Cabaret previews — Page 15
#352
Posted: 3/29/14 at 4:53pm
"Eric, just to be clear - and also because, if I understand you correctly, I'd like to know myself - are you asking if this is the first time a show has been revived in its original form (form A), then revived again in a very different form (form B), then revived yet again in form B?"
Yes. At least I think that's the way I should have worded it LOL. And with the same star (for both revivals and in the same role) no less.
"I just had a thought, and correct me if I'm wrong, but I believe Cabaret is the only show that has had 2 people (Joel Grey and Alan Cumming) play a role in 4 productions (1966, 1987, 1998, 2014) of the show on Broadway. "
That was what I was wondering in my earlier post--though, as well this seems unique that it had essentially a recreation of the original production in its first revival (which Broadway certainly has done before with musicals and plays) but AS WELL a recreation of a different production.
Yes. At least I think that's the way I should have worded it LOL. And with the same star (for both revivals and in the same role) no less.
"I just had a thought, and correct me if I'm wrong, but I believe Cabaret is the only show that has had 2 people (Joel Grey and Alan Cumming) play a role in 4 productions (1966, 1987, 1998, 2014) of the show on Broadway. "
That was what I was wondering in my earlier post--though, as well this seems unique that it had essentially a recreation of the original production in its first revival (which Broadway certainly has done before with musicals and plays) but AS WELL a recreation of a different production.
#353
Posted: 3/29/14 at 6:23pm
Did anyone see Alyson Reed as Sally in the 87 production? How was she?
#354
Posted: 3/29/14 at 6:23pm
Did anyone see Alyson Reed as Sally in the 87 production? How was she?
#355
Posted: 3/29/14 at 8:10pm
I like her on the bootleg. A lot--though they do refocus the show a bit more around the Emcee (Joel got star billing)--something which has been true of productions since.
#357
Posted: 3/30/14 at 4:32pm
I saw the matinee yesterday. Cumming was ill, but his understudy, Leeds Will was quite wonderful. Not that this production of CABARET requires brilliant singers, but I thought his singing was more pleasant but just as character-full than Cumming's. I do plan on returning to see Cumming later in the run, though.
The show itself is in really excellent shape. Burnstein and Emond give opening night-ready performances. The ensemble is terrific and sexy. Bill Heck was a fine Cliff. Michelle Williams was a real revelation, too-- perhaps the best Sally I've seen. Granted, I didn't see Jill Hayworth, or Judi Dench, or Natasha Richardson, but judging from Liza and the few I've seen, her interpretation was the closest to the girl Isherwood wrote about in his stories. And her "Cabaret" was stunning and devastating. Her voice does indeed have a Piaf-quality I enjoyed. It's a pleasant voice and perfect for Sally-- especially when she acts the hell out her songs.
The show itself is in really excellent shape. Burnstein and Emond give opening night-ready performances. The ensemble is terrific and sexy. Bill Heck was a fine Cliff. Michelle Williams was a real revelation, too-- perhaps the best Sally I've seen. Granted, I didn't see Jill Hayworth, or Judi Dench, or Natasha Richardson, but judging from Liza and the few I've seen, her interpretation was the closest to the girl Isherwood wrote about in his stories. And her "Cabaret" was stunning and devastating. Her voice does indeed have a Piaf-quality I enjoyed. It's a pleasant voice and perfect for Sally-- especially when she acts the hell out her songs.
Updated On: 3/30/14 at 04:32 PM
#358
Posted: 3/30/14 at 5:18pm
Saw today's Show Alan cumming was out but his understudy Leeds hill was great! Michelle Williams is PERFECT!!!!!!!
#359
Posted: 3/31/14 at 10:42am
i know everyone has been saying to sit as close as possible for this show - my seats are Mezz row EE seat 212 and 213, do you think this will still feel pretty close? I've haven't been in Studio 54 in a loooong time and can't remember what it's like up there.
#360
Posted: 3/31/14 at 10:56am
Row EE in the mezzanine is fine. You will see well from there. It's not the front mezzanine, however, with the little tables. But I don't see seats numbered 212 or 213 on the seating chart. Are you sure you don't mean 112 and 113?
#361
Posted: 3/31/14 at 10:59am
Chiming in now. I saw this last week before Cumming took ill. I love CABARET and glad so many of you who weren't old enough to see this staging back when it was done in 98 are getting the chance to, but it felt very by-the-numbers. Cumming was Alan Cumming, no surprises there he was serviceable. Williams made for an engaging Sally but didn't WOW me like Natasha Richardson did in the role, although I have to say that I love the sweetness she brought to the role. Her "Don't Tell Mama" was a winner. The stand outs for me were most definitely Burstein and Emond.
As much as I love CABARET, and believe me I do, it's one of those shows that is just so overdone with every other production trying to top the other in an attempt to shock the audience. I find it so very unnecessary.
I won't be going to see this one again but for those who didn't get the opportunity to go the first time around it's an excellent opportunity to do so.
As much as I love CABARET, and believe me I do, it's one of those shows that is just so overdone with every other production trying to top the other in an attempt to shock the audience. I find it so very unnecessary.
I won't be going to see this one again but for those who didn't get the opportunity to go the first time around it's an excellent opportunity to do so.
#362
Posted: 3/31/14 at 11:01am
#363
Posted: 3/31/14 at 3:04pm
Btw seats NN 2 4 8. Don't exist in the theatre only on the seating chart. Sound and lighting is where those seats should be.
#364
Posted: 3/31/14 at 3:29pm
One of the first production photos has surfaced (albeit tiny) with Emond and Burstein, and it is just completely cat with heart eyes.
#366
Posted: 4/1/14 at 12:01am
i bought tickets in row NN seats 2 and 4, i hope there are seats there lol
#367
Posted: 4/1/14 at 1:04am
Just wanted to post about my experience this weekend.
I had full price front mezzo tickets for Sunday, and Alan was out. I've never exchanged tickets for a lead being out before in my life (although I was tempted to when Jefferson Mays was out of Gentleman's Guide... but his understudy was great). Alan was the main reason I was going as I never got to see this the first time around.
I decided to exchange. I called the roundabout number I was given, and was told seats weren't available until July. I wasn't thrilled, but I took them. When I got home, I looked at some other much closer dates and found some tickets, and wrote a very polite email to roundabout audience services asking if I could bump the new tickets up and listed the dates available, and they were extremely kind and helpful in making this happen.
They have very friendly people in their audience services department, and I'm glad that I checked again to see if I could see it before this summer! I'm now going in two weeks, and will report back with my thoughts after I see it.
I had full price front mezzo tickets for Sunday, and Alan was out. I've never exchanged tickets for a lead being out before in my life (although I was tempted to when Jefferson Mays was out of Gentleman's Guide... but his understudy was great). Alan was the main reason I was going as I never got to see this the first time around.
I decided to exchange. I called the roundabout number I was given, and was told seats weren't available until July. I wasn't thrilled, but I took them. When I got home, I looked at some other much closer dates and found some tickets, and wrote a very polite email to roundabout audience services asking if I could bump the new tickets up and listed the dates available, and they were extremely kind and helpful in making this happen.
They have very friendly people in their audience services department, and I'm glad that I checked again to see if I could see it before this summer! I'm now going in two weeks, and will report back with my thoughts after I see it.
My Music Classroom Giving Page: https://www.donorschoose.org/MrHMusicRoom
#369
Posted: 4/1/14 at 8:27am
I was in Access10 seats in the rear mezz far left side at the second preview and there seemed to be some seating issue in the rear mezz. It was still happening when the show began and the damn usher was standing in the way during the beginning of Wilkommen! But now hearing that there seems to be a problem with row NN not existing, that is probably what was going on. The usher actually brought stools up to the back of the mezzanine and let the audience members sit there. So I guess if the show is sold out they will do that, if not they'll move you somewhere else possibly?
#370
Posted: 4/1/14 at 8:53am
Cumming said on Twitter he "promises" he'll be back in the show tonight. We shall see.
Updated On: 4/1/14 at 08:53 AM
#372
Posted: 4/1/14 at 11:39pm
Yup! I was there and he went on. Will post thoughts later. He seemed to be in perfect voice, impressive considering he just had the flu.
Scratch and claw for every day you're worth!
Make them drag you screaming from life, keep dreaming
You'll live forever here on earth.
#373
Posted: 4/2/14 at 11:12am
Really quick...you don't know how much you missed something until it comes back to you, and that's how I felt last night at Studio 54. Seeing Alan Cumming 15 years after I first saw him at the Kit Kat Klub (aka Henry Millers) on 43rd Street, it took me back. (I saw it the week it returned after being closed for awhile due to the crane accident.)
At first, it was weird seeing a 15 years older Alan Cumming doing the same schtick from back then, but halfway through Wilkomment, it stopped mattering because everything was just so wonderful and such a perfect piece of theatre. While still a little hoarse, once he got past the opening number, his voice strengthened and while it is not as young and vibrant as it was in the 90s, it's still a wonderful instrument. He blew me away.
Michelle Williams' accent seemed to be channeling Sally Kellerman (anyone?)but I thought she was great as well. Not the best singing voice, but she used it quite evocatively, and her final scene was stunning.
But to me it was all about Linda Emond. She was just brilliance. She played it differently that most other actresses played that role in the last production, but it was magic through and through.
"Hey little girls, look at all the men in shiny shirts and no wives!" - Jackie Hoffman, Xanadu, 19 Feb 2008
At first, it was weird seeing a 15 years older Alan Cumming doing the same schtick from back then, but halfway through Wilkomment, it stopped mattering because everything was just so wonderful and such a perfect piece of theatre. While still a little hoarse, once he got past the opening number, his voice strengthened and while it is not as young and vibrant as it was in the 90s, it's still a wonderful instrument. He blew me away.
Michelle Williams' accent seemed to be channeling Sally Kellerman (anyone?)but I thought she was great as well. Not the best singing voice, but she used it quite evocatively, and her final scene was stunning.
But to me it was all about Linda Emond. She was just brilliance. She played it differently that most other actresses played that role in the last production, but it was magic through and through.
"Hey little girls, look at all the men in shiny shirts and no wives!" - Jackie Hoffman, Xanadu, 19 Feb 2008
#374
Posted: 4/5/14 at 11:04am
I thought it was good. Unfortunately, not great, but good. Sometimes very good. The second act was far more enjoyable to me than the first, maybe because the first act is so long, but many times during the first act I thought it sort of felt like I was seeing one of the last replacement casts from the last revival. Not meant to be a dig at replacement casts, but generally when a show lasts as long as CABARET did the first time, it begins to feel a bit stale and rote towards the end of it's run. Unfortunately, this mounting of CABARET already has that air about it a bit.
That's not to say it isn't enjoyable...I certainly liked it more than some of the other offerings this disappointing season has given us. It's a brilliantly-written show, overall. You'd be hard-pressed to argue that point. Alan Cumming was very good, though I do wish he would have mixed things up just a bit and not played it so safe (which is ironic now, considering how risky and edgy his performance was the first time around). Linda Emond is a delight; I agree Danny Burstein could play this role in his sleep. Bill Heck, who I usually like a lot, is bland as bland could be. Michelle Williams, to me, was the shot in the arm that this production needed and she does an admirable job of providing a bit of excitement and freshness. Her rendition of the title song was incredibly thrilling. She's got stage presence in spades and I can't wait to see what she tackles next in theater.
As far as the actual production goes, I agree with those who said they would have rather seen a fresh take on CABARET. This production was revelatory when it came around the first time, but so many years later, with nary a change to a single thing, it does feel stale at times. It's certainly a solid production, but I truly feel as though I'm giving commentary on a production that's 9 years into it's run, not something that started previews a little over a week ago.
That's not to say it isn't enjoyable...I certainly liked it more than some of the other offerings this disappointing season has given us. It's a brilliantly-written show, overall. You'd be hard-pressed to argue that point. Alan Cumming was very good, though I do wish he would have mixed things up just a bit and not played it so safe (which is ironic now, considering how risky and edgy his performance was the first time around). Linda Emond is a delight; I agree Danny Burstein could play this role in his sleep. Bill Heck, who I usually like a lot, is bland as bland could be. Michelle Williams, to me, was the shot in the arm that this production needed and she does an admirable job of providing a bit of excitement and freshness. Her rendition of the title song was incredibly thrilling. She's got stage presence in spades and I can't wait to see what she tackles next in theater.
As far as the actual production goes, I agree with those who said they would have rather seen a fresh take on CABARET. This production was revelatory when it came around the first time, but so many years later, with nary a change to a single thing, it does feel stale at times. It's certainly a solid production, but I truly feel as though I'm giving commentary on a production that's 9 years into it's run, not something that started previews a little over a week ago.
#375
Posted: 4/5/14 at 1:06pm
Well I saw it last night. This was the first time I'd ever seen Cabaret because I've heard it's an incredible show, and I wanted to save my first time for a Broadway production.
I was totally blown away. It surpassed my wildest expectations. The first thing I wanted to mention is how catchy the score is. Man, Kander and Ebb can really write a fantastic score. It was definitely the best part of the whole show, but man is there a lot that really works with this show. Alan Cumming was spot on, and I actually really liked the fact that his voice was hoarse. Michelle Williams was really good too, but not Tony award winning good. I was just in so much shock and awe after witnessing this show, I couldn't believe how emotionally resonant it was. Definitely the 2nd best K&E show I've ever seen (After the Scottsboro Boys).
I was totally blown away. It surpassed my wildest expectations. The first thing I wanted to mention is how catchy the score is. Man, Kander and Ebb can really write a fantastic score. It was definitely the best part of the whole show, but man is there a lot that really works with this show. Alan Cumming was spot on, and I actually really liked the fact that his voice was hoarse. Michelle Williams was really good too, but not Tony award winning good. I was just in so much shock and awe after witnessing this show, I couldn't believe how emotionally resonant it was. Definitely the 2nd best K&E show I've ever seen (After the Scottsboro Boys).
Anything regarding shows stated by this account is an attempt to convey opinion and not fact.
Tickets From $59
Tickets From $71
Tickets From $71
Tickets From $95