Saturday matinée, 2nd September - Dress Circle, £72.00
This was my first time seeing this production so I apologise for what will be a rather lengthy write-up of all aspects of the production that come to mind. Sorry to have to reiterate this, but my views are not stated as fact - just an opinion as a latecomer to this production. Hopefully if you’re on the fence, this will perhaps help you decide.
This review is a write-up of the whole experience, and will contain some
spoilers about the experience.
I’ve previously seen Cabaret numerous times; Sam Mendes’ production with Alan Cumming, a production in Canada, and two UK tours - with Will Young and one execrable evening with Samantha Barks and Wayne Sleep taking the leads. It is fair to say I have something of a love-hate relationship with the show; not necessarily the content, but the lack of clarity and consistency of vision across productions. Step forward Rebecca Frecknall, who has put together what for me is a very strong stage production of Cabaret.
Arriving at 1pm, accepting a free shot of schnapps and a sticker to cover my phone camera, the tone and mood of the afternoon is immediately set. Entering via the side entrance, with the nightclub-esque signage and exposed, grubby interior I was immediately transported into the Kit Kat Klub. Going down the dimly lit stairs into the first room (a bar), I stayed to watch a live music and dance performance. Heading up the stairs - straight into another bar - another pair of dancers gyrated on a balcony above the bar area, while I checked out the rather expensive merchandise.
Brochures were £15.00, and a “Kit Kat Klub candle” (Kandle, surely?!) was a frankly insane £42.00. I swerved buying anything, instead opting for a bottled beer (£6.60).
I watched this performance, before wandering around every space, taking in mini-performances and “moments”. I noted that the ensemble of actor-musician-dancers in the hour long pre-show (billed as the Prologue) are actually a separate cast and do not appear in the show proper, according to the cast sign posted in the bar. I snapped a photo leaving the venue after the performance:
ibb.co/X2FWzgVTaking my seat mid-way back in the Dress Circle, I was slightly concerned by a large chandelier blocking my view - I assumed these would fly out when the show proper began, and this was indeed the case. Meanwhile, an androgynous fishnet clad performer danced, stretched and posed in the row in front. Below, live actor-musicians playing a squeezebox and other instruments danced and entertained the audience. The house was full and had a good energy, with lots of enthusiasm.
As for the show itself? It’s performed in the round, on a rising and lowering central stage which also serves as a revolve. A rising central pillar is used for dramatic and comedy moments. The actual playing space is on the small side, which is fine as the production doesn’t require or provide a huge ensemble cast.
The first Act clocks in at a bottom numbing 1 hour 45 minutes - and ushers are very keen to remind the audience that leavers during the first Act wouldn’t be re-admitted until the interval. In fact I was told twice on the way into the venue, then once again when taking my seat. Despite the length, I am a fan of the material and the production had me hooked from the off.
Despite early fears, this production and Frecknall’s direction doesn’t actually try and reinvent the wheel. Neither is it stoic in mimicking better preceding productions (like the tours did with the Mendez production). It is its own beast. The fabulous Prologue and phenomenal staging see that this is a production with a clear, defined vision - without taking liberties with the book.
The terrific band, split between two parallel balconies/boxes are terrific and are very much part of the performance. They dance; they smile - they wave to each other - all carefully choreographed but very charmingly done. Everywhere you look, there’s a tidbit happening.
That’s not to say the respect for the material as written isn’t laser-focused and intense.
A much shorter 45 minute-ish second Act feels a touch lighter in moments; there is just as much “business” happening, but due to the nature of the book and the score, it is fair to say that the first Act is rather front loaded.
Which brings me onto the cast, who are solid and don’t let the production down. Second cover Sally Bowles, played by Sally Frith, was suitably veering wildly between hubris and fragility, and acted the part with sincerity. Her voice was fine - the title number and “Maybe This Time” brought large ovations. Due to no pre-show announcements of any kind, many I heard talking around me weren’t aware they were seeing a cover. Indeed, one couple were gushing about “Maude Apetow’s” performance at the interval.
Beverley Klein and Teddy Kempner made a lovely pair as Fraulein Schneider and Herr Schultz respectively, but it does bring me onto a slight negative I feel is deserving of mention.
Accents. They weren’t all exactly perfect, to say the least. Klein’s was good, Kempner’s was more of a
suggestion. A hint of German, a touch of Yiddish, but largely an Englishman. Toby Turpin, on as Ernst Ludwig, had similar problems, with the accent disappearing altogether for sentences at a time. Even Sally Frith seemed to go a bit northern on occasion - I haven’t checked but I’d wager a few quid she is from Yorkshire or Lancashire.
There were two performers who were standouts - one for all the right reasons, one… less so.
Unfortunately, I really didn’t enjoy Nathan Ives-Moiba’s take on Clifford Bradshaw. I found his acting choices very strange, and it hurt his scenes (the majority of his stage time) with Sally Bowles. He has a strange, rushed and whispery delivery and some odd inflections. It didn’t spoil my enjoyment of the show as a whole, but it certainly didn’t help the show.
The star of the show is Mason Alexander Park, who is superb as the Emcee. They can flick a switch from funny to dangerous, and while the part appears to be directed to be rather broad and physical, there is some unsuspected nuance in their performance. And what a voice! It is no coincidence that my favourite moments all came from the Emcee; “Wilkommen” is an extremely strong start and sets the tone for the character perfectly. But actually “I don’t care much” was the scene which blew me away. Their singing is quite remarkable, gliding from a crystal clear tenor to a rather rich bassy baritone. A real surprise package for me, as I really don’t think it’s an easy part to cast without turning into a bit of a farcical character.
I was moved to tears - as I usually am - by “Tomorrow Belongs to Me”. It is the moment where reality dawns on (most of) the characters about what is happening around them - and also on the audience. There were audible gasps from the audience as Ernst Ludwig removed his coat to reveal his Nazi armband.
The audience were well behaved and attentive, responsive at the right moments and deathly silent at others. Unfortunately, eavesdropping on those around me on leaving the venue and while vaping after the show, much of the plot and symbolism didn’t connect with everyone in the audience.
For example, two separate people were discussing their confusion over the gorilla costume in “If You Could See Her”. One comment was “so, does he work in a zoo now?”. Ooof. Similarly, some were confused by their appearance as the border control guard in the finale, and subsequent non-literal depiction of the horrors that followed.
All in all, an excellent production with a strong-enough cast coming into their final weeks. They were giving their all and the show felt largely very tight and well-oiled. I probably won’t rush to return (the ticket prices, for one thing!) but I very much enjoyed my visit to the Kit Kat Klub.
4* from me
