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Post by luminaire on Jun 7, 2023 14:33:21 GMT
I saw the new cast yesterday (from the cheap seats). Mason Alexander Park is excellent and really makes the MC their own. I binge watched much of the recent series of Quantum Leap on flights recently and I hadn't linked that they were in that show until I saw them on stage. Beverly Klein is very strong as Fraulein Scheider as well, possibly the strongest person I've seen playing this role in this production. I did like Maude Apatow as well and she fits in perfectly with the rest of the cast - although her microphone needs turning up at times as she couldn't be heard over the band. Still, this current cast is one of the most solid, and this is continuing to sell very well. A note on the free drinks situation. Having not been given a drink recently, this time they had someone filling up shots of Schnapps in a booth just inside the entrance and everyone was welcome to take one. They no longer seem to be using tokens (or giving a choice of drink). Beverley and Teddy are so sweet together. Honestly some of the best moments of the show were their scenes together. Which also made it all the more tragic. |
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Post by Steve on Jun 10, 2023 22:49:39 GMT
This is probably my favourite show in London at the moment. I hope I get to see the new cast, so fingers crossed I find the time and money lol. I did catch the last performance from the last cast, and I felt that Aimee Lou Wood was the strongest Sally Bowles I had seen. Some spoilers follow. . . A very emotional goodbye to 4 cast members (John McCrea, Aimee Lou Wood, Vivien Parry & Richard Katz) from Rebecca Frecknall commenced the proceedings, all of whom I felt were phenomenal in their last performances in their respective roles. Frecknall got on stage to acknowledge that they'd all given their all to this run, and to thank them for that. Despite a production stop at the beginning, for a fainting audience member (who I think I saw walk out on their feet, thank goodness), this night was easily a highlight of my theatregoing year so far. John McCrea was leagues better in his last show than when I previously saw him. Although he neither as fragile as Eddie Redmayne, nor as powerful and aggressive as Callum Howells, he was so lithe and comfortable in his own skin at that last performance, and, coupled with his magnificently penetrating, modulated and haunting singing voice, he was a beguiling presence It was Aimee Lou Wood, though, who I'd previously only seen in straight plays (amusing and offbeat in Downstate, resigned and poignant in Uncle Vanya, a bit part in Mary Stuart), who was off the charts great in this, in my opinion. Her Sally Bowles is currently my favourite of those I've seen, just as Eddie Redmayne is my favourite Emcee (though I've loved them all): If Madeline Brewer was the most broken, and Jessie Buckley the most torn apart, then Wood was the most defined, the most iconoclastic and individual, a world in herself:- Her speaking voice was calm cut glass crystal clear high-pitched diction, her manner acute self-contained stillness, accompanied by a savoured and self-aware narcissism: her Sally Bowles at once the most controlled and the most uncontrollable, with a comedienne's confidence in her own performing skills: a portrait of defiance and rebellion even though that defiance was as much against common sense as anything, and that rebellion amounted to a frightening conformism with the Nazi status quo. Lou Wood's final "Cabaret" incorporated elements of mimicry and comedy, suggesting that her focus on performance, her individuality, her defiance, was so strong that she had succeeded in banishing the monstrous evil of the Nazis from her mind (by contrast, Jessie Buckley, Madeline Brewer and Emily Benjamin were all to different degrees in states of breakdown, movingly less able to tunnel vision the horror of the Nazis away). It was Aimee Lou Wood's absolute tunnel vision that made her performance so chilling and effective! The last night in this show, for 4 wonderful performers, proved to be raucously entertaining, haunting and frightening, a 5 star highlight of my year thus far. Hope I get the chance to see the new cast.  |
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Post by asps2017 on Jun 11, 2023 19:52:32 GMT
I can't understand how they sell the table seats with meals every night...
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Post by ladidah on Jun 12, 2023 8:12:50 GMT
Who is taking over as Sally?
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Post by teamyali on Jun 15, 2023 11:11:43 GMT
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Post by theatrefan62 on Jun 15, 2023 11:47:40 GMT
If Billie won't leave her kids for a west end run, I'd be surprised if she would move half way across the world.
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Post by Being Alive on Jun 15, 2023 12:37:28 GMT
They asked Billie. She said no.
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Post by BurlyBeaR on Jun 15, 2023 12:39:10 GMT
Because she doesn’t want to, she doesn’t want to!
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Post by kyvai on Jun 15, 2023 13:06:30 GMT
Because she doesn’t want to, she doesn’t want to! Hehehehehe see what ya did there :-D |
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Post by capybara on Jun 16, 2023 12:16:58 GMT
I found that Maude Apatow really grows into Sally as the show progresses. I was a little underwhelmed by her vocals during the early numbers of Don’t Tell Mama and Mein Herr but she delivered one of the most emotive performances of Maybe This Time that I’ve ever seen.
She also owned the title number, which as we know is a big task for anyone. Performance wise she was wonderful to watch, obviously a big acting talent. I enjoyed her accent as well, she had her posh English girl accent nailed.
However, it was Mason Alexander Park who stole the show. Utterly ghoulish and hilarious in equal measure. I’d recommend anyone thinking of splashing out on this show to do so while he’s in it. The rest of the new cast were great too, no complaints on that front.
I like Cabaret a lot. This is probably still the best version of it. But there’s something about it, maybe the plot or lack of any real character development, that stops me from connecting emotionally and loving it. It’s another high four stars from me.
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Post by Peter on Jun 16, 2023 20:25:13 GMT
I may have missed it, but who did the orchestrations for this production? I can’t find them credited anywhere…
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Post by Rory on Jun 16, 2023 22:09:24 GMT
I see Billie Piper was at the gala night (not saying this means she's going to be in it!)
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Post by Seriously on Jun 16, 2023 22:14:17 GMT
It seems like only yesterday we were being assured this wouldn't last.
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Post by Being Alive on Jun 16, 2023 22:22:09 GMT
I see Billie Piper was at the gala night (not saying this means she's going to be in it!) so many people at the gala night but like...we can dream!! |
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Post by showtoones on Jul 4, 2023 16:47:25 GMT
Just book Samantha Barks for Broadway
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Post by SuttonPeron on Jul 4, 2023 17:13:02 GMT
I may have missed it, but who did the orchestrations for this production? I can’t find them credited anywhere… Extremely late to this, but they use mostly the same charts as the 1998 revival, by Michael Gibson. I assume the original MD and music supervisor Jennifer Whyte did any additional arrangements. |
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Post by Being Alive on Jul 4, 2023 17:22:42 GMT
Just book Samantha Barks for Broadway Did you see her do it last time? This is not a good idea |
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Post by minion on Jul 4, 2023 17:42:09 GMT
Barks is not a good enough actor (or at least, her range is very limited).
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Post by Being Alive on Jul 4, 2023 17:42:54 GMT
Agreed
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Post by BurlyBeaR on Jul 4, 2023 20:20:19 GMT
Charisma Bypass Barks. Her Sally Bowles was one of the most turgid performances I’ve ever witnessed. And seeing her in Frozen did nothing to change my mind.
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Post by showtoones on Jul 4, 2023 21:10:04 GMT
Charisma Bypass Barks. Her Sally Bowles was one of the most turgid performances I’ve ever witnessed. And seeing her in Frozen did nothing to change my mind. Ok…fair enough…just a thought…. Some other ideas: Ariana DeBose, Julianne Hough, Annaleigh Ashford, Soleia Phieffer? |
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Post by BurlyBeaR on Jul 4, 2023 21:41:07 GMT
Why is this show still charging £200 for front stalls seats (not table seats or those with food ) which is the price they were charging for Eddie Redmayne and Jessie (when she deemed to show up) Buckley when the current performers are vastly inferior in terms of name recognition?
Ok, sorry I know WHY, it’s £££. What I’m asking is why people are paying that. What do people think they are getting to justify that ticket price?
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Post by Being Alive on Jul 4, 2023 22:26:31 GMT
A cast of 22, two of whom will be on star wages (thousands per week). A prologue company of 11. A band of 8. A whole theatre team front of house to deal with the audience and keep the show on the road. A theatre that almost halved its capacity to from 1000 to 550 and cost masses to turn it into the Kit Kat Klub.
That's why they're charging £200 for the tickets.
I'd imagine people think they're getting two people in the leads that are likely known to them, and one of the highest quality productions in the West end. Which is what they are getting.
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Post by hadeswasking on Jul 4, 2023 22:57:37 GMT
Let them charge £200 for those who are willing to pay that. Most likely makes it cheaper for others. This is an expensive lavish production.
I was happy with my £50 dress circle seats reduced due to the wonderful dynamic pricing.
Not to mention the lottery and when you lose the lottery they offer you a hefty discount anyway.
I travel quite a distance for theatre, I'm happy to pay my maximum ticket price for something like this. It's one of the best nights out in the west end right now!
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