Profile for PeteGonBway

I saw it last week. After spending a few days in P-Town, I figured I'd check this out, curious to see Hunter's interpretation. I got a last minute ticket, no problem - and was actually 2nd row, dead center (the perks of going to the theatre alone!)

Let me start by saying that I'm a big fan of the Mendes production. I think it was true to the era, and over all, a brilliant piece of theatre. Now, I didn't want to see a rip-off of that production, which, as someone mentioned, you do see a lot of in regional theatre. But I felt that this production was the polar opposite. Almost too squeaky clean... The Kit Kat Club looked more like the Mulon Rouge, the Kit Kat Girls donning sequins, feathers, fringe, diamonds and beautifully styled wigs, looking like Vegas show girls. I missed the grit. I missed that uncomfortable feeling that the Kit Kat Girls gave the audience in the Mendes production. These girls didn't have money, and the clubs were absolute dives...

While I will say that Stephanie Gibson was vocally amazing as Sally, I was not a fan of her/Hunter's interpretation of the role. I felt like I was watching a mix of Marilyn Monore and Audrey from "Little Shop". She was played as a caricature from beginning to end. Yes, Sally should have an over the top "life is a party, it'll all blow over, nothing bothers me" attitude. But this carried through the entire show, never exposing her vulnerable side, thus never humanizing her. It was hard for my heart to break for this Betty Boop-like Sally in the second act. (And also - the choreography and performance of Mein Herr, featuring Sally in a diamond necklace, being carried by the boy was odd reminiscent of Marilyn Monroe's "Diamonds Are A Girl's Best Friend," don't you think?

Moving on -- I'll piggy back on what someone else said about Kim's Emcee. Gone was ANY sexuality from the character. Granted there were several chances for him to show off his rockin' body -- that character lacked any sort of essence. I've always believed that the Emcee was like a chameleon -- always there, observing - and drawing you in. Whatever you desired, whatever fantasies you had - he could provide, thus luring you into his world. "I Don't Care Much" is one of my favorite numbers in the show - and I've seen in done a dozen different ways, all of which were very effective. Kim's lacked any emotion, what so ever, and seemed to serve no purpose - we learned nothing from it. He simply stood on a upper level and sang. Kinda disappointing when it's such a fabulous song, full of so many actable moments.

I was very excited to see Jennifer Cody as Kost. Such a meaty role, when done correctly. They chose to split up the Kost/Fritzie doubling that's normally done - which made Cody's stage time much less than normal. Over all, she was a hoot, with hilarious timing. But I missed the German verse in "Married" (which they cut - more on that later), which when translated, is quite different than what Schultz has sung earlier, and gives us a glimpe into Kost's world... It gives her a point of view on love, marriage, and the future. It helps explain her almost desperate attempt to keep Ernst at the engagement party and it tells us that perhaps she needs love as much as money from her sailors. So, needless to say, I was sad to see that dropped.

I really enjoyed Schneider & Schultz (Toni DiBuono & Lenny Wolpe). I recognized Wolpe immediately from "The Drowsy Chaperone", and it was a treat to see DiBuono (I grew up listening to her on the Forbidden Broadway albums). They were cute. They did cut the German verse in "Married", and went back to the original way, having Schneider repeat the second verse. Again - cute and enjoyable. But, when it came time for "What Would You Do?" and Schneider's big monologue -- she delivered both as if she didn't really care, that she'd RATHER be alone renting the rooms. No tears, barely any emotion -- the character had not changed from her "So What" attitude, and like Sally, left her as an unhumanized caricature.

Bottom line -- the production as a whole was good. Great talent, beautiful sets & costumes, sexy choreography. And maybe if it was my first time seeing the stage version of "Cabaret", I'd have really enjoyed it. But I left there feeling like Foster wanted to make this production AS DIFFERENT from the Mendes revival as possible, so it didn't even resemble it, thus no one could say it was a carbon copy, etc. But I think this would have worked better had they used the original 1966 or the 1987 revival script/score, rather than the 1998 revival version (all 3 are available to license from Tams Witmark). So much of the 98 version calls for the gritty, dirty, sex & drugs, down & dirty feel, which this production didn't offer. I don't regret seeing it - cuz I'm glad I did. And I don't want to discourage anyone from seeing it - cuz it's not a bad production. I'm just a big critic when it comes to this show, having directed it twice myself and seen dozen of incarnations. Anyway, just my two cents.

Anyone know why they changed her costume for "Mein Herr" from the usual lace corset? I also remember a few lines seemed to get "toned down" when he was doing the role (as opposed to when I saw it again with Emma Stone) -- for example, when Max is firing Sally, he says "It's a nee year, time for a new face"... the script (and Emma) says "A new tart, you mean!".... However, Michelle said something like "A new person to sleep with, you mean!".... thoughts??

Anyone know if he's been signing at the stage door after "Fully Committed"? 

I've always been curious -- in the Mendes revival version of "Cabaret", is there any significance that Fraulein Kost (Fritzie) appears as the Chanteuse in "Married", moments after her confrontation with Fraulein Schnieder & Herr Schultz??