The Master
Observations on Cabaret at the Kit Kat Club
I have a plane to catch for home in a couple hours — and we were respectfully asked by director Rebecca Frecknall not to spill the secrets — but I (with some astute insights from my constant companion, Maria) do have a few spoiler-free observations about Cabaret at the Kit Kat Club. I was privileged to be in the audience for opening night Monday, Nov. 15. (Photos by Marc Brenner for ATG)
•No surprise: Eddie Redmayne is brilliant and redefines the role of The Emcee in this, his first stage role in a decade. Every ounce of his attention to detail and his perfectionism is evident in his performance. He brings a fresh mischief, emotion and darkness to the role that makes the character more complex and interesting. He is both the conductor and the constant observer of the action in and out of the Cabaret.
•His singing is strong and pure. Those who only know the film will be surprised at what songs are assigned to The Emcee in this production. One in particular is a reminder of Eddie’s choirboy days.
•He wears several costumes, all completely original and a testament to the designer’s creativity. Hair and makeup change, too. The shifting looks add to the distinctiveness of life in this Kit Kat Club.
•Eddie has famously called dancing his “worst nightmare,” but he shouldn’t have a single sleepless night over this performance. The choreography brilliantly allows him to use his expressive arms and hand movements to best advantage while minimizing fancy footwork. He does show a few slick moves, though…
•The chemistry between Eddie and Jessie Buckley, who similarly redefines the part of Sally Bowles, was evident at the end as the audience roared with a standing ovation. Jessie hugged Eddie and both were tearfully emotional at the response.
•The much promoted “interactive,” “immersive” and “intimate” Berlin nightclub setting more than delivered. I can’t think of another production that so completely throws you into another world for an evening.
•The supporting actors and chorus of singers, dancers and musicians are all beautifully cast — and again, there is an originality to the look and the focus of the plot that makes this so much more than a revival. My companion and I both found Omari Douglas as the young writer particularly compelling, and the performances of Liza Sadovy as Fraulein Schneider and Elliot Levey as Herr Schultz very moving.
•Finally, as an American, I’m sadly used to high ticket prices for theater, so to me, the table seats were a value for the immersive quality and being within 6-10 feet of the actors at times. (They were about what we would pay for average seats at a less desirable performance on Broadway). I can’t imagine that anyone would be unhappy with even the £30 seats at the Kit Kat Club, though, as the configuration gives everyone a good view of the actors.
