West End CABARET Revival (and B’way Transfer?) - News & Discussion Thread- Page 14
West End CABARET Revival (and B’way Transfer?) - News & Discussion Thread
#325West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/20/22 at 11:30pm
Skip23 said: "Isnt there a legit video of "Wilkommen" from the Oliviers somewhere?”
They did not do the opening at the Oliviers. Amy Lennox performed the title number during that show. The opening can be seen with the royal variety performance.
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
#326West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/21/22 at 2:44am
Ensemble1671566276 said: "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."
And I'm genuinely glad you got a tangible sense of character! But I don't see how my differing opinion is flummoxing: I'm not entirely alone in a vacuum here. TimeOut's review states that: "In the past, [Redmayne's] attracted flak for playing trans and disabled characters. At the heart of this, I’m sure, is his desire to throw himself into transformative, taxing roles, which is clearly what he’s gone for here...he’s hunched over, his limbs twisted and awkward, with a strange tremor to his voice… frankly it kind of feels like he’s ‘cripping up’ again (perhaps as a polio victim?)" In his vocal performance, this is exactly what I get. He sounds contorted and strained almost to the point of aping disability. Is that a characterization? Sure, but to what end? What am I supposed to take away from that, except that Eddie Redmayne wants to show off how hard he's working? It is fascinating, and it is brave, because of what a big swing he's taking and how much tangible effort he's exerting. But I am lost as to what those choices are meant to tell me about the Emcee, or how they serve the story as a whole. It feels like the theatrical equivalent of Oscar-bait method acting: make the most extreme, difficult choices so the audience doesn't forget how much acting you're doing. And it actively distracted from the narrative at times (I know my comment about him sounding like Kermit was flippant, but I did literally have to stop myself from giggling during "IDCM" because of how cartoony his voice sounded). Even glowing reviews stated that his performance is "love it or hate it". Is it so odd I'm in the latter camp?
Since you bring up Cumming, I'll bite. I find his characterization pretty simple, even blunt. He's the sleazy, hypersexual ringleader of a seedy queer club. For me, Cumming's voice communicates that pretty straightforwardly. If you dislike that interpretation or feel it's poorly done, power to you. But to say you can't hear who Cumming's Emcee is in his voice-work just seems disingenuous. I feel like I could play Cumming's "Willkommen" to just about anyone and they could give me a pretty solid description of that character. I can certainly give you some adjectives to describe Redmayne's Emcee, but I don't have a coherent picture. And I don't know who was talking about "pretty" voices? Fwiw, Redmayne's voice is much "prettier" than Cumming or Dennan's voices. Even under the layers of affectation, it's still apparent that Redmayne has a clear, classically appealing tenor voice. Prettiness is not my issue at all.
Ensemble1671566276
Swing Joined: 12/20/22
#327West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/21/22 at 5:35am
CreatureKitchen said: "Ensemble1671566276 said: "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."
And I'm genuinely glad you got a tangible sense of character! But I don't see how my differing opinion is flummoxing: I'm not entirely alone in a vacuum here. TimeOut's review states that: "In the past, [Redmayne's] attracted flak for playing trans and disabled characters. At the heart of this, I’m sure, is his desire to throw himself into transformative, taxing roles, which is clearly what he’s gone for here...he’s hunched over, his limbs twisted and awkward, with a strange tremor to his voice…frankly it kind of feels like he’s ‘cripping up’ again (perhaps as a polio victim?)"In his vocal performance, this is exactly what I get. He sounds contorted and strained almost to the point of aping disability. Is that a characterization? Sure, but to what end? What am I supposed to take away from that, except that Eddie Redmayne wants to show off how hard he's working? It is fascinating, and it is brave, because of what a big swing he's taking and how much tangible effort he's exerting. But I am lost as to what those choices are meant to tell me about the Emcee, or how they serve the story as a whole. It feels like the theatrical equivalent of Oscar-bait method acting: make the most extreme, difficult choices so the audience doesn't forget how much acting you're doing. And it actively distracted from the narrative at times (I know my comment about him sounding like Kermit was flippant, but I did literally have to stop myself from giggling during "IDCM" because of how cartoony his voice sounded). Even glowing reviews stated that his performance is "love it or hate it". Is it so odd I'm in the latter camp?
Since you bring up Cumming, I'll bite. I find his characterization pretty simple, even blunt. He's the sleazy, hypersexual ringleader of a seedy queer club. For me, Cumming's voice communicates that pretty straightforwardly. If you dislike that interpretation or feel it's poorly done, power to you. But to say you can't hear who Cumming's Emcee is in his voice-work just seems disingenuous. I feel like I could play Cumming's "Willkommen" to just about anyone and they could give me a pretty solid description of that character. I can certainly give you some adjectives to describe Redmayne's Emcee, but I don't have a coherent picture. And I don't know who was talking about "pretty" voices? Fwiw, Redmayne's voice is much "prettier" than Cumming or Dennan's voices. Even under the layers of affectation, it's still apparent that Redmayne has a clear, classically appealing tenor voice. Prettiness is not my issue at all.
"
Why do you feel the need to take things this personally? And just like you said, bringing up other people's reviews, to back up your point or whatever, when I don't even reference you, does not negate my view that I feel something in contrast, does it? (And I went and read the whole review, clearly the reviewer recognises that there's a purpose and guiding principle to the whole performance, even if it's not his preference). I can still be confused by others having a wildly different reaction to mine. That's the essence of having a personal reaction to something, being confused as to why others didn't feel the same. It's not that deep and is a manner of speaking. I mention that I didn't get a sense of the same degree of characterisation from Cumming, so you write out that you do, doing the same thing your whole post is supposed to counter? What? Why does it seem disingenuous to you if I say that? I feel if I hadn't seen him perform first, I won't get it from the recording alone. Inuendo is built into the writing of the character, but beyond that?
And because you don't feel his choices don't tell you enough about the Emcee, you want to take the least charitable interpretation of his motivations and intentions, and that's entirely your will. I don't feel the same. Maybe whatever sense I get won't be the same one if I actually get to see him perform, but that hardly matters. I like people taking extreme swings, and like Nic Cage says, I don't see why naturalism is proclaimed as the highest level of command over the craft of acting. Stylized performances are are not attempted by enough people, when so much variety abounds in approaches in all other art forms. I see Michelle Williams and Mark Rylance also catch flak from corners this season for even attempting slightly stylized performance and I'm tired of it. I feel like Redmayne presents an Emcee that draws on absurdism and expressionism, and might have fit in with the artists caricaturing that time, and that excites me. I'll wait for the rest of the album to release, but I'm excited and it doesn't matter even if I leave a little confused by choices, (or even if his intention was to exhibit his effort) as long as they hold my attention and leave me with something to chew over.
blasvader
Understudy Joined: 8/22/22
#328West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/21/22 at 5:50am
Wee little videos of Eddie and Jessie. They look great.
https://mobile.twitter.com/alonstage/status/1605511926057816064
Hey old friends 2022
Swing Joined: 12/21/22
#329West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/21/22 at 9:54am
I saw it 3 times and I’ve seen the mendes version multiple times as well, including with Alan Cumming. Eddie’s performance is helped by being there in person; if you’re up front he may try to make you uncomfortable, kiss your hand or ask if you want a private dance later, which reminds me of when Alan Cumming would come out and say “I smell fear” when walking around during intermission. The first time, we were a front table and got interacted with by the emcee multiple times and the other cast members. Eddie sings his songs as the Emcee differently than the non-kit Kat numbers. While this production has a very different take on the emcee and changes the ending, I really enjoyed it a lot. These are desperate people and the changes make sense to me. I’d also like to call out the incredible Liza Sadovy and Elliot Levy for making those support characters much more interesting than previous productions. It’s also interesting to see the emcee interact with Sally, which was also new. Jessie Buckley was incredible.
#330West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/21/22 at 10:09am
I’m hearing a strange but familiar rural German accent in Eddie’s performance. More so, I’m hearing the dialect Peter Sellers used as Dr. Strangelove. Given the way people talk about his use of tightly wound physicality and twisted impaired limbs, I wouldn’t be surprised if Strangelove is part of his inspiration in this performance.
#331West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/21/22 at 11:49am
darquegk said: "More so, I’m hearing the dialect Peter Sellers used as Dr. Strangelove. Given the way people talk about his use of tightly wound physicality and twisted impaired limbs, I wouldn’t be surprised if Strangelove is part of his inspiration in this performance."
Oh, that's actually a really good point! I 100% hear that.
And apologies that my last reply was too defensive. I just sort of felt like my opinion (and other similar opinions) were being treated as if they were totally anomalous or off-base. Hence why I brought up the couple reviews that echo my opinion in one way or other. I have no doubt that the immersive element is a huge asset to this production, and that I need to see it to understand it. I do stand by that, from a purely auditory perspective, I feel like Redmayne is doing way too much, and making choices for the sake of making choices. Hearing "I Don't Care Much" á la Dr. Strangelove (or whatever you want to compare his voice to) is just...odd. Playing the Emcee almost as though there's something physiologically wrong with him is certainly a clear choice, but it's not a choice I understand.
Anyways, moving on...I'm sure I sound like a broken record at this point. I think I've said what I have to say about the album, and won't really be able to form any further opinion unless I see the production.
Hey old friends 2022
Swing Joined: 12/21/22
#332West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/21/22 at 12:46pm
Your points are valid for Willkommen since he is very contorted (I assumed he sees a physical therapist daily to survive) but he does straighten up physically as the show and his character progresses. I’m not sure if he was trying to look disabled. I think it was more over the top trying to be a weird sinister emcee and then comes to change as the Nazis get more involved in the show. Instead of just having the emcee wander around as the emcee the whole show, they kind of use his personality changes as the changing outside world. I’d recommend seeing it and seeing if it changes your mind. Sometimes with theater or opera not everything comes across with just a recording.
#333West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/21/22 at 6:29pm
They're saying pre-order now, but I can not find where to pre-order the CD. Can anyone lead me to where ?
willep
Broadway Legend Joined: 9/20/08
#334West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/22/22 at 8:55am
Can’t get the tracks to work for me on Spotify, unfortunately. If anyone knows a workaround let me know!
chrishuyen
Broadway Legend Joined: 11/12/14
#337West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/22/22 at 11:04am
Has anyone found this on Apple Music in the US yet? I saw a screenshot from a UK friend and it looks like they have it there but wonder if it's just not released in the US or if it's buried under Apple Music's terrible search
jacobsnchz14
Broadway Legend Joined: 12/13/06
#338West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/22/22 at 11:15am
chrishuyen said: "Has anyone found this on Apple Music in the US yet? I saw a screenshot from a UK friend and it looks like they have it there but wonder if it's just not released in the US or if it's buried under Apple Music's terrible search"
It’s not available on US Spotify or Apple Music.
#339West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/22/22 at 11:23am
I can't find it on Apple Music at all. Thanks, Taffy for posting the links to them on YouTube. This whole cast album is AMAZING! You are not ready for some of these songs, including Jessie Buckley just BELTING the show's title number! This will be an album I will listen to repeatedly once it's on Apple Music!
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
#340West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/22/22 at 11:28am
I was able to order the CD at the UK Amazon store
Plexsis
Stand-by Joined: 9/29/04
#341West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/22/22 at 11:37am
US Amazon link for CD
Cabaret 2021 London Cast https://a.co/d/gRYyXJy
Nicticorax
Understudy Joined: 12/16/22
#342West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/22/22 at 4:31pm
Putting aside all the debating here, I wanted to bring this thread back to the original question and article posted, about if this show should transfer. Eddie Redmayne can probably sell it as long as he's in it, but I'd be shocked if he signs more than a 6 month contract, if that. The only big names that I can see as replacements probably wouldn't have interest in being a replacement. Someone like Daniel Radcliffe could pull off this interpretation of the Emcee, but I can't imagine him replacing Eddie. Aaron Tveit has been brought up, but he's not comparable in his ability to sell tickets. Stunt casting Sally is also an option, but that wasn't enough to keep the 2014 revival afloat for long.
The other thing is that most people I've talked to about this show, or who I've seen posting about it on Twitter, are raving about the immersive elements. That's what I'm hearing from people, beyond any discussion of the story or characters. They like that it really feels like they're at a party in a club. With shows like KPOP and Great Comet, there have been so many failures to capture the magic of immersive theater on Broadway, not to mention how expensive some of these attempts have been. Should this show risk losing one of the main elements that sets it apart?
I'm sure Eddie wants his Tony nom, and the producers probably have a good shot at best revival. However, even that seems uncertain. Joel Grey and Alan Cumming both got Tonys for playing this role, which could set a precedent, but it could also make voters more reticent to just hand out Tonys to everyone who plays this part. Similarly, since we just had a lauded revival of this show, will voters be more eager to recognize something new? I can see how something like the Merrily revival could edge it out, because Merrily is a notoriously difficult show to make work well. Cabaret is such strong material that it's hard to completely screw it up.
#343West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/22/22 at 4:43pm
I hope all 4 who won Oliviers transfer to New York, but I’m sure that’s a nightmare for Equity. We’re getting Buckley and Redmayme, though.
#344West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/22/22 at 5:00pm
east side story said: "I hope all 4 who won Oliviers transfer to New York, but I’m sure that’s a nightmare for Equity. We’re getting Buckley and Redmayne, though."
What about Omari Douglas as Cliff? Is he a big enough star? Also, I know Danny Burstein was Herr Schultz in the last revival on Broadway. Am I crazy to think he would play that role again? I can't think of anyone to play Fräulein Schneider. Maybe Victoria Clarke?
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
Nicticorax
Understudy Joined: 12/16/22
#345West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/22/22 at 5:07pm
east side story said: "I hope all 4 who won Oliviers transfer to New York, but I’m sure that’s a nightmare for Equity. We’re getting Buckley and Redmayme, though."
According to who? Obviously it's a safe bet to say they would transfer with the show, but a transfer hasn't even been announced. All I've seen are rumors on this forum, some of which have already been proven wrong in terms of dates and theater availability not lining up.
#346West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/22/22 at 6:17pm
It’ll probably transfer late next season. Right now Eddie and Jessie are busy with award season campaigns for their movies and this season is already stacked for revivals. I can imagine next season, maybe replacing Phantom after that theatre finishes updates/refurbishments. They could use the alleyway as the immersive entrance.
"In here, life is beautiful"
#347West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/22/22 at 7:01pm
I think the Majestic is a bit too big for this show. I would think that they would want a more intimate house like the Playhouse in London.
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
#348West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/22/22 at 9:50pm
Buckley sounds incredible but that tempo for Mein Herr is terrible.
"Oh look at the time, three more intelligent plays just closed and THE ADDAMS FAMILY made another million dollars" -Jackie Hoffman, Broadway.com Audience Awards
#349West End CABARET Eyeing Broadway Transfer to the Hudson?
Posted: 12/22/22 at 10:38pm
Sadly the tempo for all her songs drags. Like, I can tell she’s making really interesting choices during “Perfectly Marvelous”, but it just sounds low-stakes and doesn’t have the tension it could because of the tempo.
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