This new UK tour of Kander and Ebb's evocative and Brechtian musical, Cabaret is dark and stark, with director Rufus Norris putting his own stamp on it and slightly reworking this classic hit musical to make it even colder and harder than ever. Norris's direction works on a series of tableaux each one becoming more and more serious and hard-hitting than the one previous until we reach the ultimate conclusion - or should that be the Final Solution?
Cabaret tells the story of a young American novelist coming to Berlin in 1930 / 31 and how he finds himself willingly and happily thrown headlong into the decadence and immorality of the Berlin underworld of the time, falling in love with one of the more notorious cabaret club's 'star' artistes, but inadvertently helping the Nazi cause, chosing the 'wrong' friends, and witnessing the start of events which would eventually lead to the 1938 Kristalllnacht and the Nazi's treatment of Jews throughout the second world war. It's not much as yet, but it is enough for anyone on the outside looking in to know that it is time to leave. His friendship with a Jew and an open homosexual do nothing to make his stay pleasant.
Norris's inclusion of highly overtly sexual gesturing and outright lewd and lascivious behaviour, as well as full-frontal nudity is indeed a brave choice. The original musical suggests such things but, I guess, times have changed since Kander and Ebb wrote their show and our own attitudes and morals have changed too, and so what was shocking for audiences in the late 1960s would be, perhaps, far too tame now for us, and so Norris has drawn upon these and highlighted them.
John Partridge heads a very strong and talented cast as the Emcee. His unflinching, unsmiling style, glowering at the audience, demanding them to like him even though he is the least likeable character on stage is laudable. He has an enigmatic energy and a great stage presence. Kara Lilt Hayworth plays the 'darling' of the Kit Kat Klub, Sally Bowles, and her rendition of 'Maybe This Time' sent shivers down my spine. Anita Harris and James Paterson make a most endearing couple as Frauline Schneider and Herr Schultz respectively, and Charles Hagerty is the unwilling protagonist, Clifford Bradshaw, who only really seems to come into his own when given more dramatic scenes. His first few scenes were a little weak in comparison.
A dark, mostly black set with few additions, except for the band in a box at the back and a large flashing sign pronouncing 'Kabaret', the lighting and effects are clever and not over-done. However, what really made this production for me was the choreography. Javier De Frutos has excelled in this regard, giving the company some difficult and athlectic leaps and falls as well as precision pictures and poses to complete, all in split-second timing, and it works beautifully. The dances are strong, hard and crisp, and totally uncompromising, and are all executed by a talented ensemble.
Yes, it's Cabaret folks, but not as we know it. But that didn't seem to worry the press night audience giving a long standing ovation this evening!
Reviewer - Chris Benchley
on - 25/2/20
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