West End CABARET Revival (and B’way Transfer?) - News & Discussion Thread — Page 6

Huss417 said: "east side story said: "Huss417 said: "I didn't want to start a new thread but have a question for those who have seen the show in London.

I am going to surprise friends with tickets and looking for where to sit and or not sit for this production.

Thanks for any help, :)"

Absolutely get tickets on the side of the venue that includes the Upper Circle. A lot of this production is played to that side of the Kit Kat Club. It’s a cozy theatre, so any seat could be ideal depending on your price point."

Thanks for the info. I very seldom ever say this but I am not concerned about the price as I want it to be a special day for friends."

If you’re not concerned about price then table seats stalls A-D as central as possible are the best seats in the house.

Front dress circle is fantastic for this show. I’d prefer it over the stalls.

Thanks for all the input everyone. It is greatly appreciated. :)

WiCkEDrOcKS said: "Any further buzz on a transfer?"

I have not heard anything new yet, but I am not giving up on this show coming to NYC. Still think they will bring it to the Hudson after Salesman closes in January. Depending on how long it will take to renovate the theatre for this show, I could see a Summer/Fall 2023 opening. Again, this is what I am predicting. I have no idea what is going on. They have kept this VERY quiet.

YvanEhtNioj said: "Dylan Smith4 said: "

I have not heard anything new yet, but I am not giving up on this show coming to NYC. Still think they will bring it to the Hudson after Salesman closes in January. Depending on how long it will take to renovate the theatre for this show, I could see a Summer/Fall 2023 opening. Again, this is what I am predicting. I have no idea what is going on. They have kept this VERY quiet."

I havent seen anything from this production - what kinda reno would be needed?"

I have not seen it, but It’s a very immersive experience. They have literally turned the theatre into the Kit Kat club, I believe they’ve even changed the name of the theatre.

The audience also surrounds the set on all four sides.

I’d recommend taking a look at this video.

ErmengardeStopSniveling said: "The problem with transferring this is (a) the stars + the environmental staging are what make this interesting in London. (b) How much do Redmayne and Buckley reallymean here, 9 years after the last revival?(c) it's hard to replace stars and a full-on theatre renovation (even a COMET-style one) could be cost-prohibitive, so this production could be a giant money hole after the first ~6 months."

The staging is probably the bigger obstacle. Eddie Redmayne is an Oscar and Tony winner who also stars in a major franchise (and he's known as a talented singer from his role in Les Miserables), while Jessie Buckley is a rising star who just received a surprise Oscar nomination. They'd easily serve as draws. But with several big shows closing there might well be plenty of real estate to work with should a transfer be announced.

east side story said: "Plans fall apart at a moment's notice, but from what I can tell, this is apparentlystill coming to NY in spring 2023 with Buckley and Redmayne."

I hope to God that you're right about that! I will literally pounce on tickets the moment they go on sale!

I saw the Olivier performance of the title song... If that's indeed how that song is performed in context of this production, it looks like the director has missed the point of Cabaret. Looks very similar to the Mendes version, except somehow more dour.

I loved the show and for a while it was the hottest ticket in town/most acclaimed show. I was curious to know what a NYC audience would think but as more time has passed and the hype has passed a little I wonder if they should just quit while they are ahead. I think a NYC run seems a bit risky - there will be no escaping comparisons to the two critically acclaimed runs of the Sam Mendes cabaret and great casts. Buckley’s attendance issues might plague them. Maybe Eddie R is a bigger star in London etc - I can just imagine the show landing a bit flat in NYC and taking the shine off the whole endeavour a little.

But it's not simple. The whole stage is a big lift, am I wrong? Which is very costly.

Theater in London is cheaper to produce. So things like the Company revival and this can get away with being these big productions - albeit this is done on a "smaller" scale, but in US dollars, this would be very expensive. To retro fit a theater, change the signage, change the flow of the theatre, etc? That's going to cost a TON in US dollars.

I don't think either are big enough stars to make this profitable in the time frame that they are probably willing to commit to. If they can line up some replacement and stuff, sure? But the last revival of Cabaret, with true movie stars, did seem to struggle a bit?

I'd pay to see Buckley read the phone book, let alone a show I've seen many times and like very much.

Not to imply we'll nec. get her, but killer leads-- names, names in the making or breakthroughs -- would be critical for this show to sell.

henrikegerman said: "I'd pay to see Buckley read the phone book, let alone a show I've seen many times and like very much.

Maybe we won't get her, but killer leads-- names, names in the making or breakthroughs -- would be critical for this show to sell."

Although the phone book has quite a list of characters, there is really no plot. So you might want to rethink that.

JBroadway said: "denali.fire said: "Although the phone book has quite a list of characters, there is really no plot."



It doesn't need a plot. It's more of a high-concept mood piece."

...not unlike this particular revival of "Cabaret"....