GYPSY, since its inception in 1959, has always been called a fable…even though it’s loosely based on real people. Being recognized as an American fable, the current casting of this most recent Broadway revival, with the justified Tony-laden Audra McDonald, can possibly be faulted for casting a lead who had not been known as someone with the vocal chops to accurately handle the score as written. Got it.
CABARET is not anyone’s fable. It is based on an historical period in time that cumulatively lead to the most horrendous war of the 20th Century. Millions upon millions were killed, including the acknowledged 6 million Jews. This is not a show to stunt-cast with a Billy Porter…or even a Francis Jue. A fable is malleable, history, to a point, really is not. Surely we’ve seen HAMILTON and 1776 produced and revived with casting including many races and genders. I get it and got it. While there were reasons these last two aforementioned examples were cast as they were, I could understand HAMILTON, but I thought 1776 was a hoped-for money grab and I’m glad it failed.
I think casting Billy Porter in CABARET was a total misfire. I also think Billy Porter has been, unsuccessfully, trying to stretch his deserved 15 minutes into a career. One deservedly earned career moment does not a legend make. Hopefully, Porter will come into a unique, individual role he can make his own again. CABARET, and everything surrounding it, was not Porter’s opportunity for this.