The Kit Kat Club is the ultimate escape. After a difficult or even ordinary day, the fanfare, glitz, and glamour feel like a portal to another time, where you’ll be greeted with complimentary schnapps, dancing chorus members, and a lascivious pre-show smorgasbord.
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Cabaret looks terrific, sounds pretty good and retains its powerful “live and let live” message. But Eddie Redmayne is not that great in it.
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Cabaret’s beauty comes from implications and insinuations, undertones and overtones, rather than what is stated explicitly. Beautiful, although it can go too far – sometimes you must force yourself to see how the emcee's facial expressions, gesticulations and lyrics are a narrative about an evolving society.
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Redmayne is excellent. The best musical-theatre performance I have ever seen live is Buckley’s rendition of the title song. It’s a parable that still packs a punch.
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But fundamentally, it’s a great production of ‘Cabaret’ that’s good enough to triumph over the myriad distractions it throws in its own path.
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This is it. This is the one. At the end of the year, Rebecca Frecknall’s production of Cabaret – starring Eddie Redmayne and Jessie Buckley – stands revealed as 2021’s kill-for-a-ticket theatrical triumph.
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Eddie Redmayne’s Emcee is a brilliantly twisted creation. [Jessie Buckley] epitomises interwar Berlin: broken and broke, dancing tipsily on the edge. Frecknall proves herself one of our most exciting directors, and she draws superb performances from all involved.
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With its starry cast and a director who has made her name rethinking classic plays, this Cabaret always promised to be the show of the season. It is that. It's also a show for our times.
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