Is Cabaret the next Chicago? — Page 3

I hope this thread runs as long as Chicago does. It's a riot!

Broadway Flash, does strike up an interesting idea. Would the Chicago revival have been as successful as it was had it opened in the present day instead of the mid/late 90’s? What would the finances of an equivalent production of Chicago look like in present day dollars and would it be met with the same enthusiasm and criticism as it did? Conversely, had this revival of Cabaret opened in the 90’s in place of the Mendes/Marshall production would it still find the negative reception?

Call_me_jorge said: "Broadway Flash, does strike up an interesting idea. Would the Chicago revival have been as successful as it was had it opened in the present day instead of the mid/late 90’s? What would the finances of an equivalent production of Chicago look like in present day dollars and would it be met with the same enthusiasm and criticism as it did? Conversely, had this revival of Cabaret opened in the 90’s in place of the Mendes/Marshall production would it still find the negative reception?"

I think it's an almost impossible thing to consider. The Chicago revival had the benefit of being an immediate smash hit, which was able to propel it along, then the Weisslers basically used it to sort of invent the modern concept of stunt casting. And then the movie came out, which turned the musical itself into a deeply beloved and widely known cultural touchstone. I'm not sure this production would still be running if the movie hadn't come out when it did.

If this Cabaret opened in the late 90s, it would have had no comparison point in theater at that time. I could imagine it would be received as daring and innovative, much as the Mendes revival was. But it instead opened now, when we have a great many comparison points, including the Mendes revival.

Broadway Flash said: "I know instinctually. She was perfect in the role"

This is absolutely not a FACT though. I saw her and thought it was one of the most bland, uninspired things I've seen on B'way and the show BELONGED ENTIRELY to Alan. Although he is fantastic, over the top and distracting, the Emcee shouldn't prevent Sally from at least registering as a lead character I think. And Sienna didn't. I'm hoping I just saw her on a VERY off performance.

Natasha and Jane Leeves were probably my favorites, although I really enjoyed Teri Hatcher in LA with Norbert, Emma Stone, and Susan Egan quite a bit. The Mendes/Marshall production really knew how to stunt cast for the most part.

Jordan Catalano said: "I was SO excited for Sienna Miller to do the show. Spent a ton of money for a great seat for what I was sure would be one of the best Sally’s I would ever see and I just remember being so bored with her. She was like Catherine Russell in “A Perfect Crime”, sleepwalking through the role. I was more disappointed in that than almost anything I’ve ever seen."

I think I saw every actress who played Sally in the Mendes production. The real surprise for me was Joely Fisher. Her performance touched me in a way that I wasn't expecting.

Did anyone here see Molly Ringwald? I remember being pretty impressed with her!

I was sad I didn’t get a chance to see Emma Stone cause I was away at school but when I saw her clips, she just sounded like some slutty brat and annoying in the role. I was very happy with Sienna Miller.

Ben Brantley. “I hate to keep telling people to go back to the cabaret, old chum, but Ms. Miller is a revelation here, the most realistic Sally since Natasha Richardson won a Tony for the part 17 years ago.

Ms. Miller brings something more subtle and pathetic to Sally. She looks gorgeous, but in the tense, artificial way of someone trying too hard to be attractive. She’s more sexually predatory than most Sallys I’ve seen, and more easily deflated when the erotic charm doesn’t work. And in Ms. Miller’s body language, you can read an entire history of abuse, self-inflicted and otherwise. Watch how she reflexively cowers whenever a man raises a hand. She’s been hit before; she expects it. There’s anger in her as well, which Ms. Miller channels most effectively in the man-stomping “Mein Herr.” And though you don’t doubt that she loves her American boyfriend as much as she is able to, she knows that men are not to be relied on. This Sally is a pragmatist, with a calloused core. When she sings the climactic title song, shortly after having an abortion, she makes it clear that while she may be shaken, she’s going to soldier on.”

I also loved the video of Jane horrocks in the role as well

Broadway Flash said: "she just sounded like some slutty brat and annoying in the role"

just like u?

Yes, we’ve all seen OP’s Sally Bowls reference. Think about this, though… What if she had remembered the “E” and misplaced it? There’s a chance we could have all seen her referencing Sally BOWELS!

Not since Philly Pinto, or whatever his handle was…

Updated On: 5/14/24 at 10:57 PM

dramamama611 said: "Did anyone here see Molly Ringwald? I remember being pretty impressed with her!"

I saw her and really liked her. I wish she would do more theatre, but I seem to recall she got pretty dreadful reviews for the tour of Sweet Charity a few years later and have to wonder if that soured her from coming back to the stage.

The fact that even the cheapest (used loosely - $99-119) seats aren’t even selling for performances only a few weeks out tells me that they really gambled on a very high priced “experience” and are losing big time.

Hell, in booking my trip to London, I calculated that I could go twice, have a table both times, and be fully liquored up for the price of one Broadway ticket.

(And since Layton Williams will be the Emcee, I’m definitely inclined to return to get the taste of Redmayne out of my mouth and ears)