‘Cabaret’ revival on Broadway still powerful, despite new challenges

NEW YORK — Cabaret, directed by Sam Mendes and starring the memorable Alan Cumming in the role of the Emcee, is back at Studio 54 (refashioned into the Kit Kat Klub). The musical, with music and lyrics by John Kander and Fred Ebb, is one of the most iconic shows of the 20th Century. From its opening number, “Willkommen,” to its dark message about artistic and sexual repression during the rise of the Nazis in Germany, Cabaret often packs an emotional, historical punch.

The Mendes-directed revival, first seen on Broadway more than 15 years ago, has been revived once again, and thankfully Cumming is along for the theatrical ride. This Scottish actor, who appeared last season in a one-man Macbeth, brings enthusiasm, energy and sorrowfulness to his turn as the Emcee of the Kit Kat Klub. His “Willkommen” is a welcoming introduction to the theatergoers sitting at tables near the stage, and he continues the antics throughout the evening. His renditions of “Two Ladies,” “Money” and “I Don’t Care Much” are well-placed transitions for a larger story involving a new American (Bill Heck) recently arrived in pre-war Berlin.

Although the Emcee is often seen as the main character in the two-act musical, it’s the American, Cliff, who receives the main story arc. He comes as a poor writer, hoping to turn his literary skills into a fat paycheck. Until his dreams are realized, he needs to scrounge money to pay the rent at the boarding house of Fraulein Schneider (Linda Emond) and while away the time at the Kit Kat Klub. At the cabaret, he instantly catches the eye of the British beauty, Sally Bowles (Michelle Williams). Sally and Cliff start a relationship, but it doesn’t take long for their preconceived notions (and old ways) to disrupt the perceived happiness.

Danny Burstein plays Herr Schultz, a love interest of Schneider’s, and Gayle Rankin plays Fraulein Kost, a prostitute with a penchant for German sailors. Aaron Krohn’s Ernst is a mysterious man who offers Cliff some unbelievable economic opportunities, namely bringing secret packages back from Paris. Later in the show, we come to know the truth behind Ernst and his connection to the Nazi Party.

The music is catchy and filled with energy. “Willkommen” may be one of the best opening numbers of any musical.  Sally’s “Don’t Tell Mama” is an old vaudeville-type act, while “Mein Herr” is typical Kander and Ebb. The quieter tunes, including “Maybe This Time” and one of the most recognizable numbers, “Cabaret,” slow down the fast-paced show and let the audience glimpse the hurt bubbling beneath the surface. It doesn’t take long for the freedom experienced by these men and women to come crashing to the ground. Theirs is a collective life that will soon be outlawed. On the horizon is death, destruction and conformity.

Cumming is near-perfect in the role of the Emcee. His humor and sadness go hand in hand, and he truly takes the audience on this nightly journey. His dancing and singing are up for the task, and it doesn’t feel like he’s going through the motions (even though he probably could).

Williams doesn’t fare too well in her Broadway debut. In order for the Sally character to pop off the stage, there needs to be that similar balance between energy and hurt. Williams can find the hurt behind the character, but she has trouble with the energetic singing. Her “Don’t Tell Mama” is somewhat tepid, and her “Mein Herr,” which should be a loud, angry tune, comes off subdued. I appreciated her unique take on “Cabaret,” although there have been far greater renditions (perhaps this song works best as a belting, 11-o’clock number). As an actress, Williams is fine as Sally. As a singer, she’s unable to keep up with the talented cast around her.

Heck also has difficulty bringing empathy to Cliff’s story. His singing is so-so, and his characterization is overshadowed by the verve from the Kit Kat Klub.

Edmond and Burstein are a delight, and their love is the one love that feels most pure and real. Everyone around them is in the age of discovery, while they have been there and done that, and now they want to settle down. Cabaret’s sweetest moments can be found with their two characters.

Mendes’ production is not to be missed, and having the Roundabout Theatre Company offer this second chance is a Broadway miracle. There was a Cabaret hole that needed to be filled on the Great White Way. In recent years, fans only had a West End interpretation of the show (which was quite good in its own right). But now the ultimate interpretation is back.

See Cumming’s Emcee and Mendes’ vision of this dark, moving and infectiously entertaining musical. The final moments are the stuff of theater legend.

By John Soltes / Publisher / John@HollywoodSoapbox.com

• Cabaret

• Directed by Sam Mendes

• Music and lyrics by John Kander and Fred Ebb; book by Joe Masteroff

• Starring Alan Cumming, Michelle Williams, Linda Emond, Danny Burstein, Bill Heck and Aaron Krohn

• Running time: 2 hours, 30 minutes

• Playing at the Kit Kat Klub at Studio 54, 254 W. 54th St. in Manhattan. Click here for more information.

• Rating: