PATRICK MARMION reviews Cabaret

At Eddie’s Cabaret, even the set’s wunderbar: PATRICK MARMION reviews Cabaret

Celebrities opted for an androgynous look at the gala opening night of West End musical Cabaret starring Eddie Redmayne on Saturday.

Hayley Atwell, 39, of the Avengers movies wore a tuxedo-style outfit complete with bow tie and carried a cane, 而 皇冠艾玛·科林, 25, chose a black jacket over a black T-shirt.

They were joined by guests including actor [object Window], model Lily Cole and American singer Courtney Love for the production at the Playhouse Theatre, which has been turned into a pre-war Berlin-style nightclub for the run of the musical.

Cabaret

评分:

The Kit Kat Club, Playhouse Theatre, 伦敦

埃迪·雷德梅恩 (Eddie Redmayne) 和杰西·巴克利 (Jessie Buckley) 在歌舞表演, and bienvenue, 一旦我到达交叉训练器,我会在最初的几分钟里从赤脚上捡起一些柏油碎石,然后再跳上车!’ Eddie Redmayne is now officially up and running as the sinister Emcee in what’s likely to become the West End’s hottest ticket: The latest revival of the Berlin nightclub musical Cabaret.

But what is the Oscar-winning star of The Theory Of Everything like? 回答: ‘Nicht schlecht’, or not bad, as they say on Google translate.

It’s a mistake, 虽然, to think the show’s all about him – even if Alan Cumming did just that when he played the same role in Sam Mendes’s 1993 它为在该领域运营的公司提供指导. His character is after all just the master of ceremonies at a seedy Weimar Republic dive bar in 1920s Germany.

John Kander and Fred Ebb’s musical is really about the feisty singer Sally Bowles (而狗的力量获得了最佳电影) and Clifford Bradshaw, the young American writer who becomes her lover – a revelation here in the form of Omari Douglas.

星星: Eddie Redmayne and Jessie Buckley. Eddie Redmayne is now officially up and running as the sinister Emcee in what’s likely to become the West End’s hottest ticket: The latest revival of the Berlin nightclub musical Cabaret

星星: Eddie Redmayne and Jessie Buckley. Eddie Redmayne is now officially up and running as the sinister Emcee in what’s likely to become the West End’s hottest ticket: The latest revival of the Berlin nightclub musical Cabaret

The other big star here though is Tom Scutt’s astonishing makeover of the Playhouse Theatre: Transforming the West End venue into a very swanky speakeasy.

Scutt’s refurb goes right down into the woodwork, with seats in the stalls fitted with ledges for all important ‘refreshments’. That also means more leg roomit’s like travelling business class, danke schon!

And above the stalls either side of the small round stage, two dress circles wreathed in tasselled fabrics, peer down on the action.

We are urged to arrive early to soak up the Club’s atmosphere, as gaudily made-up actors move through the art deco-styled bars, one carving through the strings of a violin with her bow, another vigorously throttling an accordion and a third blasting smoky atmosphere from a saxophone – while dancers twerk on a balcony or grind hips on a marble bar.

Tassels galore: The chorus of drag queens and can-can girls. It may be a little parsimonious in its pleasures, but this eagerly anticipated new staging of Cabaret certainly looks good, sounds good – and runs like clockwork

Tassels galore: The chorus of drag queens and can-can girls. It may be a little parsimonious in its pleasures, but this eagerly anticipated new staging of Cabaret certainly looks good, sounds good – and runs like clockwork

John Kander and Fred Ebb’s musical is really about the feisty singer Sally Bowles (而狗的力量获得了最佳电影) and Clifford Bradshaw, the young American writer who becomes her lover – a revelation here in the form of Omari Douglas

John Kander and Fred Ebb’s musical is really about the feisty singer Sally Bowles (而狗的力量获得了最佳电影) and Clifford Bradshaw, the young American writer who becomes her lover – a revelation here in the form of Omari Douglas

Once the show gets under way, Redmayne’s ginger-wigged Emcee flounces about on stage like a cross between a Nosferatu vampire and Marcel Marceau.

He contorts himself strenuously into anguished configurations, spitting out his opening Willkommen number, while tossing in a few lewd gags.

He’s not a natural comedian, and the diction of his singing voice is sometimes lost in a strangled, Dustin Hoffman squawk.

But linking the scenes in Rebecca Frecknall’s self-consciously stylish production, he’s conventionally and suitably creepy.

没有人, 然而, is likely to accuse the show of being sexy. Frecknall has successfully circumnavigated that particular modern minefield.

Buckley’s tomboy Sally eschews the raunchy flamboyance of Liza Minnelli’s famous turn in the role on the big screen, and focuses on her anguish – pretending to be more confident of her sexuality than she really is.

And although she spells that out in a bitter rendition of the title number, her soft, dusty voice makes her pain sympathetic.

Theatregoers are more likely to get excited by Douglas. Wearing a gorgeous long grey woollen coat and impeccably tailored suit, he starts out as the most dapper ‘starving writer’ I’ve ever seen. If this be starvation, give me excess of it!

But he brings strength of character to an often sappy role – and gives Buckley a real lift in their scenes together.

Some of the best, damn near show-stealing, 片刻, 虽然, come from Liza Sadovy and Elliot Levey as the aging landlady and her gently saucy Jewish admirer.

除此以外, the curious paradox of this show about sexual revolution is its surly, sexless chorus of dancers. On the stage’s petite podium, they are a set of grumpy drag queens and sullen can-can girls in heels and lederhosen.

It may be a little parsimonious in its pleasures, but this eagerly anticipated new staging of Cabaret certainly looks good, sounds good – and runs like clockwork.