He started dancing when he was 8, so by the time he gets into high school, everyone definitely knows it's a thing. He's also very good! Because of this, he gets approached his freshman year when the theatre kids are putting on the ~spring musical~

-- They have kids that know how to dance, but he's getting to be known for his talent, so hey, why not ask him to help out?

-- He's got some free time and a pathological need to please, so like sure, he's down.

-- Instantly obsessed. He's not unfamiliar with theatre, and he's seen musicals (old black and white movies with all the dancing, he loves), but actually being involved in the production of one? What a blast for him! The drama of it all!

-- As a former costume crew member, Baxter also gives me costume crew vibes. Just sitting in the shop sewing stuff and talking trash about everybody else. Could hem the hell out of a pair of pants and make an actor cry at the same time.

-- Him with a measuring tape around his neck at the sewing machine, just working and suffering. No, you can't try on someone else's costume for fun. No, you can't borrow something for a party. Get out of his shop. Seriously, get out.

-- Stage Manage Baxter too. He has his binder, his headset and he is TIRED OF EVERYONE. Learn your lines. Build the set. He doesn't have TIME for this.

-- I'm just realizing that you didn't specify high school, that was in a comment somewhere, so this can be for college too, or an AU! Baxter is an old soul, he's always going to be like this.

-- Could also perform! He could sing if he wanted, so he'd be your classic triple threat with his dancing talent, and we all know his dramatic ass could handle the acting.

-- Baxter pretty much IS Bobby from "Company," but he couldn't play the role until he was the right age for the character, so no school productions, it would hit too close to home.

-- "Somebody hold me too close, somebody hurt me too deep, somebody sit in my chair and ruin my sleep and make me aware of being alive," like COME ON.

-- We've talked about Phantom Baxter more than once, so that's a thing too!

-- I would do anything to see him do Emcee in "Cabaret." Tell me he wouldn't kill it, you can't do it.

-- Jamie in "Last 5 Years" -- "The Schmuel Song" is something he'd actually do for MC, so that's cute.

-- I'll lose my mind -- Baxter proposing like "The Next Ten Minutes," just think. "Will you share your life with me for the next ten minutes, for a million summers till the world explodes, till there's no one left who has ever known us apart?"

-- He will absolutely belt his heart out when he's alone in the car. And the shower. And maybe while cooking and cleaning.

-- There is never going to be one single instance at all ever in which he doesn't know his lines or his choreography.

-- If this is school Baxter though, there's always a fight because he excels at both musicals AND period pieces, but he is only one person and can't be in everything. He's one of the strongest dancers but also just a natural at that elevated speech in more classic plays OBVIOUSLY.

#baxter ward #baxter ward theatre nerd #he is the drama #someone get this man on a stage

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ithappensoffstage · 1 month

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r&g report

I had the privilege of seeing rosencrantz & guildenstern are dead with billy boyd and dominic monaghan on march 5! a few people asked for my thoughts after, so here's a sort of stream of consciousness report that may or may not be comprehensive depending on what you're looking for out of said theatre report

anyway I do genuinely believe boydmonaghan are literally the only people who can and should ever play r&g

to start off I will say that this was my first time seeing r&g staged -- I've previously just read it A LOT -- so I can't make comparisons to other productions. I am also a lifetime fan of theatre and have been somewhat involved, but do lack some technical knowledge, so apologies if I can't cover some aspects accurately!

most important of course, boydmonaghan were stellar. their comfort and familiarity with one another is amazing to witness. of course it's staged, but none of their movements come across as anything other than two old friends. they move together like dance partners; there's really no other way to put it. when you put on a show with someone you're so intimate with, it just comes through in the physicality in ways that aren't replicable with people meeting just for one production. watching them as r&g just feels like you're watching them hanging out. they anticipate each other's movements beautifully, lean into each other naturally, play off each other with such comfortable rapport that you feel like you're watching childhood friends goofing off from your corner of the party.

and the RAPPORT I mean wow. damn. if you're familiar with r&g -- the question game scene? holy shit. breathtaking quickness. they are rapid-fire, on each other's heels in the vein of the best comedies. for everyone who knows my tastes of course, they have * the * hawkbeej dynamic. (I almost cried watching because I kept thinking of my beloved url namesake fic.)

great pacing, great chemistry. even when they're sitting still you can still feel the intimacy between them in just how they arrange themselves. lots of staging to reflect mirroring, lots of staging to reflect the thematic element of identity (sorry, I'm rosencrantz; he's guildenstern), etc. great costuming choice -- billy wears green except his blue waistcoat; dom wear blue but for his green waistcoat.

their deliveries were nothing short of spectacular. that of course wraps into pacing and chemistry as mentioned above. but I do feel it's worth mentioning again that they're both so good at speaking their lines. they have such rhythm with each other. and of course that's going to happen--they have a podcast, theyre incredibly close friends, but it's so great to see in a setting with predetermined script, predetermined runtime. again, youre watching two friends who are off their minds at a party really Go Through It.

boydmonaghan aside, I had some general issues with the production. they had quite regular sound errors, and made some sound design choices with music and vocal warping/autotune that were not to my taste. there was a cool echo element utilized that I liked a lot. as I mentioned I don't know other productions so I don't know if this is standard practice, but for this one it was quite fun. coin echoing, echoing around the stage when they shouted into the wings to give you that sense of being trapped. when they spoke to the audience space, it felt enormous, and as if they were speaking to you specifically. I just got so distracted by the mic problems and weird autotune.

the autotune moments were exclusive to the hamlet scenes. that brings me to the other actors. the player himself was magnetic. phenomenal. so much presence. emcee cabaret presence. great stuff. hamlet? so lacking imo. he played hamlet very angry and masculine, which is a choice I guess, but not how I like to see hamlet done. it did make some of the intersectional scenes a little jarring; which, I know is not entirely without reason, but it just wasn't my ideal way to play it.

other than the question scene, one of my favorite scenes in the original text of r&g is when they're talking about leaving the stage, and they continue to make excuses not to. "i think he went this way / maybe that way / why don't you come with me it'll be safer / we should try this direction / oh we should actually wait in case he comes back here." the director did skip this dialogue, which I think gives the indication of less agency for r&g. a little less participation, a little more of things happening to them. which is fine. I have no feelings either way of a better way to do it, but that is just the sense I got of it.

the stage is very small, the set is very cramped. lots of overt use of trapped imagery. theyre often crowded into specific space, sitting very close. when they make space, they make SPACE, indicating periods of disagreement. pretty basic staging for this, I'd assume.

outside staging, very cool lighting, although I am generally against scenes with "party lighting." again, not sure what typical lighting is the scenes with the players that got that, but I could have left it out. similarly, we got a scene with "rock" lighting, and I just thought it was too on the nose / in bad taste. arguable how meta you need meta/absurdist work to be ofc but that decision wasn't for me.

the other lighting choices were great. it starts SO dark. I had lower balcony seating and have great vision, but the start spotlight was so soft the two of them were damn fuzzy for me at the beginning. they gradually get more light in the spotlight, and then it expands. there was a great sunrise moment where they turned the Big Warm Light on the audience and it truly felt like a sunrise over me. the final "rosenc--? guilden--? now you see me / now you don't" from billy was beautifully performed. the lights split the stage into two distinct chambers, truly separating r&g for the first time despite any previous physical distance. I did get a little choked up.

(the final hamlet scene that follows jarred me from the emotion a bit because the horatio actor didn't even try at an accent ToT and it was just weirdly red-lit and they came in with the autotune for the Big End of Speech). and I wish they hadn't made it so Intense and Dramatic because they of course we get our time loop / back to the start / they start on "heads!" and it's such a hold-your-breath type moment. boydmonaghan are good enough that it brought me back but damn. (horatio actor please don't skip vocal lessons again.)

and yeah then I skipped stage door because it made me a little uncomfortable and I went home!

I was very lucky to go and I took my lovely wife (who liked it very much despite only having seen hamlet the day before lol). anyway if you can go I highly recommend! I am even considering pulling a @thealogie and going to see if I can scoop some last-minute box office tickets one of my remaining days here.

ask box is of course open for any questions <3

quick edit: I will say, sincerely, the r&g audience was one of the worst audiences I’ve been in. none of these people knew what the fuck was going on. I wanted to eject them all from their seats into the city skyline and have the theatre to myself (+ wife). literally constantly “what” “what is going on” “huh” from around us. go away. mutuals please come see this show so I can sit with you and not next to someone trying to have a y/n when they look at the audience.

edit 2: I think I mentioned but I did have lower balcony seating. I could see well! I think I might have preferred to be a bit closer just for the microexpressions I probably missed, but I would echo others in saying there really were no *bad * seats at all.

edit 3: stage door is out front to the left of the main doors if you're interested. I personally was not (I already have something signed by billy/have met him multiple times, and would prefer to meet dom at a comic con setting because that makes me more comfortable than stage door).

#might come back and edit or add more later but here's some hasty thoughts #rosencrantz and guildenstern are dead #theatre #r&g toronto #text

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droughtofapathy · 16 days

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Cabaret's Shifting Lead Placement

Welcome to another rambling theatre history lesson with DroughtofApathy. Today we're going to examining the fascinating history of Cabaret's ever-changing lead roles.

Ground rule: Tony eligibility for Lead Actor/Actress is first determined by "above-the-title" billing in the show's opening night Playbill. It was a far stricter guideline in the past, as you'll see. These days, many lead roles aren't put above the title (ex. Hadestown, Kimberly Akimbo, etc.) but will be placed in lead categories either because it's obviously a lead, or because producers lobby for it. Conversely, actors can have "above-the-title" billing and be in featured roles, usually because they're major names like Angela Lansbury and Elaine Stritch, who were both Madame Armfeldt in the 2009/2011 revival of A Little Night Music. In which case, producers will usually submit them as featured.

When Cabaret opened on Broadway in 1966, Jill Haworth (Sally), Jack Gilford (Herr Schultz), and Bert Convey (Cliff) got top billing with Lotte Lenya (Fraulein Schneider) in the coveted "and" slot just below. Note who's missing. That's right. When the show premiered, Joel Grey (Emcee) was just a regular old featured role.

Left: opening night playbill billing. Right: post-Tony rebilling with Joel Grey's ascension.

At the 1967 Tonys, Jack Gilford (Herr Schultz) and Lotte Lenya (Fraulein Schneider) were nominated as Leading Actor/Actress, respectively, while Joel Grey and Edward Winter (Ernst Ludwig) were both in Featured. Jill Haworth (Sally) was not nominated, but would have been eligible for Lead as she had "above-the-title" billing. At the time, Joel Grey was just another working actor. Not so after Cabaret. His performance elevated both the role and his billing, thus transforming the Emcee into a Leading Role from then on.

Subsequent productions would focus more on Sally and the Emcee, while Schultz and Schneider (and the non-singing Cliff) would become featured roles. However, the "above the title" Tony ruling was far stricter back in the day, leading Sally (this time Alyson Reed) to once more be featured in the 1987 revival.

Left: opening night Playbill billing. Right: poster billing

In 1987, Joel Grey was given the sole "above-the-title" billing with Alyson Reed in the next featured spot. Though Sally was, like 1966, technically a lead role, she was nominated in featured at the Tonys that season. (Grey was not eligible as he was reprising his role.) In this production, Regina Resnik (Schneider) and Werner Klemperer (Schultz) both got fancy featured billing and nominations in their respective categories. As Cliff, Gregg Edelman got the "and" billing, but in this case it was less elevated than either Resnik or Klemperer (note the boxes). Edelman was still early-career at this point, and not yet a "name" but Cliff was still considered an elevated role in the company.

By 1998, however, the roles as we currently think of them had finally slotted into place. Alan Cumming (Emcee) won for Best Actor, Natasha Richardson (Sally) for Best Actress and Ron Rifkin (Schultz) for Featured Actor. Mary Louise Wilson (Schneider) was nominated in Featured Actress. Richardson also received left-side billing, as she was a larger name (arguably) than Cumming at the time.

Left: opening night Playbill billing. Right: lobby poster billing

But though nominations seemed to make sense, it still didn't jive with billing placement. In the 1998 production, Richardson, Cumming, and Rifkin all had "above-the-title" with Wilson in the featured "and" slot. Despite this placement, Rifkin went in for Featured. Producers can lobby the Tony committee for actor placement if they think it fitting, and these days we're a lot more fast-and-loose with the definitions. Note however, how Wilson has "above-the-title" billing in the lobby board. This was presumably a contractual renegotiation that happened post-Tonys. Note how Denis O'Hare (Ernst) and Michele Pawk (Kost) have their own line below John Benjamin Hickey (Cliff). All three were/are modest, but known, names in the theatre world, about equal to one another, at least at the time.

By 2014, the old couple (Schultz and Schneider) no longer would get top billing. Alan Cumming only built upon Joel Grey's foundation to fully elevate the Emcee role into the undisputed leading man, with Sally the star-vehicle leading lady. Between the 1998 and up until the recent revival, the older couple's story--and Cliff's importance--had taken a backseat.

Left: opening night Playbill billing. Right: poster billing.

In 2014, the revival won no Tonys, but was nominated for both Featured Actor and Actress (Danny Burstein and Linda Emond, respectively). Cumming was not eligible as, like Joel Grey before him, he was reprising his role. This time, with a Tony in his pocket, and a much bigger name than 16 years prior, he got left-side billing. Emond and Burstein received equal line billing below the title, with Emond getting the left. Though they were roughly equal in the theatre world, and Burstein had a slight edge in terms of Tony noms, I'd guess Emond got the left owing to her larger screen presence/notoriety. In the poster, Bill Heck (Cliff) is left out of featured billing entirely, as are Aaron Krohn (Ernst) and Gayle Rankin (Kost).

Now we come to our latest revival, number four. Though it's still too early for nominations, we can assume Eddie Redmayne (Emcee) and Gayle Rankin (Sally) will be leads with all others featured. Historically, Schultz and Schneider are roles that receive nominations, and the Emcee a role that wins. Will that hold in a wildly over-crowded season?

Left: first preview Playbill insert. Right: billing poster outside the theater.

Once more deviating from past productions, the roles of Cliff (Ato Blankson-Wood), Ernst (Henry Gottfried), and Kost (Natascia Diaz) are plucked back out of the company to be given featured billing. This time, Steven Skybell (Schultz) is on even footing with Cliff, even slightly under with his right-side billing. This would be the least "elevated" billing any Schultz has ever gotten. Skybell is a respected theatre veteran but not quite a household name, even in theatre circles. Blankson-Wood, meanwhile, is a recent Tony nominee. It's all politics when it comes to billing.

Here, Bebe Neuwirth (Schneider) is given the coveted "and" poster billing, no surprise. Of the featured roles, she's inarguably the biggest name. A few decades ago, that might have been enough to get her above the title, but these days it's less common that a solidly featured role would get that (unless you're Patti LuPone in Company, and Bebe doesn't have quite the same sway or ego).

This, to me, seems like the most obvious case of industry politics and agent negotiation at play, and usually actors (and egos) aren't even involved in the conversation. Skybell and Neuwirth aren't on the same level, though their characters are. My guess here is that producers want to bill their sole two-time Tony winner separately, and Skybell's agents know he isn't big enough to dispute that.

Now, let's take a look at this marketing design. Redmayne's name is left-billed despite being above Rankin's head. While annoying for those of us audience members who might just see this as a design flaw, this is all contractual, negotiated to death. Redmayne also gets front-and-center positioning, while Rankin is in the background, off-center, but she gets left-side position, which isn't as minimizing as right-side would. Left-billing is given to the bigger name because English reads left to right. These are the kinds of things I think about when I see marketing ads and playbills.

#cabaret #cabaret broadway #history lessons with doa #ask me about the sweeney todd teaser key art please it's an even better example of contracts at play #yeah i *did* stalk the ebay pages until someone put a playbill picture up for listing i'm just that dedicated to the craft #bebe neuwirth #joel grey #alan cumming #it's 9:30 a.m. but we're going live with this because why the fuck not?

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eddie-redmayne-italian-blog · 3 days

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Eddie Redmayne Says 'Willkommen' to Broadway in First Production Photos from Cabaret Revival (Exclusive)

'The Good Nurse' actor is starring as the Emcee alongside Gayle Rankin as the musical's leading lady Sally Bowles

By Sabienna Bowman Published on April 15, 2024 02:30PM EDT

Eddie Redmayne is ready to put on a show in the first photos from Broadway's Cabaret revival!

In PEOPLE's exclusive first look at the famed John Kander and Fred Ebb musical's return to the Great White Way,The Good Nurse actor, 42, suits up at as Kit Kat Klub's mercurial Emcee. With his jaunty green party hat, oversized brown cravat and black gloves, Redmayne is both intriguing and imposing as the fascinating character.

In another snap of the Emcee in action, Redmayne leaps into the air as several members of the cast dance around him during the show's iconic opening number, "Willkommen."

See Eddie Redmayne and Gayle Rankin in First Rehearsal Photos for Broadway's Cabaret Revival (Exclusive)

Additional photos from the show shine the spotlight on House of the Dragon actress Gayle Rankin in the role of the vivacious nightclub singer Sally Bowles. In one compelling photo, she seems poised to take the stage with a microphone in hand as she's surrounded by ensemble members during the song, "Mein Herr."

Another picture finds Rankin in a ruffly white dress while holding a prop cigarette as she performs the song "Don’t Tell Mama."

The Cabaret revival is being directed by Rebecca Frecknall, who helmed the West End version, which also starred Redmayne. Previews began April 1 at the August Wilson Theatre in New York City, with the show set to officially open on April 21.

Never miss a story — sign up for PEOPLE's free daily newsletter to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories.

Cabaret has long been a success both on the stage and screen. Based on John Van Druten’s 1951 play I Am a Camera, which in turn was adapted from the 1939 novel Goodbye to Berlin by Christopher Isherwood, Cabaret first hit Broadway in 1966. It was later turned into the 1972 film of the same name starring Oscar-winner Liza Minnelli.

The musical tells the story of Sally, an ambitious English singer who starts up a relationship with American writer Clifford Bradshaw as he observes the eccentric characters who populate the Kit Kat Klub in Berlin. Set between World War I and World War II, the growing unrest beyond the club's doors is ever-present as the artists within express themselves through song.

It features a score by Kander & Ebb made up of a string of songs that have become musical theatre mainstays, like “Willkommen,” “Don't Tell Mamma,” “Mein Herr,” “Two Ladies,” “Tomorrow Belongs to Me,” “Money,” “Maybe This Time” and, of course, “Cabaret.”

Jennifer Lopez Visits the Kit Kat Club for Broadway Revival of Cabaret (Exclusive)

Redmayne, who also produces the Broadway revival, has long said that Cabaret “properly ignited” his love for theater, while playing the Emcee in a student production of the musical over 25 years ago.

In an October 2023 statement, he shared, "It now feels completely thrilling and a little surreal to be a part of Rebecca's truly unique vision of Masteroff, Kander, and Ebb's brilliance as it arrives on Broadway, where the piece has such a history."

In addition to Redmayne and Rankin, the rest of the principle cast is rounded out by Ato Blankson-Wood (Clifford), Steven Skybell (Herr) and Tony winner Bebe Neuwirth (Fräulein), as well as Natascia Diaz (Fraulein Kost and Fritzie); and Henry Gottfried (Ernst Ludwig).

The cast also includes, Gabi Campo (Frenchie), Ayla Ciccone-Burton (Helga), Colin Cunliffe (Hans), Loren Lester (Herman/Max), David Merino (Lulu), Julian Ramos (Bobby), MiMi Scardulla (Texas), Paige Smallwood as Rosie, and Marty Lauter (Victor) — also known as Marcia Marcia Marcia of RuPaul's Drag Race fame.

Tickets for Cabaret are on sale now.

https://people.com/see-eddie-redmayne-in-first-production-photos-from-cabaret-revival-exclusive-8633414

#eddie redmayne #eddie redmayne cabaret #cabaret new production #cabaret nyc #nyc #august wilson theatre #people magazine #people aricle #broadway #gayle rankin #sally bowles #the emcee #people #marc brenner #photographer

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eddieredmayneargentinablog · 6 days

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New Video: Joel Grey and Eddie Redmayne Talk CABARET and The 'Emcee' Legacy

Last night, the company and audience of Cabaret at the Kit Kat Club celebrated Broadway legend Joel Grey’s 92nd birthday on stage at the August Wilson Theatre.

By: A.A. CristiApr. 12, 2024, Broadway World.

Last night, the company of Cabaret at the Kit Kat Club wilkommened some very special guests to their immersive nightclub home!

Eddie Redmayne currently in previews as the ‘Emcee’ in Cabaret at the Kit Kat Club celebrated Broadway legend Joel Grey’s 92nd birthday on stage at the August Wilson Theatre.

In the video Grey, who won Tony and Academy Awards for originating the role of the Emcee, reacts to the immersive new production now in previews on Broadway and its star Eddie Redmayne.

Redmayne described the feeling of performing for Grey and the show's composer, John Kander as "extraordinary, horrendously intimidating, as well, but joyful," and revealed a special moment he shared with the star during the performance.

Grey, who originated the role of the ‘Emcee’ on Broadway in 1966 and went on to star in the beloved film of Cabaret, took the stage as the entire cast, band, and creative team sang “Happy Birthday” while a custom cake, shaped like a giant pineapple, emerged from the stage.

During his speech honoring Grey, Eddie Redmayne said, “Tonight is an extraordinarily special night for us because we are in the presence of an extraordinary human being without whom none of us would be here.” After thunderous applause, Redmayne continued “Your performance in this part changed my life and it was one of the things that made me want to be an actor.”

The cast and Grey were also joined on stage by Cabaret composer John Kander.

Alongside Joel’s daughter Jennifer Grey and Kander, a star-studded crowd came out to fete the theater icon including Anderson Cooper, Candice Bergen, Jackie Hoffman, Jane Krakowski, Lin-Manuel Miranda, David Rockwell, and more. They were joined by numerous alum of Cabaret spanning the decades including Maude Apatow (Sally Bowles in London, 2023), Madeline Brewer (Sally Bowles in London, 2022), Joely Fisher (Sally Bowles on Broadway, 2000), Gina Gershon (Sally Bowles on Broadway, 2001), Mason Alexander Park (Emcee in London, 2023), Adam Pascal (Emcee on Broadway, 2003), Molly Ringwald (Sally Bowles on Broadway, 2002), Jake Shears (Emcee in London, 2023), and Brooke Shields (Sally Bowles on Broadway, 2001).

About CABARET AT THE KIT KAT CLUB

Cabaret at the Kit Kat Club is now in previews on Broadway at the August Wilson Theatre (245 West 52nd Street). The production, directed by Olivier Award winner Rebecca Frecknall and designed by Tony Award nominee and Evening Standard Award® winner Tom Scutt, will have decadent twin opening night gala celebrations starting Saturday, April 20 and continuing into the following night, with the official press opening on Sunday, April 21. Tickets are on sale now at www.kitkat.club or via Seat Geek HERE.

In addition to Redmayne, Cabaret also stars Gayle Rankin as the toast of Mayfair ‘Sally Bowles, two-time Tony Award winner Bebe Neuwirth as ‘Fraulein Schneider,’ Tony Award nominee Ato Blankson-Wood as ‘Clifford Bradshaw,’ Obie Award winner and Drama Desk Award® nominee Steven Skybell as ‘Herr Schultz,’ Henry Gottfried as ‘Ernst Ludwig,’ and three-time Helen Hayes Award winner Natascia Diaz as ‘Fritzie/Kost.’

The cast of Cabaret includes Gabi Campo as ‘Frenchie,’ Ayla Ciccone-Burton as ‘Helga,’ Colin Cunliffe as ‘Hans,’ Marty Lauter as ‘Victor,’ Loren Lester as‘Herman/Max,’ David Merino as ‘Lulu,’ Julian Ramos as ‘Bobby,’ MiMi Scardulla as ‘Texas,’ and Paige Smallwood as ‘Rosie.’ Swings include Hannah Florence, Pedro Garza, Christian Kidd, Corinne Munsch, Chloé Nadon-Enriquez, and Karl Skyler Urban.

The Prologue Company, the dancers and musicians that welcome audiences to the club, feature dancers Alaïa, Iron Bryan, Will Ervin Jr., Sun Kim, Deja McNair and swings Ida Saki and Spencer James Weidie. The musicians of the Prologue are Brian Russell Carey (piano & bass), Francesca Dawis (violin), Keiji Ishiguri (dedicated substitute), Maeve Stier (accordion), and Michael Winograd (clarinet).

For this production of Cabaret, the creative team have transformed the August Wilson Theatre into the Kit Kat Club with an in-the-round auditorium and custom spaces which guests will be invited to explore during the Prologue, the production’s pre-show entertainment. After purchasing tickets, guests will receive a “club entry time” to allow them to take in the world of the club before the show starts.

Patrons can upgrade their experience at the Kit Kat Club with exclusive dining or drinks packages that allow them to soak up the pre-show atmosphere. These various upgrades offer unparalleled service and unique experiences in the heart of the Kit Kat Club. Drinks can be enjoyed before and during the show, while food will be cleared shortly before the performance begins, ensuring uninterrupted and unmissable views of Cabaret. For a complete menu and more information on the upgrade packages, please visit www.kitkat.club/upgrade.

#eddie redmayne #eddieredmayne #redmayne #joel grey #cabaret 2024 #broadway world

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dearfriendicanfly · 1 year

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Alt text: a sketch of the smoker on the balcony in makeup and hair resembling Alan Cumming in Cabaret: dark lips, smoky eye shadow, and thin arched brows. He has earrings made of dangling chains and a pin holding his bangs away from his face. two dark dress straps are also visible. He tilts his head back and looks at the viewer with a slightly sad expression. End alt text

Watched Cabaret for the first time today and I am… having emotions. But a friend said that the smoker’s drag persona would probably be similar to the emcee from Cabaret and so I had to sketch it…

#disco elysium #smoker on the balcony #listening to ‘’i don’t care much’’ on repeat and resisting the urge to chew through the drywall

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bludraws094 · 7 months

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im making a separate post to liveblog the 1993 production of cabaret, and everything will be under cuts due to spoilers and possible mentions of antisemitism and sexual themes (and so its more condensed)

did emcee just lick that mans ear

also in the other post when said no straight man would wear what hes wearing

this is what hes wearing

also while i was trying to get a screenshot he made. motions. while hugging a man from behind

🏳️‍🌈🏳️‍🌈🏳️‍🌈

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pluviophile-bookworm · 1 year

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Schmicago is Over and Done... so here are my thoughts on all of it (extra long post)

Episode 1: Welcome to Schmicago

In all honesty, I was fully prepared not to like this season bc I’m really not (or at least was not) that into this era of musicals, but all I needed was the start of Welcome to Schmicago and I was so completely in. Thank you to all the geniuses who made it possible.

No but… the second time round that the word ‘farrago’ comes up in the lyrics of the episode’s title song, I well, I was literally thinking ‘what the hey’s a farrago’, and the Narrator says ‘look it up’ — it’s like they’re reading the viewer’s thoughts. I love it. That’s the self-aware humour I’ve come for. Also, I did look it up and farrago means a confused mixture. I like it. It fits.

This is killing me (in the best way) — when they say ‘endings that are tragic’, the Narrator holds up a strand of Melissa’s hair. I love the double meaning.

I love love love this! At one point you can clearly hear Kristin Chenoweth saying ‘peas and carrots, peas and carrots’, and Josh and Melissa are like ‘Please don’t talk all at once, we can’t understand you’. Love that bit of theatre inside humour.

‘Do you have a cigarette, darling, I’m simply desperate’… what an introduction to Dove’s new character, Jenny Banks. Or, as I immediately dubbed her when I saw her, Liza Jr. I feel like I’m going to like her.

‘Fifty’s not that old’ — this coming, of course, from Keegan-Michael Key, who is 52 in real life. And ain’t he living proof of it, too.

I am loving Does That Shock You (I assume that’s the name of the song) [It’s Do We Shock You, actually, but there was no way for me to know that back when the episode aired, now was there?] — it’s like, ‘look, there’s a man and he’s wearing a dress’, ‘I like both boys and girls’, and, most hilariously, ‘I’ve experienced an orgasm. A female one.’ Goodness, this doesn’t shock me or Josh and Melissa, but it sure as the stars would render the people of Schmigadoon catatonic. And I love that, for some reason.

No but the cabaret girls… Annie, Kate, Molly, Tessie, Pepper, Duffy and Elsie. Like… a certain bunch of orphan girls from the same time period as all musicals referenced here take place. Plus Cabaret’s Elsie, of course. That’s basically as if… the girls grew up to become showgirls, which actually isn’t too far-fetched. And Ariana DeBose as the EmCee is slaying it. I love all of this. And Ann Harada is Madam Frau. Lady Lady. Cool! I love it.

‘My true passion is power [dramatic pause]… electricity’ I love love love all of this.

And Jenny Banks does a Cabaret-style number with chairography a la Mein Herr. Which is funny because Dove is just one of a whole bunch of people in this cast who would do (or, in certain cases, have done) a killer Mein Herr. Either way, I just know this will be one of my most replayed songs once the soundtrack comes out. When is that, btw? [That was yesterday, and I can fully attest to the above prediction being true.]

This number isn’t even subtle about what it’s doing. About as subtle as Va-Gi-Na or the Coming Out Reprise were last season ‘We’ve had a fine affair, but please get out of mein hair.’ I love this more than words can say.

Episode 2: Doorway to Where

The Narrator is just everything… ‘schmigadee-death… penalty’, anyone? Lovely.

Ahhh we’ve got Aaron!! That man’s voice makes me swoon in a way I didn’t think was possible to someone of my… identity. If you get what I’m trying to say. [What I’m trying to say is I’m aroace, but I do have a thing for voices, and for unconventionally attractive faces, except the latter isn’t relevant in very conventionally attractive Aaron’s case. He’s all voice to me. He could sing the phone book and I’d be done for.]

No but… his solo once again mentions squirrels and robins, and I’ve got to wonder why… like, is it just a reference to You Can’t Tame Me (my beloved), or is there something else? But also, his new character, Topher, strikes me as the only one who hasn’t changed quite as much — he’s once again a free spirit singing about squirrels and robins and wow, this is just utterly self-referential, isn’t it? I love that.

‘Please. Mr Flanagan was my father… after he lost his medical license.’ I love that. And I’m going to love Jane Krakowski’s character in this, I feel like. ‘First we court the press, then I press the court.’ I adore sentences like that. Sue me. But only with Bobby Flanagan as my solicitor.

Ok, so this one I caught. Melissa’s showgirl audition is set to a number evoking I Hope I Get It from A Chorus Line. Good going, me!

‘Dad was in the military. You know, the type with a whistle. He used to force my brothers, sisters and me to perform for guests at dinner parties. God, I hated when he did that.’ I see you, Sound of Music. I see you clear and bright. ‘So this one night I begged him for a taste of champagne’… ok, so you’re Liesl, are you? Well, funny, because all I can think of is Cecily as Liesl in that one SNL sketch with John Mulaney.

Ok but when Melissa meets Topher, she’s like ‘You look… groovy’, and I was like, his ‘pants’ are not really high-waisted in this one, though. But there’s a good chance he’s both high and wasted at any given time. I mean, so I imagine, he’s a hippie. Not to stereotype people, but hey, everyone is a walking steretype here.

When Topher’s buddies come to bust him and Josh out of jail on the happiness bus, Josh is like ‘it’s literal? I thought it was a metaphor.’ To which I say… ‘It’s not a metaphor, oh no, it’s something more — it’s a literal bus’. How’s that for a reference?

Episode 3: Bells and Whistles

Ok we’re on to episode 3 and… ‘ Rizzo, ChaCha, Doodie/ Zuko and Kenickie’… why, hello Grease! I didn’t quite expect you there, but of course that was a mistake. And also, in a number starring Danny Bailey/Zuko Aaron Tveit himself, no less.

I see you, Miss Kristin Hannigan! And I’m loving it. Mrs Lovett x Miss Hannigan has never made so much sense before. Add in some Mme Thenardier for good measure, and you’ve got the ultimate composite character.

No, I swear, between Kristin and Alan, this is giving me huge Thenardier vibes, even if it’s actually meant to be a homage to Sweeney Todd, I believe. I’m loving it either way.

Ok, so… Alan’s character, Butcher Dooley Blight, is Jenny’s father here. I love it. But oh wow, this got really bloody and dark and gory really fast.

This might as well be one of my favourite courtroom scenes. I mean, ‘On the grounds of Brooklyn’ is still my go-to, but Bells and Whistles, and Fosse jazz hands are truly something else.

‘Why am I flanked by fools’ is the new ‘I’m surrounded by idiots’, and I love it. No but, his song is actually about wanting love from women who don’t want him. He’s giving Phantom. And, oh gosh, the resounding bass note it ends on… almost more impressive than a high note.

Episode 4: Something Real

Well, it’s true that Dove and Aaron are, in my humblest of opinions, the two people whose characters from this season and the previous one are most alike — I mean, she’s a cheerful girl whose cluelessness may or may not be (and in this one definitely is) just an act and whose father would kill for her sake, and he’s a free spirit who sings about robins and squirrels (even though Danny’s ‘pants are really high-waisted’ whereas Topher would rather forgo any trousers at all because ‘flowers don’t wear pants’... which I think is a valid choice, wanting to emulate a flower. Go for it) — so, in a way, what I called has very much come to pass. Now how this is going to turn out by the end is a whole other matter, so we’ll have to wait and see.

Also, here’s a post I made the day the s1 finale came out, and... I was a bit blindsided, but I had the spirit:

Ok so the Narrator may be a bit of an arse to Mel and Josh, but I love him. I want Tituss Burgess to narrate every show in song.

Topher, arriving at the junkyard: ‘The prodigal son has returned. Someone write that down.’ The Fansie in me, knocking over about three walls at once: ‘I got a pencil!’

S1 Josh: ‘I’m not singing if you’re not singing.’ S2 Josh: ‘Talk to Daddy, talk, talk to Daddy’… now that’s what I call character growth. And that aside, this is just such a fun number. I can see myself listening to it on repeat once the soundtrack drops (which I need now btw). [Ah, yes, the ‘I’m not having an argument that’s part of a musical number’ to ‘I am not a man of many words’ to ‘Talk to Daddy’ pipeline. We stan.]

Whoever decided to pair up Dove and Aaron for a duet is a freaking genius. I need to know who that was so I can send them flowers to thank them for this vocal match made in heaven.

‘More romance’? If there’s one thing I don’t like about Schmigadoon/Schmicago, and it’s just this tiny little thing, really, but… it’s that it seems to emphasise romance as the ultimate solution, the single bringer of happiness. Only, I suppose, it will end up subverting that by the end of the season. Which would be nice if it does, indeed, happen. [Well... not exactly. But next season maybe... hope springs eternal.]

Ok, a scene centring around Kristin Chenoweth and Alan Cumming together in any sort of context is always welcome, but I’m just a bit too distracted by Dooley eating his mash using his cleaver as a spoon. It’s too funny!

No but the way he said ‘Life is just a pile of shit’… it spoke to my soul… somehow.

I have never, ever in my life laughed at the sight of someone openly discussing making children into meat, but if anyone can sell such a number, why, it’s those two. Marvellously morbid.

I hear you, ‘It’s a Hard-Knock Life’. I hear you loud and clear. Or should I say… It’s a Hard-Knock-off Life… ight I’ll see myself out. But who would have thought that mixing Annie with Sweeney Todd (and a sprinkle of Oliver!) would make such a delightfully dark and scrumptiously sinister song? Also, those tap-dancing children are so amazing! I wish we would get more than a number per season from them, but I always take what I can get. [This is another contender, along with Kaput and Talk to Daddy and Bells and Whistles, for my May Top Tracks on Spotify... what will end up happening remains to be seen, but the number of times I’ve looped those just since they were released there yesterday is already large enough to put them all in the top 20 if not the top 10.]

So this now marks two different songs I know where ‘scrumptious’ is rhymed with ‘presumptuous’ (Truly Scrumptious from Chitty Chitty Bang Bang, of course, being the first), and in neither of those songs do these words sound like they should rhyme. This must be what Mel meant by that comment about imperfect rhymes, you know.

Doesn’t this just go to prove that you could sell infanticide to me if it’s accompanied by a musical number, and I’d eat it up with a spoon, or even a cleaver if I had one handy… what does that say about me, I wonder…

Episode 5: Famous as Hell

Cecily is such a star! (hey, nice alliterative phrase there) But for real, she is. Also, is this supposed to be Maybe This Time? I’ll know for sure once I watch the Schmeakdown, but I think it is, if not intertwined with something else as well.

Ok but the tribe seems to have imprinted on Josh like a bunch of baby ducklings. He’s their mama now. I love that.

I’m thinking the Narrator’s name should change to the Instigator. Love that for him.

‘Another damn rhetorical question’ might just be funnier than ‘Schmigadee-death penalty’. Either way, I love Tituss Burgess and what he does as the Narrator, or the Instigator if you will.

Ooh… I love this. Famous As Hell seems to be the sort of number which references everybody’s themes, and I love that in a number.

Ok so nobody should be subjected to 12-show day, but, like, as an obsessed fan I’d be there all day for it. Still, don’t make people perform until they bleed. Then again, this is Schmicago, so…

Wait a sec… so that’s what ‘substitutes become expedient’ meant? Not just the obvious ‘children-for-animals’ substitute, but ‘orphans-for-Kratt’. Well. I’m thinking Kratt wouldn’t make a very desirable load of sausages, though. Oh, great, now I’m considering it. I’m in so deep I’m losing awareness of how gory this all is.

Are those the twins who played the white-faced women in ASOUE, playing another pair of white-faced women? Why yes, it is them, Jacqueline and Joyce Robbins. Nice.

Ooh… ‘You’ve been getting my roses? — Moses supposes I have.’ I loved that. I’ve been wondering if Singing in the Rain could make it into the farrago, and it seems like it has.

Ok, now Kratt is definitely Phantom. Kidnapping Mel just after she’s become a star on stage and essentially going like, ‘you marry me or the man you love dies’. Also, what kind of a cliffhanger was this? I’m dying. How on earth will I make it to the finale? And there are so many knots to be untied, too many loose ends to be tied up… that’s an ambitious setup for the finale. [It was, indeed. Bit of a rush to untangle and tie up everything, it really was, but I loved it nonetheless.]

Episode 6: Over and Done

Ahhhh Ariana DeBose solo at last!! I’ve missed that so much. And a Dreamgirls solo at that! I found she was really underutilised this season, which sucks because she’s a queen, but is also completely understandable because there were so many plotlines even without her being at the forefront. Still though…

‘I shut down a dream ballet, I will shut down this’ Yes Mel, be in control of the narrative devices even if you can’t control the narrative… that is so poetic in its way. I love it.

Idk how I came to this thought, but Sgt. Rivera upon being told he has to kill Josh is giving the huntsman from Snow White. Can’t say I love that for him because it’s a really tight spot to be in, but his reaction is still one of my favourite moments.

Ok but like… is Ms. Codwell reluctant to let the orphans be killed now? What exactly was it that made her change her mind? And also, these poor kids are so death-happy, I can’t even begin to comprehend the black comedy of it all. It’s not even black comedy anymore, it’s saccharine tragedy.

Also, if Dooley and Ms Codwell get married, does that mean Kristin is going to be Dove’s mum once again? Because at first I enjoyed the subversion of them being completely unrelated here, but I’m starting to miss them as a mother-daughter duo. Maybe s3 can amend that? Whatever, just please let there be a s3.

Ok but Topher being a JCS homage all season and his tribe digging everything he says, and then once he pulls a literal Jesus, ‘turn the other cheek’ and whatnot, they’re sceptical? Idk, but I kinda dig that just bc I find it (1) funny and (2) totally reasonable.

I can’t… the Somewhere Love Is Waiting for You riff as Dooley reunites with his daughter… it’s too much. I’m going to cry. I was already going to cry, but this really is too much.

Ok but even when he doesn’t intend it, Dooley sure is good with that cleaver. And the narrative pulling a Phantom on the Phantom shout-out character… now that’s what I call poetic justice.

Yeah, sure, I’ll drink to that too. From now on I want all the villain death announcements to be done via Kaput reprise. Ding Dong the Witch is Dead who?

Rocky Horror Sgt. Rivera isn’t what I ever expected, but I’m digging it. I’m actually tearing up. What is with Schmigadoon season finales and making me sob my heart out? I need to have more of that.

Now excuse me for crossing my fandoms over here, but the tribe’s ending is giving Ordinaryish People by AJR: ‘Your hippie friends call you a sellout cos you buckled down and got a job’… indeed.

Goodness, Something Real with Topher and Jenny was one thing, but with Mel and Josh it feels that much more… real. I mean. Tell me it doesn’t. I’m not crying over the cheesiness that is a musical ending number, you are. Except I am, too, of course. How could I not be?

I did not have Narrator x Rivera on my bingo cards for this season, but like, ‘I don’t hate it’. I actually wish I could see it play out.

What’s better than Leprechaun Martin Short? Leprechaun Martin Short x2. I am living for every bizarre, out-of-left-field thing this finale throws at me. I really really really want more.

Ok but, as a lover of child-centric musicals, I now need a s3 with Josh and Mel and their little one in a land with more than one child-centred musical number. It’s not a want, it’s a need.

#schmigadoon #schmigadoon s2 #schmicago #schmicago spoilers #an extra long reaction post for good old times' sake

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bottomoftheriverbed · 1 month

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Cabaret in the west end review/observations @steeple-sinderby-wanderers

Full disclaimer: my previous exposure to cabaret is limited and I also had no idea who the cast were (self esteem and the guy from scissor sisters) I have read Goodbye to Berlin though and am very interested in the period.

If you are in the stalls, particularly if you are at a table, it is quite an immersive performance, the ensemble are literally up in your face at times. I did not sign up for that, it just happened to be where the wheelchair seats were and it's not necessarily my favourite way of doing theatre, I find it takes me out rather than brings me in, but it is a necessary part of the show particularly for 'if you could see her'

The atmosphere is incredible, though part of that may have been where I was sitting (I don't know whether all of the pre show is available to people in the galleries) but it did do a lot to build up the setting. The cast is fantastic.

The costumes are extremely stripped back (as in they're literally underwear for the majority of the cast). Though it does change in the second half to evoke lederhosen and drindls in reflection of the changing atmosphere of Berlin (I suspect it and the bavarian sounding 'tomorrow belongs to me' is because the stereotypical german is (somewhat ironically) bavarian but I think it can be interpreted in regards to the Nazi's attempt to appeal to and create a german folk culture that isn't nearly as uniform as it is)

Emcee was brilliant. Like I said I had no idea who he was, nor the actress playing sally and I think I preferred it that way. Obviously he's at the centre most of the times he's on stage but you still struggle to take your eyes of him. They went very hard on the idea of Emcee as the spirit of Berlin. His costumes get more and more Nazi like as the play goes on ending in a brown suit and very 'normal' looking.

speaking of, Ernst is extremely affable even after it's revealed he's a Nazi which really hammers the purpose of his character home.

Fraulein Schneider and Herr Schultz almost stole the show. They were magnificent, their romance was so sweet and tender and very much felt like the heart of the show. It's reluctant break up is gut wrenching and is even more so by the fact that it's so obviously inevitable due to Fraulein Schneider's firmly established pragmatism.

Sally was very brash and confident, she had a sturdiness to her. She kind of had a private school horse girl vibe if you get what I mean, kinda Clare balding like in her mannerisms. I don't think she was played nearly as naive as she can be played. Many of her actions came off far more as a single minded almost desperation to just keep going and surviving and living how she wants to. She's not really succeeding and there's a real vulnerability to her but hey fake it till you make it.

I think this makes Sally's decision to stay in Berlin a little less selfish and naive. In their confrontation before her abortion, Clifford is almost violent towards her and combined with the androgyny of the cast and costumes, including Sally's costume for 'Cabaret' (a brown trousers and blazer over her lingerie) makes Clifford come across as, to Sally, just another controlling, oppressive force. Sally is clinging onto the ruins of Weimar Berlin because it is the only place she can be free and independent. Of course there is still a lot of selfishness and naivity in that but it's framed slightly differently if that makes sense. Her ignorance is exceedingly deliberate, just as much as Herr Schultz's or Frau Schneider's pragmatism.

Clifford also seems naive, if not politically per say then personally, particularly because his and Sally's relationship is actually presented as almost asexual. They never even kiss but Clifford does kiss one of the Cabaret boys with whom he has much more chemistry and it perhaps suggests that this life with Sally Clifford wants is as much a manifestation of his internalised homophobia as anything else. I find the more I think about it the more this makes me a little uncomfortable, for all this is an apparently queer production it still reduces bisexuality to an erotic spectacle without actually engaging with it while playing into the idea that all bisexual men are actually gay

Clifford himself remains very much an outsider. His costume for example remains very masculine and quite formal to the point where it's something of a visual indicator of his outsider status even as it conflicts with his actions and what we're told he's doing.

Overall it was amazing and I highly recommend it (in the galleries as good as it is 200 quid (not even the most expensive seat) for one seat is a bit much)

#apologies for the sheer amount of costume analysis blame the last 16 or so years of living with my sister #cabaret #cabaret 2021

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bespokeredmayne · 7 months

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Report: Eddie Redmayne’s lengthy commitment to Cabaret on Broadway — and its whopping budget

A exclusive report today from Philip Boroff and his Broadway Journal says Eddie Redmayne is committing to an expensive New York production of Cabaret for six months. ‘CABARET’ IS COSTLIEST BROADWAY REVIVAL

by Philip Boroff

EXCLUSIVE: Investing in Cabaret at the August Wilson Theatre this spring might seem like a safe bet, after the success of the Kander & Ebb classic in London and earlier productions in New York.

That's until you see the price tag: $24.25 million, a record for a Broadway revival.

Broadway Journal reviewed a preliminary budget and recoupment chart for the transfer from the West End, which is being presented by the multinational theater operator and producer Ambassador Theatre Group and U.K.-based Underbelly, which creates shows and festivals. Tony and Oscar-winner Eddie Redmayne will reprise his role as Kit Kat Club emcee on Broadway.

Revivals of musicals by John Kander and Fred Ebb have been golden on Broadway, particularly the concert version of Chicago, now in its 27th year; and two Roundabout Theatre Co. engagements of Cabaret. This production, which follows several new musicals into the financial stratosphere, needs to be a smash to repay investors.

Cabaret‘s largest line item is its $9.4 million physical production. That includes millions from investors to transform the August Wilson into a Weimar-era nightclub, designed by Tom Scutt, where the show will be performed for an audience of about 1050. (There’s also a pre-show with actors and musicians interacting with the audience.) Another $1.5 million is allocated for a “refurbishment reserve,” presumably for cost overruns. A production spokesman declined to comment for this story.

For the 2021 premiere, Ambassador Theatre Group paid most of the expense of renovating London’s Playhouse Theatre (where the show’s performed in the round), someone familiar with the production said. As is standard in the industry, backers benefit from the sale of tickets but don’t share in revenue from drinks or food.

The New York production is what’s known as a related-party transaction: ATG is both producer and landlord. It recently bought a majority stake in the August Wilson along with Jujamcyn Theaters’ four other Broadway venues.

One of the busiest players on Broadway, ATG and subsidiary Sonia Friedman Productions are producing four of the 16 plays and musicals opening this season through December: The Shark is Broken, Gutenberg! The Musical!, Merrily We Roll Along and Appropriate (with Second Stage Theater). It’s controlled by Providence Equity Partners, a mammoth private equity manager that buys companies with the eventual aim of reselling them at a profit.

Cabaret must thrive to survive, requiring a weekly $1.2 million at the box office to pay its bills. That’s one of the biggest nuts on Broadway, even more than the time-travel spectacle Back to the Future projected in its recoupment chart. Back to the Future‘s home, the Winter Garden Theatre, has about 50 percent more seats than the reconfigured August Wilson, which will lose about 200 seats in the renovation.

Investing may be most appealing for patrons who prioritize backing a prestigious and artful show (and a leading Tony contender) over return on investment. Rebecca Frecknall’s dark revival won seven Olivier Awards last year in London, including for Redmayne. He’s committed to reprising his role for six months, two people familiar with the production said. ATG and Underbelly haven’t disclosed details about the transfer, including casting.

When it opened in London in 2021, Cabaret got flak on social media for its prices, now as much as £375 (equivalent to about $465, which includes a light three-course meal and champagne). Producers have told investors that the show played to 96 percent occupancy through July, with the highest average ticket price in London.

Broadway seats may be costlier. The average ticket at 110 percent capacity of the August Wilson — i.e. with premium pricing — is projected to be $248. That’s approaching Hamilton in its peak years, when it was charging as much as $849 a ticket.

If Cabaret can command that $248 average and sell out — grossing $2.1 million a week — recoupment will take about a year. (Hamilton, which cost half as much as Cabaret and has low running costs, was distributing profits six months after opening night.)

By selling out with an average ticket of $176 — Sweeney Todd territory — Cabaret‘s recoupment would take closer to two and a half years. With an average ticket of $158 — $1.3 million a week — recoupment would take four and a half years. (Projections in this story are based on recouping $20.9 million, which excludes Cabaret‘s reserves, deposits and advances; and receiving a $3 million state production tax credit, which can take years to get to investors. If the show dips into reserves during construction or the run, recouping may take longer.)

Musical revivals have gotten ever-pricier to produce, but none has approached Cabaret. For example, Sweeney Todd was capitalized at $14.5 million and appears to be on track to recoup later this fall, after about 33 weeks. Hello, Dolly! was capitalized at $16 million in 2017 (about $20 million today) and earned a small profit; last year’s $16.5 million Funny Girl recouped and is expected to make a profit.

Shows that required extensive renovations have a mixed record. Most recently, Here Lies Love, the $22 million disco-themed historical drama around the corner from the August Wilson, is struggling at the box office; whereas Harry Potter appears to be enjoying a long life in ATG’s souped-up Lyric Theatre, after producers trimmed the two-part show to one. But it arrived from London at considerable expense. In addition to Harry Potter’s $35.5 million capitalization, ATG, which competed against other landlords for the play, spent tens of millions of dollars clearing out and renovating the Lyric, Michael Paulson reported in the New York Times.

Revivals are typically short-lived, Cabaret as well as Chicago being obvious exceptions. The Roundabout Cabaret revival directed by Sam Mendes and Rob Marshall opened at the Henry Miller’s Theatre in 1998 and ran through 2004. It initially starred Alan Cumming, who stepped in again when the Roundabout revisited the revival in 2014.

Two decades ago, the Roundabout bought its revival’s most recent home, Studio 54. The nonprofit company, with help from the city of New York, paid $22.5 million for the real estate, which looks like a bargain today.

#eddie redmayne #cabaret on broadway #philip boroff #august Wilson theatre #ATG Productions #cabaret at the Kit Kat club london

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starchildrenofdustand-ashes · 5 months

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Cabaret at TheKit Kat Club Experience !!

So, I saw Cabaret at the Kit Kat Club at the Playhouse theatre on November 15 (11/15/2023) with Nic Myers as Sally and Jake Shears as Emcee.

Below the cut is where spoilers start lol: honestly the whole thing is super secretive- from the stage to the venue itself. So if you ever plan on seeing it live or have the opportunity to do so, you have been warned!

When you walk into the theatre there’s this awesome:

You will see before you descend the stairs; at the bottom of the stairs, they put a sticker on your phone :)

You’ll continue walking down the hall where the walls are white and covered with pictures all over of the actors past and present.

You probably pass some of the actors who are milling about, chatting, flirting, dancing playing instruments.

I was in the first row of the upper dress circle and god it’s tight up there. Definitely wish I’d payed a bit extra to be on the floor and to at least have room 😖

Also note; I don’t talk about Herr Schultz and Frauline Schneiderall that much in these notes, but that’s because their scenes are so sweet and straight forward. These two give you the Schneider and Schultz you’ve seen and you know you love; there’s nothing outlandish or left field that happens with these two like some of the choices with Sally and Emcee. The same can be said for Ernst and Cliff. Nothing wild has been changed with their characters. In fact, most of this will probably be me trying to decode the strange new take on the Emcee and The Kit Kat Club. Anyway! Here are my thoughts and stuff that stuck out to me!

(Also if you’ve seen this production with Eddie Redmayne or have listened to it and have a hypothesis— he makes this strange sound like he’s spitting? In a lot of the songs- I thought it maybe part of the orchestration, but I didn’t notice it with Jake Shears and chalked it up to Eddies character choices. So if you know what the sound is or can give me staging It would soothe my brain)

Willkomenn:

🍷 in Willkomenn, when the Emcee does his whole “comment ca va?, do you feel good” speil he paused after every time, as if to test what language the audience would respond to

🍷 He kept the “do you feel good- yeah I bet you do 😏” line even tho it wasn’t on the revival album🥹

🍷The way to tell Victor and Bobby apart is to lift their arm and stick your face in their armpits and take a big wiff. Bobby did not want his armpits sniffed and Emcee had to beg him

🍷 Bro I love Hermann; he was so stoic and dead inside- he just stood there and did the most basic version of what everyone was doing. He was also fully clothed lol

🍷When they sing the whisper verse, they were all posing in various positions and the Emcee crawled between their legs

Don’t Tell Mama:

🎀 When sally screams at the beginning, she was lying on her back throwing a tantrum

🎀 The Emcee is on stage for the final verse and he acts as Sally’s brother: when sally says the line, “if he squeals on me i squeal on him” they squeezed each others nipples

Perfectly Marvelous

💚When Cliff and Ernst are talking and Sally barges in, she’s wearing her coat, a beige and orange scarf, funky sunglasses and carrying a ton of luggage

💚at the end of Perfectly Marvelous, when Cliff says “besides I’ve only got one narrow bed,” the Emcee rises out of the circle in the center of the platform wearing the exact same thing as Sally: the coat the scarf and the glasses. Two Kit Kat Girls come up the same platform in a suitcase that looks just like the one Sally was carrying

💚 Nic Myers didn’t do an American accent

Two Ladies

👯‍♀️ The KitKatGirl who “makes thebed” puts on a hardware belt and does explicit things with a hammer while the other has a spatula. Or a whisk ,, The One That “Does The Cooking” goes behind Emcee and uses the whisk to “thrust” into him and when he says daily bread, she pulls out a baguette, she also fills out a whip lmao

👯‍♀️ During the instrumental break all the other Kit Kat Members come up through the stage wearing explicit things and doing explicit things to each other. The one that stood out the most to me was Helga jacking off to a copy of Mein Kampf— it was super chaotic and I don’t remember details

It Couldnt Please Me More:

🍍More often than not the sailor Kost was fucking was either Bobby or Hans- even referring to the former as such. Also, they refer to her as Fritzie explicitly so it’s cannon that Kost=Fritzie and not just an actress double casted.

🍍Before Kost runs into Schneider after letting Bobby out, Schultz is leaving Schneiders room and accidentally is trying to out her robe on instead of his jacket

Tomorrow Belongs to Me

* So Emcee comes on stage holding a box and is dressed in a robe and only a wig cap

* One by one, the member of the Kit Kat Klub put these dolls that are wearing brown suits with Blonde hair on the stage. They are standing militanty. very much providing Nazi imagery

* During the song, the figures go around the turn table while emcee is singing

* At the end of the song when he says the last line, he pulls out a blond wig and holds it in the spotlight

Money:

💸Money was the song I was most excited for because of the images I’d seen of the skeleton costume. I had a hard time figuring out why the skeleton, but it was cool nonetheless.

💸 the Emcee rises out of the middle of the floor, his clawed hands reaching out first.

💸 I watched Emcee legit drool on the stage (Groffsauce in Hamilton vibes) he was spitting those lines out so hard

💸 I don’t know how to interpret the staging of the song, the real star of the scene is the costumes, but I took it as the Emcee represented money? Everywhere he went the KitKat Girls followed, wailing and begging him and the surrounding audience for money.

TBTM (reprise )

* I mean. I feel like the staging for this song is always consistent and similar throughout all shows; the individuals singing with Cliff, Sally, Schultz and Sneider standing somberly. The emcee is usually eerily looking on and depending on the show is seemingly jubilant or looking wistful.

* In this, the Emcee rises out of the middle of the turn table wearing his outfit from money. He has a conductors stick and begins conducting them with a smile on his face.

* My sister said the Emcee is “If Art The Clown could talk” and Yeah, that’s pretty accurate. He goes form being the raunchy Emcee we’ve all come to love- I think the Emcee, no matter who plays him is kinda creepy, so the creepiness didn’t seem unusual- to an evil nazi

* But when we see him in money and onwards, he’s definitely giving Killer Clown- she was right, Art the Clown from Terrifier.

* The Art The Clown juxtaposition to when he appears bare faced during some songs was super interesting. It really feels like the idea of “The Nazi’s weren’t demons, they were people who did things we thought demons were only capable of,” and that’s what makes it terrifying. The clowning character is seen praising nazis and cheerfully conducting their songs- he really does seem like a force of evil that’s simply from hell. But then he talks off his makeup in the coming scenes and you’re reminding- he’s just a human who behaves like a demon and that’s terrifying-. Idk if I’m doing the best at explaining my analysis of this, but that’s what I was getting

Kickline

💃🏾The kickline is lively and the members of the Club are trying to hype up the audience before getting into formation

💃🏾They were all wearing red party hats so when the emcee comes on in his red Pierrot clown get up, he has the longest, pointed and most menacing looking hat.

💃🏾he also has a gun? Thing? He shoots a Nazi flag out of it

💃🏾 The Members of the club form a hakenkreuz shape around Emcee and he hand the flag to Bobby and they march off.

Married (reprise)

🧱 the scene before Married Sneider and Schultz are talking about the engagement. Emcee is slinking around the stage and he has something in his hands wrapped in a napkin. His movements remind me of a mime, or as Chelsea says, Art The Clown, the facial expressions with overdramatized emotion and fluidity

🧱 he slinks between Schultz’s and Sneider with a smile on his face and suddenly there’s a loud ass crash that makes- I shit you not- the entire theatre jump. The lights black out. When they rise back on, there is white confetti floating downward, to represent the broken glass

If You Could See Her

🦍Usually, the gorilla in this is dressed up and it looks more cartoonish, but to, this was just a straight up gorilla- (A really good costume) with absolutely no elements of humanity. No clothes, no slightly upturned mouth, no walking on two legs and absolutely no understand what was going on.

🦍The Emcee would address the Gorilla as if she was human, but she would only respond in an animalistic way like scratching her ass, sniffing Emcees ass or flat out ignoring him and doing her own thing.

🦍 The Emcee seemed to be back at his usually self- joking and less like a demonic force - he’s clowning and making the audience laugh and there’s the Jewish line at the end of the song (which?? I was kind of disappointed by. It didn’t give me shivers and I felt it was a bit rushed.) also people laughed, but it could’ve been a “I laugh at funerals bc it’s awkward,” and not because they actually found the situation funny. My sister hypothesized simple confusion for people who had no idea what was going on. I will agree that some of the Emcees choices are strange if you don’t know the plot/ haven’t read up on this revival before hand.

I Don’t Care Much:

🎙️ Next time Emcee is on stage he is wearing a brown suit and a blonde wig, no makeup on his face- he very much resembles the dolls that were placed on stage during TBTM

🎙️I don’t care much occurs after Sally and Cliff have an argument as usual. But after Cliff leaves Sally is getting dressed. She is putting on the same jacket and pants the Emcee is wearing

🎙️during the song the emcee is doing some weird puppet thing behind her and she’s mirroring the moves she’s doing. it was an interesting choice during this song, but I think it’s been my least favorite change. It was like she was on strings and he was controlling her. I guess it provided a good visual for the notion that the Emcee isn’t a person, rather a representation of the deteriorating culture of the the city as a whole.

🎙️ This song is good at humanizing the Emcee, especially in Alan Cummings revival; smeared makeup, track marks, slurred worlds and stilted motions. It really paints a picture of a human at the end of their rope. In this version it just solidifies that the emcee is the city of Berlin and the evils that are taking over (Which, goes in direct opposition to my previous theory on his costumes providing human- demon Nazi images but whatever I dont have the brain power to think harder about it)

🎙️ After this song Cliff gets beat up by Ernst. After the tussle, the nazi thugs are actually the members of the Kit Kat club, they are wearing the same coat as Sally and the Emcee. They finish Cliff off and take his coat away

Cabaret

🍷I mean. Damn. There’s not much to say here. Outstanding performance. Like there are performances from different actors on YouTube so you could watch those to see the blocking because it’s pretty much the same.

🍷 Nic Myers did an amazing job, I got full body chills

🍷 one critique I’ve heard is that it’s over directed and this song is the perfect example of it. As an actor and a director, I understand both sides,; I don’t see much individuality between the actors on YouTube vs Nic Myers because the staging is so specific. I will say, through my opera glasses, the emotion painted in her face couldn’t be replicated and I think that’s really where the nuances will lie- in their faces.

Finale

📸 The Emcee is back on the stage, in the same position as Willkomenn- it’s like this weird pose with his arms and legs bent (you can watch the Willkomenn performance in gram nortons show,, that’s the pose I’m talking about ((I’ve heard people say it’s supposed to look like a hakenkreuz ))the only difference is now he’s in his brown outfit with his blonde hair. Super eerie.

📸 All the characters are standing on the turn table and the Kit Kat Members are on the outer circle of the turn table wearing the same beige suit the emcee has on. The other characters are all wearing brown and there’s an eerie sense of uniformity.

📸 Then there’s the long ass drum roll as they continue to turn before the lights blackout.

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