There’s no way Feldman can be seen as mixed with lines like “I made an active effort to lower my expectations before seeing the latest version of Cabaret. But my lowered expectations failed. They weren’t low enough.”
"Still, the vision never really coalesces in the way that Daniel Fish managed with that spooky, sexy Oklahoma a few years back. The promise of an overwhelming theatrical event just never quite makes good on itself, certainly not with Rankin’s teary, intentionally overwrought delivery of the title song. We get it. Sally isn’t meant to be a big star. I’d still rather hear Liza."
Wow, was I not expecting this! WTF??? Well, I hope this production can prove to be critic-proof.
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
Were the Bob Fosse and Sam Mendes Versions of ‘Cabaret’ Not Sufficiently Over-the-Top?
The glorious score notwithstanding, ‘Cabaret at the Kit Kat Club,’ as director Rebecca Frecknall’s immersive production has been named, is most compelling when the characters stop singing and dancing.
After disliking Stereophonic and reading raves, I thought I was crazy. These have made me feel better about my own mixed reaction to Cabaret, although making me feel better doesn’t do a whole lot for the cast and crew over at the Kit Kat Club. Man, I feel for them right now because I know there was a lot of love (and money!) in this production.
DAME said: "So.. can Broadway now be done with the immersive crap?"
Why?
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
Well, if nothing else, reviews this season have kept us on our toes!
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
"Redmayne’s waxy Emcee doesn’t register as a character at all. He’s all maleficent posturing—hunched into a question mark like some medieval demon—and he’s used that way, as a blunt recurring symbol for the rise of the Nazis. (The production has him sing the pastoral Nazi mock-anthem “Tomorrow Belongs to Me” halfway through Act I.)
The theory seems to be that increasing the Emcee’s power exponentially will make him more exciting: that energy, if you will, is equal to Emcee squared. But it merely makes him less interesting. Costumed by Scutt in a variety of outlandish get-ups—as some kind of demented Katzenjammer Kid, as a skeletal horseman-of-the-apocalypse type, as a creepy clown—he is never not creepy; he should attract us, at least for a while, but he’s repellent all along. "
dramamama611 said: "Well, if nothing else, reviews this season have kept us on our toes!"
That’s the truth!! If you’d have told me 48 hours ago that Hells Kitchen would get SUBSTANTIALLY better reviews than Cabaret, I wouldn’t have believed you.