The Mendes production was groundbreaking, but every professional production wants to take it a step further with the sex and shock value. I never got that impression during the current London revival, and was grateful Frecknall and company took it in a refreshing direction. The result is a stellar production of one of the best musicals of all time.
east side story said: "The Mendes production was groundbreaking, but every professional production wants to take it a step further with the sex and shock value. I never got that impression during the current London revival"
This gives me the most hope that I will enjoy this production. I feel like this has been the overall trend in revivals of many shows lately - 'darker, sexier, GRITTIER". It's not always a bad idea but it is becoming a bit of a cliche.
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
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
Jordan Catalano said: "VERY excited to see John next month!"
Please let me know what you think of his performance! I am a big fan of John as well!
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
I’m curious if Paul Mescal and Daisy Edgar Jones have been approached yet to do Cabaret together, I’m sure that would go over well. Not saying they would do it in New York, but just in general.
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Call_me_jorge said: "I’m curious if Paul Mescal and Daisy Edgar Jones have been approached yet to do Cabaret together, I’m sure that would go over well. Not saying they would do it in New York, but just in general."
I would love to see that. Daisy will probably be in the throes of shooting Beautiful: The Carole King Movie Musical (my unofficial title haha) by the time she'd be approached or be able to do any sort of theatre production.
Broadway Flash said: "I would rather another remounting of the sam mendes Cabaret, which is far superior."
I think most of us are all set on the Mendes production. I can respect the artistry and it’s place in theatre history, but let’s put the kibosh on that iteration.
I am so happy that everyone will finally get to hear this beautiful recording! It's truly one of a kind!
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
I am so happy this is finally available on music streaming platforms! WOW, this recording is just a masterpiece! Kander and Ebb's score is a masterpiece in its own way but this new cast recording has made me love Cabaret even more! I really hope they announce a Broadway transfer soon!
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
Lots of shouting, ad libs and forced character voices on this album. It’s not much fun to listen to. Luckily there are many recordings of this score to choose from.
I agree with MrsSallyAdams, i've heard better. I'm not into all the constant shouting, and I agree that Eddie sounds like kermit. Does anyone know what he says in the opening when he's introducing the cabaret girl from America. "Texas is from America, and I love..." What does he say?
The recording is wonderful, and a terrific representation of this exquisite production. If you’re looking to hear Grey, there are a quarter dozen professional recordings with his portrayal. Or if you are longing for Mendes vision and Cumming’s almost German accent, have at it. I am sure seeing this production aides in one’s ability to thoroughly enjoy the record, however the goods are still there for us all.
I have been saying this since last winter, but New York would be lucky to have this transfer.
Broadway Flash said: "Does anyone know what he says in the opening when he's introducing the cabaret girl from America. "Texas is from America, and I love..." What does he say?"
As someone who thought Amy Lennox's performance at the Olivier Awards last year was way too over-the-top, it's nice to hear that Jessie Buckley's bears little resemblance to it.
Just saw the Redmayne listening party video and it was a wonderful thing. He did mention von Karajan so I'm feeling so pleased with myself for catching that reference in the production.