‘Cabaret’ still a masterpiece, old chum

DON’T TELL MAMA: Michelle Williams & the Kit Kat Girls. Photo: Joan Marcus

CABARET
Book by Joe Masteroff
Music by John Kander
Lyrics by Fred Ebb
Based on the play by John Van Druten
Co-directed by Sam Mendez & Rob Marshall
Choreography by Rob Marshall
Through January 4, 2015
Studio 54
254 West 54th Street
(212-719-1300), www.RoundaboutTheatre.org

By David NouNou

Cabaret was, is, and always will be a masterpiece. Believe it or not, when it started out, Cabaret had a wholesome patina about it back in 1967. In 1998, Sam Mendez and Rob Marshall got a hold of it and turned it into a decadent, delicious, legendary raunchy masterpiece. In the ensuing years, the proverbial envelope has been pushed even further to create a masterpiece with a lot of raunch. Thanks to a solid book and one of the most brilliant scores ever written for a musical, the show stands the test of time. It can never go back to its pristine original self; it has to constantly move with the times and move forward, but at what cost? The show was controversial from the onset; it dealt with a hedonistic Berlin and the rise of Nazism. How much more controversial can you get in a musical? However, in all its revivals, it maintained its integrity and good taste.

It is admirable of the Roundabout to revive Cabaret, one of their greatest hits, and bring back its original Tony Award-winning star, Alan Cumming, to reprise the role of the Emcee, and for added marquee value, the three-time Oscar nominee, Michelle Williams as Sally Bowles. I must admit that I am always in awe of movie stars who are brave enough to come to Broadway to flex their acting muscles in a role they want to do, even if they are ill-suited for the part, and for that I give Ms. Williams great credit. Ms. Williams is a very good screen actress, but lacks the stage presence to attack the role of Sally. Sally is fearless and nothing stops her from getting what she wants or thinks she wants at any cost. Ms. Williams is cautious and does not convey the desperation and zest that Sally must have.

Set in Berlin, Germany between 1929 and 1930, Berlin is at the height of its decadence and also rising is the advent of Nazism. The world and life is changing, and we are seeing it through the eyes of the Emcee of the Kit Kat Club. The Club is a mirror to the outside world. It starts out as a party and turns into a nightmare as we have learned from either our ancestors or the history books. In this microcosm, besides the M.C. and Sally is Clifford Bradshaw (Bill Heck), the American coming to Berlin on New Years Eve to come for a lark, to lose himself, absorb life and get inspired to write his book.

On his train ride to Berlin, Cliff meets Ernst Ludwig (Aaron Krohn), a member of the rising Nazi party who recommends Cliff to stay at Fraulein Schneider’s (Linda Emond) boarding house. Once settled in Cliff meets Herr Schultz (Danny Burstein) a Jewish fruit seller who is infatuated by Fraulein Schneider, a German, and also living there is Fraulein Kost (Gayle Rankin) the lady of many pleasures and a future Nazi affiliate. Their lives get intertwined and everything that was once promising starts unraveling as they descend into a world turning to madness.The two most enjoyable characters in this go round are Linda Emond and Danny Burstein as the older couple who decide to get married but reverse their decision with the rise of Nazism. Ms. Emond brings strength to the role that was once portrayed by Lotte Lenya and Ms. Emond does the role justice and is long overdue for her Tony. The consummate Mr. Burstein provides the loving humor, so rich in its texture that one is glued to his every move.

This brings me to Alan Cumming, who has become synonymous as the Emcee. He was revolutionary and magnetic in 1998. He was the heartthrob and role model for every young club kid who wanted to be with him or be him. He forged his persona and flamboyance. What was chic and outré for its time now just seems sleazy. I know that certain actors leave an indelible imprint of their performance; I just hope that Mr. Cumming won’t be reprising this role well into his elder years as Rex Harrison did with Henry Higgins or Yul Brynner as the King of Siam or Carol Channing as Dolly Levi. Mr. Cumming is a versatile actor as he has proven on TV’s “The Good Wife.”  I hope he brings some original versatility back to the stage.

‘WILLKOMMEN’ ALAN CUMMING’S RETURN: Alan Cumming starred as Emcee in the last revival in 1998. Photo: Joan Marcus

NEWEST SALLY BOWLES: Michelle Williams as the iconic character. Photo: Joan Marcus

ENGAGEMENT PARTY: (left to right) Bill Heck, Michelle Williams, Danny Burstein & Linda Emond. (Upper level) Alan Cumming in ‘Cabaret.’ Photo: Joan Marcus

Edited by Scott Harrah
Published April 30, 2014
Reviewed at press performance on April 29, 2014