Cabaret previews — Page 20
#477
Posted: 4/20/14 at 1:22pm
Just read over on ATC that Toni Collette was originally supposed to replace Natasha RIchardson in the last revival. Apparently, Toni did not have her ducks in a row regarding her Visa, so the deal ultimately fell through, allowing Jennifer Jason Leigh to take on the role. I have never heard this before!
#478
Posted: 4/20/14 at 2:44pm
Toni Collette would have made a great Sally. Sorry she wasn't able to follow through with it.
Another person I've always wanted to see as Sally is Lauren Ambrose.
On that same ATC thread, someone says Lea DeLaria was considered for the Emcee at one point. Can that possibly be true?
Another person I've always wanted to see as Sally is Lauren Ambrose.
On that same ATC thread, someone says Lea DeLaria was considered for the Emcee at one point. Can that possibly be true?
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
#479
Posted: 4/20/14 at 3:51pm
If only Toni Collette was able to do the last revival. I feel this happens way too often with Toni: Cabaret, Sweeney Todd, wasn't she in talks for the Follies revival? I think I am mistaken about Follies.
#480
Posted: 4/20/14 at 4:35pm
She was never in consideration for the FOLLIES revival. She was only 37/38 when that happened, way too young for any major role in the show. I've also heard conflicting reports on how seriously considered she was for the SWEENEY TODD film.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
#481
Posted: 4/20/14 at 10:51pm
Saw the matinee on Saturday and I was completely blown away. I saw this show three times in the last six months of its original run (the first time being on my fifteenth birthday) and have been madly in love with it since then. I still think this production is perfect. I'm still taking in some of the dialogue, costume, and choreography changes; I'm not crazy about some of the new costumes, but can't decide yet if it's just because they're different or because I actually don't like them. All the other changes I either thought were improvements, or didn't have much of an effect on my overall feelings about the piece.
Seeing Alan Cumming as the Emcee was without question the highlight for me. From what some others have posted here I was worried that I too would feel like he was "phoning it in." Granted, I did not see his original performance, but he exceeded every expectation I had--and my expectations were very high. I felt like after having seen so many people play "Alan Cumming as the Emcee," it was jarring to finally see Alan BE the Emcee. It was like loving and studying the Mona Lisa for years, knowing it inside and out, then finally going to the Louvre and seeing it in person. I actually had a hard time paying attention to some of the scenes because I just loved watching his reactions to what was happening in the play--natural, effortless, stunning. I was particularly taken aback by "If You Could See Her." I've never enjoyed or felt as shocked by it as I did seeing Alan perform it. Breathtaking.
I'm not 100% sold on Michelle Williams. I think she is a fantastic actress and her book scenes--along with "Cabaret"--were perfection, but her early club numbers were just a little off to me. Sally shouldn't be a good or polished singer or dancer, but I do think she should be an extraordinarily confident and singer and dancer--even if her confidence is entirely unfounded. Michelle didn't seem quite there yet. I think she'll continue to improve, and I certainly enjoyed her performance as is, but there is room to grow. (Also, as a side note, MAN is she tiny!)
Linda and Danny were fantastic. There was a post-show discussion with them afterward and they were incredibly sweet and gracious then, too. One older gentleman took the microphone when the audience had the chance to ask questions and said that he, as someone who lived through the Holocaust, feels that Cabaret is more than an important musical, but an important story that needs to continue to be shared. (There was much more to it and it was more eloquent than I'm remembering--the audience applauded when he finished speaking.) Anyway, after the discussion was over, Danny went into the audience to talk to the man and asked to take a photo with him. It was very touching.
I will say that the production did not seem as shocking to me as it did the first time around, but it's hard to say how much of that is the difference between seeing it as a fifteen-year-old versus as an almost-twenty-six-year-old. Or the difference between seeing it in 2003 versus 2014 (we are living in a post-Gaga, post-Miley world, after all). Anyway, the shock value was never the important part of the production to me. It's just a brilliant interpretation of a nearly flawless show--and that, in my opinion, is still the case.
Seeing Alan Cumming as the Emcee was without question the highlight for me. From what some others have posted here I was worried that I too would feel like he was "phoning it in." Granted, I did not see his original performance, but he exceeded every expectation I had--and my expectations were very high. I felt like after having seen so many people play "Alan Cumming as the Emcee," it was jarring to finally see Alan BE the Emcee. It was like loving and studying the Mona Lisa for years, knowing it inside and out, then finally going to the Louvre and seeing it in person. I actually had a hard time paying attention to some of the scenes because I just loved watching his reactions to what was happening in the play--natural, effortless, stunning. I was particularly taken aback by "If You Could See Her." I've never enjoyed or felt as shocked by it as I did seeing Alan perform it. Breathtaking.
I'm not 100% sold on Michelle Williams. I think she is a fantastic actress and her book scenes--along with "Cabaret"--were perfection, but her early club numbers were just a little off to me. Sally shouldn't be a good or polished singer or dancer, but I do think she should be an extraordinarily confident and singer and dancer--even if her confidence is entirely unfounded. Michelle didn't seem quite there yet. I think she'll continue to improve, and I certainly enjoyed her performance as is, but there is room to grow. (Also, as a side note, MAN is she tiny!)
Linda and Danny were fantastic. There was a post-show discussion with them afterward and they were incredibly sweet and gracious then, too. One older gentleman took the microphone when the audience had the chance to ask questions and said that he, as someone who lived through the Holocaust, feels that Cabaret is more than an important musical, but an important story that needs to continue to be shared. (There was much more to it and it was more eloquent than I'm remembering--the audience applauded when he finished speaking.) Anyway, after the discussion was over, Danny went into the audience to talk to the man and asked to take a photo with him. It was very touching.
I will say that the production did not seem as shocking to me as it did the first time around, but it's hard to say how much of that is the difference between seeing it as a fifteen-year-old versus as an almost-twenty-six-year-old. Or the difference between seeing it in 2003 versus 2014 (we are living in a post-Gaga, post-Miley world, after all). Anyway, the shock value was never the important part of the production to me. It's just a brilliant interpretation of a nearly flawless show--and that, in my opinion, is still the case.
Updated On: 4/21/14 at 10:51 PM
#482
Posted: 4/22/14 at 11:29pm
Saw the show tonight and enjoyed it thoroughly. Alan Cumming was as exciting and polished as he was the last time. There were a few added ad-libs to the audience that were new here. Michele Williams, hmm. Her take on the character was so different for me. Her Sally was a little brusque, not really silly, which was okay, but as opposed to the film, she never mentioned wanting to be a star. She just came off as a "lost" soul who was short on money. So when she decided to remain in Germany at the end, I could only surmise that she was reluctant to big changes in her life, which moving to the US would be.
I was impressed by the strength of Linda E's voice and Danny B. was splendid. I had a wonderful time.
I was impressed by the strength of Linda E's voice and Danny B. was splendid. I had a wonderful time.
<-----I'M TOTES ROLLING MY EYES
#483
Posted: 4/23/14 at 12:38am
I was also there tonight. It was my first time seeing the production, as I was just getting into Cabaret when it closed in 2004. I have been waiting 10 years to finally see this production.
I thought the cast was excellent. I actually loved Williams' "lost soul" take the role; I thought it was very fitting. She truly nails the title song. Her vocals were fitting, and I liked her wavery vibrato, but Richardson's vocals sound slightly more assured on the OBCR, not sure how she sounded live.
Emond was very touching, as everyone has mentioned. Danny Burstein is Danny Burstein. I thought Bill Heck was excellent, but the actor playing Cliff always seems to get overlooked.
As others have stated, I never found myself shocked, or really surprised by the production. After years and years of hearing about this revival and the finale, it just didn't have a shocking impact on me. Sure it's racy and raunchy, but I did not find it "threatening."
Regardless, it was a great evening, and I absolutely love that Kander & Ebb's two best shows are back on Broadway together. Truly two amazing shows and scores.
I thought the cast was excellent. I actually loved Williams' "lost soul" take the role; I thought it was very fitting. She truly nails the title song. Her vocals were fitting, and I liked her wavery vibrato, but Richardson's vocals sound slightly more assured on the OBCR, not sure how she sounded live.
Emond was very touching, as everyone has mentioned. Danny Burstein is Danny Burstein. I thought Bill Heck was excellent, but the actor playing Cliff always seems to get overlooked.
As others have stated, I never found myself shocked, or really surprised by the production. After years and years of hearing about this revival and the finale, it just didn't have a shocking impact on me. Sure it's racy and raunchy, but I did not find it "threatening."
Regardless, it was a great evening, and I absolutely love that Kander & Ebb's two best shows are back on Broadway together. Truly two amazing shows and scores.
Updated On: 4/23/14 at 12:38 AM
#484
Posted: 4/23/14 at 1:14am
I just read Brantley's 1998 review for the first time. I am surprised to see he was mostly mixed on the production, with a huge rave for Richardson. I always assumed that he raved about the production. It'll be interesting to see if he reviews this incarnation.
#485
Posted: 4/23/14 at 12:03pm
Yeah, Brantley was not overly thrilled with the production as a whole back in '98, but still managed to write Richardson a valentine. I am just wondering what his take on Williams, who I am now convinced was brilliant in the role, will be.
#486
Posted: 5/18/14 at 1:01pm
I'm seeing the show this week, does anyone have an estimate for what time I'll be on the street after a matinee? I'm trying to make dinner plans.
#488
Posted: 5/18/14 at 4:16pm
The show is 2 hours and 30 minutes, almost on the nose. If it's a 2 pm you'll be outside no later than 4:35.
ljay, I see what you're saying about the shock factor, and I've heard a lot of people say the same thing. I think with this production -- or honestly, this show at large -- that comes down to a matter of expectations. In 1998, nobody had ever seen Cabaret done like this. But now, even if you didn't get to see it the first time, if you're an avid theatergoer, you've been aware of it for quite some time. And further, you're probably aware of other productions of Cabaret that came after, too. This production really set such a new and important benchmark for what Cabaret could be, and it's a show that, since this one showed up, has become -- for better or worse -- about seeing just how far you can push it. How shocking and dirty and raunchy can you be, how can we elicit more shock than whoever came before us, etc. It's hard to shock with what you already see coming.
A work of art is an invitation to love.
ljay, I see what you're saying about the shock factor, and I've heard a lot of people say the same thing. I think with this production -- or honestly, this show at large -- that comes down to a matter of expectations. In 1998, nobody had ever seen Cabaret done like this. But now, even if you didn't get to see it the first time, if you're an avid theatergoer, you've been aware of it for quite some time. And further, you're probably aware of other productions of Cabaret that came after, too. This production really set such a new and important benchmark for what Cabaret could be, and it's a show that, since this one showed up, has become -- for better or worse -- about seeing just how far you can push it. How shocking and dirty and raunchy can you be, how can we elicit more shock than whoever came before us, etc. It's hard to shock with what you already see coming.
Updated On: 5/18/14 at 04:16 PM
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