Over the years I have seen many productions of Cabaret, including a rare opportunity to see Joel Grey in a production in Boston, Massachusetts in the 1980’s, and I admit that, even before witnessing this version, I was quite a fan of the show. Now, witnessing the superb John Partridge and a stellar cast in Bill Kenwright’s most recent incarnation of the piece, I am even more of a fan than ever.
The musical is set in 1930’s Berlin, just before the Second World War and it gives an insight into the rather decadent German cabaret scene of the time and its downturn once the Nazi Party came to power. We learn of the everyday problems of some of the minority groups living in Nazi Germany, in particular the Jewish and the Gay communities, and the vast contrast between “normal life” during the day and the “dream world” of cabaret clubs like the Kit Kat Club at night.
The set is quite simple, and cleverly designed, switching from a bedroom to a nightclub, or even a railway station with ease. The changes are quick and slick and the simplicity of the set means that it doesn’t distract from Cabaret’s strong themes and gripping storyline.
John Partridge takes on the, quite difficult part, of the Emcee, a role that is, for the most part, hilariously over the top and an extreme contrast to the serious undertones of the show. I have to admit that my expectation was that John would be good in the role but, to be totally honest, he managed to amaze me with the range of emotion his Emcee displayed. He is particularly strong in his solo numbers, “Tomorrow Belongs to Me” and the, originally cut but now re-instated, “I Don’t Care Much”, but also shines in comedic numbers like “If You Could See Her” and the showstopping “Two Ladies”.
Charles Hagerty is a convincing Cliff Bradshaw. His highly charged and emotional performance as the struggling writer is marred only by the fact that we only get to hear him sing twice, and both of those numbers are in the first half, but at least that gives him plenty of time to be one of the central characters as the storyline moves on in Act Two, and his “business partnership” with Ernst Ludwig (Nick Tizzard), falls apart.
With the unenviable task of stepping into a role made so famous by Liza Minnelli, Kara Lily Hayworth plays Sally Bowles, the female lead of the show. Last year she received many accolades for her incredible performance in Cilla the Musical and it is her huge talent that keeps her at the very top of her game as she belts out such standards as “Mein Herr”, “Maybe This Time” and, of course, “Cabaret”
Basienka Blake gives a superb performance as Fraulein Kost, a “working girl” with a penchant for young sailors. She easily envelopes the semi naked young men with whom she is acting, like a Preying Mantis going in for the kill and, particularly in Act Two, delivers some of the show’s most understated comedic lines.
Anita Harris is a complete revelation as Fraulein Schneider. Being old enough to remember her tremendous success on screen and in the charts in the 60’s and 70’s, it is a delight to hear that her voice is still as strong and melodic as ever. Her tenderly affectionate scenes with James Paterson, as Jewish grocer Herr Shultz, are simply magical and her sadness as her life begins to fall apart is palpable.
The stunningly handsome cabaret boys (Joseph Dockree, Francis Foreman, Oliver Roll, Ben Rutter and, my personal tip as a “future star”, Tom Scanlon) and the amazingly supple girls (Gemma Archer, Mary Hodgkinson, Sophie Hirst, Sara Morley, Hannah Nicholas and Catherine Saunders) work extremely hard throughout the show but, despite their heavy workload, they still manage to exude bucket loads of sexuality and sensuality as they cavort around the stage, in the minimum of clothing, giving a real sense of the sexual freedom and decadent lifestyle of the era.
The incredibly powerful finale has the entire audience watching in stunned silence as the hedonistic fun that has been prevalent throughout the show is, quite literally, laid bare as the cruel intentions of the Nazi Party become all too painfully obvious.
Director Rufus Norris has taken a brilliant story and, with the help of his innovative creative team and 18 supremely talented actors, has created a faultless and flawless piece that is the perfect example of a “must-see show”.
***** Five Stars