Cabaret previews — Page 18

"Plus, the word 'hater' is part of the name, so... "

Missed this comment earlier.

Haterobics is a portmanteau of hate and aerobics, and the name of the novel I'm finishing at present. It has nothing to do with the tenor of my posts.

I actually thought Alan seemed nervous on Jimmy, sort of like he was just going through the motions and trying to get through it. He is fit though.

Could anybody give me an idea of how the seats most to the side of the front mezzanine are? Thanks.

Saw this 04/12 matinee. Michelle Williams was out.

Bottom line: if you haven't seen this before, absolutely go. It is still a glorious representation of brilliant lighting, scene design, staging, and costumes for the theatre. Alan Cummings is, of course, magnificent. Truly a privilege to watch him work.

The only thing, I think, that was different from the original revival was I remember it all seemed to have more gravitas back then. The stakes seemed higher. This is what gave it the "edge" that some people are saying is missing (I think.)

Having said that, this is a great show done well so go.
Alan's "I Don't Care Much" was stunning.

Great. Didn't miss a beat. Confident and great voice. Especially impressive considering it's previews and according to the playbill she has a whole other onstage track.

"I think that's indicative of the overall attempt to recreate his original performance instead of an attempt to find an interpretation that is new and reflective of the time that has elapsed."

You're assuming they ever considered a new interpretation, which seems to have never been the case, though.

I saw Andrea as Sally this weekend as well. She has a great voice, which is great to listen to but not necessarily right for the character. She had a dark bob-- not sure if it's her real hair or a wig. I was in the mezz.

Anyway, I enjoyed Andrea but would like to go back and see Michelle.

Updated On: 4/14/14 at 10:35 AM

Seeing it on Wednesday evening. Very much looking forward to this!

Watched it on March 27th. Alan Cumming was fabulous, but he played to safe, in my opinion. Of course his earlier version was terrific enough, but I expected more.
However, I was overwhelmed by Linda Emond's calm yet emotional performance. I have to agree that she actually stole the show. It's rare to see an actor immerse him or herself in the character and dig deep. Hope she can get a nod on Tony this time.

I'm seeing the show in the rear mezz tonight. For anyone who has sat up there before, how is the sound quality? I remember seeing Drood up there, and most of the lyrics unfortunately were drowned out up there. Hoping the same thing does not happen tonight.

I saw this evening's performance. The production is damn near perfect. I adored Cumming, and not simply because I was one of two audience members brought up onstage before Act II. Williams seemed nervous at first, but ultimately...she is sublime. And I was surprised to see that the ending of "Mein Herr" was seemingly truncated for her. All supporting players delivered, but I found myself wanting more from Fraulein Kost.

Verdict: Still packs a punch.

So many of us were there tonight! I was up in the rear mezz with givesmevoice, and I loved it and am already desperate to go back again. The audience in the mezz was a bit rude though, there were two girls in front of us who were on their phones quite a bit and at the beginning of the second act when the orchestra was playing a gentleman a couple rows back told them to turn off their phones.

I've been in love with the recording of this revival since I was in high school, so getting to see it with Alan Cumming and have it be everything I imagined it would be was really special. I thought Michelle Williams was great, and I'm sure she'll only get better the more she does it; her last few scenes and "Cabaret" were exceptional. I also loved Linda Emond and Danny Burstein, they were both so grounded and worked beautifully together. I knew what the ending was going to be (as most people do at this point, I think), but it still left me shaking as I walked out of the theatre. I can't wait to see this again, and hopefully from a little closer than my Hiptix seats in the way back (which were actually fine, but I would have liked to have seen facial expressions a little better).

Also, as much as people say Cliff is kind of a nothing role (and he is, I guess, in the sense that he's the lens through which we see everything and he's sort of the "straight" man), I thought Bill Heck did a lot with it. I loved him in Angels in America at Signature a few years ago, and he's doing great work here as well.

Updated On: 4/16/14 at 12:41 AM