West End CABARET Revival (and B’way Transfer?) - News & Discussion Thread — Page 13

That's true, but I think the point still stands that Barrington is a big regional theatre pretty close to NY, and it's unlikely they'd be given a license to do the show if it was transferring soon. Of course that means nothing about a later transfer.

And yeah, Redmayne 100% deserves credit for finding a new take! I don't think he particularly sounds like Grey or Cumming, which is a feat. I did like some of his later songs much better, although I still stand by that his voice is pulled back in his throat in a way that gives him a slightly Kermit-y sound. I don't particularly care for his line deliveries throughout, though. He really does draw out each word, almost as though he's struggling to speak--I actually think the comparison to Arden's Quasimodo is a good one (I believe Quasi is always played as deaf in the stage show). It is intriguing and different, as I said, I'm just not sure that I 100% "get" it.
I liked Buckley's Sally and the darker edge she brings to it. I do think the more bitter, cynical take works better in some areas than others (even her "Maybe This Time" feels self-aware and cynical, which seems a tiny bit one-note). I am curious how she plays off of Cliff? He seems so sweet, quiet and subdued on this recording that it seems like she'd completely overshadow him.

Either my expectations have been managed or my memory is going but I swear Jessie Buckley's 'Cabaret' has been toned down slightly on the recording. It still captures the flavour of her choices but I just recall her screaming a little louder and harder in person. RE: The dynamic between her and Cliff, well yes I would say Jessie Buckley's Sally ate him for breakfast.

The title number is toned down on the recording. I saw the production after this was allegedly recorded, as the audio was used to shoot the press footage for a live audience a few days before I got to London. Either way, Buckley's performance was toned down, and I immediately noticed it even in "Don't Tell Mama."

Still incredible, though.

binau said: "RE: The dynamic between her and Cliff, well yes I would say Jessie Buckley's Sally ate him for breakfast."

Haha, yes, that's the sense I got. I think Cliff can be a somewhat thankless role, but I do feel like he works best when he has some edge to him (after all, he's an artist who's been bumming around Europe hanging out at weird, underground queer spots...he's not entirely a naive outsider). I just think there has to be something about him that grips Sally beyond his ability to provide a temporary place to stay. I also don't love Adam Godley's sweet, sincere take on the character for this reason, so it may just be an issue I have with the character overall (although I did like Bill Heck in the role).
Also, slight tangent, but the thread about an All Black "Gypsy" and color-conscious casting got me thinking. I find it interesting that every actor who's played Cliff in this production has (I think?) been black. On the surface, it makes sense: Cliff is the outsider in many ways. But I question why Ernst, literal Nazi, is so eager to befriend him, go to parties with him, and even be educated by a black man. It also sets up the one black lead in the show as a total dupe who becomes a Nazi errand boy and then runs away when things get rough. I feel like casting a POC as Sally (or even the Emcee, although not with this production's take on the character), would really add layers. It could speak to the exotification/fetishization and commodification of "othered" bodies. Anyways, total tangent, the other thread just made me think about this.

How are people listening to this?! I couldn’t find clips on Twitter. Is it only in the UK?

Is there any link to wear I can listen to this?

Just from the 30 second snippet on Insta, I already love Buckley and dislike Redmayne

For all you law-abiding non-bootleggers, two full tracks are up: https://twitter.com/kitkatclubldn/status/1605364900473475072?s=21&t=X8oy8Qjf52HGWEHqoutpig

The full Mein Herr is glorious, can't wait for the rest of Jessie's tracks. The less said about Eddie's Willkommen the better

I’ve seen at least three people on Twitter comparing Eddie to Kermit the Frog now, and I just have to admit I feel slightly vindicated in my earlier Muppet comment lmao

BJR said: "I, for one, am fascinated by his vocal choices on the recording and would love to see him play it in New York."

His work in this production is stunning. A star performance, but brave.

Jordan Catalano said: "It’s a performance that needs to be seen AND heard instead of just heard."

I don't know, I'm sure that seeing it would elevate the whole thing, but I get such a tangible sense of character from this recording already. I'm completely flummoxed by some comments here. Like, were Joel Grey and Barry Dennan going for "pretty" voices? No, but I liked listening to them more than Cumming, because I can hear the characterisation in their vocal work.