A triumph of the West End
Opening in 2021, the current iteration of Cabaret has become the longest-running version of the show in the West End. Directed by Rebecca Frecknall, although this Cabaret has triumphed in London, it has been flailing in New York, and will soon be closing on Broadway.
Based on the play I Am a Camera which was in turn based on the novel Goodbye to Berlin, both by Christopher Isherwood, Cabaret follows the rise of fascism in Berlin through the eyes of a motley crew of German and foreign characters. Set in the seedy Kit Kat club, the jazz age is coming to an end in Berlin, and some are more willing than others to recognise the sinister turn politics is taking.
The production is colourful, racy and unique, making a number of creative interpretations which leave even a seasoned Cabaret goer seeing the production afresh. With a constantly revolving cast, a series of celebrity Emcees and Sally Bowles grace the stage, supported by a strong cast of swings, understudies and ensemble members.
Eva Noblezada and Reeve Carney are the latest Sally Bowles and Emcee respectively, known for their Grammy-winning performances in Hadestown and their real life romance. Both strong performers, they lead the show with high energy and powerful vocals, aided by a central platform that rises and falls, allowing for clear moments of emphasis.
Triumphs exist across the cast, with Ruthie Henshall capturing hearts and then shattering them as a battered Fraulein Schneider with beautifully raw vocals. Joe Atkinson is an exceptional Victor, moving from charming to sinister and giving a brilliant rendition of Tomorrow Belongs To Me, ending an Act 1 that flies by on a terrifying high.
This production pulls out all the stops in an effort to immerse the audience and justify high prices. With shots on arrival staff move guests along to each of the three bars, each featuring prologue performers dancing, playing instruments and interacting with those passing by. This is mirrored in the auditorium, with audience members pulled up onstage to participate in some of Julia Cheng’s flirty choreography.
Not just a vocal feast, this iteration of the much-loved classic boasts a vibrant rainbow of costumes, makeup and wigs. While each performer has their own completely unique wardrobe, the lavish and smutty costuming by Tom Scutt is so consistent it creates cohesion. Sometimes it’s hard to know where to look or how closely, with captivating makeup design by Guy Common and wig design by Sam Cox.
An absolute must-see for first-timers and seasoned theatre-goers alike, this sensational production is a testament to the true potential of a classic reimagined.