Reader Reviews
Cabaret (Lyric Theatre, West End)
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 | Chilling - saw this production yesterday having seen Cabaret many times i thought i'd seen it all. I was wrong. This innovative and imaginative staging of this classic musical sheds new light, or perhaps new darkness, on what i thought the narrative was about. Yes it'a about the glitz, glamour and seediness of the 1930's pre war Berlin cabaret scene, yes it's about great show stopping songs and raunchy racey dancing, and yes it's about the rise and fear of fascism. But what i realised, for the first time, that it is really about is the Denial - the kit kat club's smokey insular atomosphere combined with the singluar selfishness and sadness of Sally Bowles, is the perfect metaphor for the denial of the horror of nazism that many 'ordinary' Berliners faced in the run up to the war. The staging, spine chilling songs and the menacing Emcee have radicalised both the show and indeed the Cabaret. I can't believe it's closing - what has one to do to keep a show on in the West end today? - Jennifer L Bostock | 19 Jun 08 |
| I saw Cabaret last night for the 8th time and having seen three different cast changes, lat nights performance was simply WOW!!!. The atmosphere was electric, all sections of the theatre incl the upper circle was about 90% full. ALL the cast members gave 110% and they have even changed Alistairs role from about two weeks ago. He now spends nearly 5 minutes joking with the audience and even getting a member of the public to stand and apologise to him for not believing that he had undertaken a particular dance number - the audience were loving every minute of it. Its credit to the professsionalisim of all the cast members that they were putting there all into the show, in view of the fact that they were apparently told in between performance on June 4 that they are all out of work from the 21st! The audiance gave the cast a very well deserved standing ovation last night and it's a great shame in view of some other west end productions that this one is closing well before time! BILL KENWRIGHT if you saw last nights perfomance and the reaction from the public, you would of NOT pulled the plug. - Scott | 19 Jun 08 |
| Alistair McGowan - what a find. He has a magnificent voice and really gets into the character. He is a truly superb lead and I am gutted the show is closing so soon! (He was also lovely at the stage door!) Amy Nutall is also a very good Sally Bowles, infact the entire cast is just great. It is such a shame this wonderful production isn't pulling in the audience numbers. A truly great night of theatre. - AA | 08 Jun 08 |
| Seen on Mon 11th May 08. This is my third time of seeing this and have seen each cast change I think! Had stalls seats. This is BY FAR THE BEST it has ever been. James Dreyfus and Julian Clarey were Ok but Alistaire McGowen is superb. He actually ACTS the part instead of unprofessional adlibs. Has a good voice too. Really excellent lead. Sally Bowls lead also superb. The warmth from the two older leads was just great. As usual the dancers threw everything into their performance. I really wanted to stand up to give an ovation for such excellence but everyone was still seated! I had the unfortunate task of seeing Never Forget the next night and that got an ovation. I couldn't help thinking it should have been the other way around. Such trash as Never Forget gets audiences to get to their feet and yet superb performances from this cast doesn't - something is wrong somewhere! If any of the cast or production read this. THANKYOU for an excellent night of theatre. - Dave Woolrich | 14 May 08 |
| It's difficult to single out performances here as they were all spot on. Some people, on another site, criticised Julian for not acting but I found that his understated performance made the last minute of the play all the more poignent. Amy was as good as ever, she's a soprano by nature and training but still belted out the "loud" numbers. But the note of wistfulness in her voice at start of "Maybe This Time" conveyed Sally's sense of despair to the core. - Ray | 09 Mar 08 |
| I caught this a couple of weeks ago and thought the cast were excellent. Angela Richards superb and it was great to see Barry James in a sympathetic role which he handled with aplomb. Amy Nuttall managed to convey Sally's foolishness and hopelessness whilst still giving the audience pleny of bang for their buck, whilst Steven Cree got a good handle on all of Cliff's ambiguity, determination and frustration. Valerie Cutko was a charismatic and enigmatic Fraulein Kost. They are all let down by the low-budget and abstract physical production which seems to detract from the actors rather than complement them. - Scripps | 17 Feb 08 |
| saw this 0n the 26th and enjoyed it immensley.i was certainley not disappointed in julian clary even though his singing was not remarkable. we were lucky enonough to speak with him later and he was really nice and very friendly. thought the whole cast was excellant noteably amy nuttall and barry james. - cath | 01 Feb 08 |
| Have now seen it twice both with Julian Clary, the part of emcee is definitely his also the rest of the main cast brilliant. The boys and girls of the chorus were really good. Very poignant.Highly recommended. - gina | 12 Dec 07 |
| Loved it - wonderfully lewd and dark. The exact opposite of drivel like Grease or We Will Rock You. - David Gower | 11 Dec 07 |
| i went to see it last march so it wasn't the same sally bowls (thank god!!!!). This show is really good because original, the cast does a great job but the poor sally bowles is forgotten. I was almost more interested by the other characters.This is a dark version of cabaret and that's why it's so interesting. The second world war and the diferent themes about sexuality are the main contexts of the story. Really good show, thank god they have changed anna maxwell martin. She's maybe an actress but she's not a performer!!!! - morgan | 24 Oct 07 |
| Evening 24th July. Having read previous comments I really think this cast has needed time to gel as I thought Honor and Francis were both excellent in the roles of the doomed elderly lonely couple caught in the politics of an age they could not identify with. All the cast were simply superb but special mention for James who I saw in the Producers and loved him then - this role is absolutely his and it doesn't matter that he's not the best singer in the world - he simply relishes the role and totally entertains while scaring me silly at the same time! Kim was excellent and was much better than I expected. That she is constantly mentioned as an improvement on the previous actor is a credit to her and I'm pleased I waited for this cast change to see the show. I also didn't know whether to applaud or cry at the end - so I did both, heartily. Very powerful. Long may it run. - Avril | 25 Jul 07 |
| 21/07 Evening - I thought the whole show was very good and hit the mark in what it was trying to portray. Kim Medcalf was excellent was worried about her singing Maybe This Time but she was spot on. We discussed Honor Blackman during the interval and expressed our disappointment that she seemed to be going 'through the motions', however when in the 2nd half, it became apparent that her character was almost tired with life and just adapted to whoever was in power at the time it all made perfect sense. James Dreyfus played the Emmcee perfectly - a kind of inevitably to what would happen and just accepting his fate without trying to change. All in all a great evening - and a very powerful ending - not sure whether to applaud or cry! - Steve | 23 Jul 07 |
| Having seen this show with the original cast members earlier in the year I feel able to offer a balanced view. I saw this production on 12th July 07 stall seat, eve. The biggest disappointed was that Sheila Hancock wasn't performing. Honour Blackman is a poor replacement and instead of singing "So What" talked her way through it??? Although OK she didn't bring the character to life and just keeps smiling all the time. Although James Dreyfus is good, I found the humour he was attempting to introduce unprofessional and out of context with the story, not when the humour is in the script, that's fine, it was the ad libs that spoilt it for me. Also at this performance Jack Jefferson (key dancer) was not present and the performance was less for his absense. The guy in his place didn't have the drive of his counterpart. BUT the big improvement is Kim Metcalf. WOW what a difference from the APPALLING Anna Maxwell Martin. Mr. (watered down cheap buget musicals) Bill Kenwright apparently thinks people can star in West End musicals if they can't sing, well I can tell him that this ain't the case for me. I want to see top end acting AND SINGING for my hard earned cash and Anna Maxwell Martin should never have been given the part. Kim is absolutely superb with the acting and VOICE to match. James Dreyfus can't sing either and I'm sure they could have found someone with a voice too, but he gets by in this production. Go and see Lord of The Rings for class one voices and acting. Awesome.So, to conclude, this is a good show for Kenwright's standards but nothing to blow you away. Don't buy the cast CD with Anna Maxwell Martin, wait for a re-release with Kim Metcalf as it sounds like a school amateur production! - Dave Woolrich | 23 Jul 07 |
| What a great performance from James Dreyfus who really is the star of this production. A must see musical. - Ivor | 18 Jul 07 |
| Although it has lost the wonderful Sheila Hancock and Geoffrey Hutchings as the doomed ageing lovers (Honor Blackman and Francis Matthews are sweet, touching replacements but lack the charm and heartbreak of their predecessors), I still think this remarkable, poisonous, thrilling new vision of Kander&Ebb's masterpiece has got better as the run has gone on. Rufus Norris' dark, dynamic staging has a confidence and power now that it lacked originally. Partly this is because James Dreyfus' Emcee has evolved into a truly menacing, ambiguous presence...a terrific performance. Even more though it is because, finally, in Kim Medcalf has it got the Sally Bowles it really needs and deserves: this is a blazingly impressive reading of the role. Her singing is wonderful (such a shame she isn't on the cast album) but also her characterisation of this troubled and troubling character is just spot-on: she is adorable and repellent simultaneously, with a magnetic stage presence and gorgeous physicality. Her emotionally overwrought, drug-addled rendering of the title song gave me goose bumps...both dramatically and musically true. Worth going again just to see her. - ajh | 19 May 07 |
| Second visit just to see Kim Metcalf was for Kim's performance well worth it. A great shame Kim did not open the show as she is one hell of a Sally Bowles. Unlike AMM her numbers actually ended to cheers - especially the title song as she clearly surpassed herself with a very exciting and effective delivery. Where the musical fails second time around is the casting of Honor Blackman. Sadly Honor fails to make the role work. Though she looks elegant, the years are obvious and the accent well her attempt at sounding German was almost laughable as she clearly sounded more suited to the role of Mrs Higgins in MFL. I really did not believe in the charactor the way I did with Sheila Hancock and sadly those wonderful songs were all but thrown away. - Owen | 01 May 07 |
| This production was ok. But I agree with people who say it was overly complicated at times. It seems to be pushing a very strong point but neither the audience nor the cast members seemed to know exactly what that point was. Some bits were fun, but it could have been a little more lighthearted...actually i'm not sure lighthearted is the word it just needed more energy, it seemed to get bogged down at times. I think the musical does have a strong point to make in terms of politics etc but at the same time this doesnt mean it should loose its sense of fun. I believed the story of the older couple (Sheila Hancock and Geoffrey Hutchings) 100% more than I did the two younger leads. Hancock and Hutchings had both comedy and tragedy in thier performances, and more than anything they *trusted* their performances - they didnt need to overly shove it in your face to make you believe in it! - Kate | 08 Mar 07 |
| The Performance, have improved greatly since it has opened back in October. I have now seen it for the 3rd time, and found some of the scenes more emotional. with Sheila Hancock's This is my world speech beganning a high light. James Dreyfus made us all laugh and Anna Maxwell Martin has improved greatly. However Sheila Hancock's performance is still outstanding. I am so glad she got The Olivier for best supporting role in a musical. It was spot on for me. I greatly enjoyed it more this time around than I did the first two times. - Leila | 06 Mar 07 |
| There's plenty of sleaze in this staging of Cabaret but it's very cold and frankly The Sound of Music does a better job of portraying the fear caused by the rise of the Nazis. Anna Maxwell Martin is good at conveying the desperation and vulnerability of Sally Bowles and reminded me more of Judi Dench than Liza Minelli (that's a good thing). Some of the supporting performances were barely adequate (James Dreyfus was off) so thank God for Geoffrey Hutchings and, especially, Sheila Hancock who provide the emotional heart of this suprisingly sterile show. David Baxter (7.2.07) - David Baxter | 22 Feb 07 |
| love it, say it for the second time, and found the ending the most moving part. Would see it again! - 86.10.64.34) | 27 Jan 07 |
| Well to follow that 5* rating you may feel I am being somewhat begrudging with my 3*s but then I must tell it how I think it is. The opening curtain wall is very dramatic and fills one with hopefull expectations. However, the moment the very nervous James Dreyfus appeared as the Emcee I reaslised there was a casting problem. The part requires an actor who is totally at ease with an audience. Mr Dreyfus is not. He visibly shook as he delivered his lines which gave his performance, throughout, an intolerable level of intensity which made it monotonous. Anna Maxwell Martin similarly delivered a monotone performance in so far as she pitched it at the same level thoughout which, even the drug ridden Ms Bowles, would have found difficuly to maintain. Think Kate Moss. Even she has to have a break! The wonderfull Sheila Hancock and the excellent Geoffrey Hutchins' were lost on the vast drab stage they were left to inhabit for their numbers which meant they almost went for nothing. The dancers are undoubtedly more capable than the mediocre choreography gives them credit for. I saw Mr De Frutos' inappropriate efforts in Carousel at Chichester but, when I heard he was doing this show, I thought that at least this was up his proverbial strausse. How wrong I was. Moving on to Ms Martin - she to be frank is misdirected. And sadly given very little to do for her Mien Herr number - it should have been a show stopper for christ sake!. Enough! There were two moments for me when the show came together and got the hairs tingling on the back of my neck. The first was Tommorow belongs To Me which closes the first act and secondly when Sally sings Cabaret. As a talented actress, which Ms Martin surely is, she made this her number and finally broke through the mask that had shrouded her performance revealing the vunerable soul within. In that respect she aquitted herself. I hope we don't have to wait too long before another director comes along with something much better than this. - 172.143.9.36) | 19 Jan 07 |
| Saw the matinee on 17 January, Truely superb production. Better than the original at the Palace Theatre and monumentally better than the film. ALL performances were excellent. Anna Maxwell-Martin is the real Sally Bowles as she was meant to be [a failed, neurotic, drug ridden Caberet singer] and not the Hollywood make-believe that Minelli made her. James Dreyfus, excellent as Emcee and Sheila Hancock, superb......... oh i cannot say highly enough of her. Raputurous reception at the end [from many young and old people in the audience] for ALL performers. The chorus boys and girls deserve a special mention too for their shere energy and professionalism. A magnificent, thought provocing afternoon in the theatre. I hope it runs and runs for a long time. I will certainly be making a return visit. - 82.35.9.63) | 17 Jan 07 |
| I fail to see how the creative, to my mind, genius behind such theatrical turkish delight as Market boy and Festen could have come up with this drivelling production of a broadway classic. Was Mr Norris suffering from too much work? Was it simply pressure? Who knows. My analogy from watching this wholly unengaing two hours was simply that he had put too much in. The fact is is that Caberet is a great musical anyway, all a director has to do is tell the story in the clearest way possible pure and simple. Norris heaps onto this story piles of needless imagery concerning nazi war atrocities and burlesque dances, which yes would have been around at the time but here simply detract our focus from the characters. I didnt give two hoots about anyone in this piece, the whole thing felt like one of those dreary university productions directed by some 'provocative' chain smoking student director who likes to hang out at the bars and say, ooo look how dark i can make all of these musicals. It did not help that a contemporary dance coreographer was brought in to do this show, the dances looked as if they would be more at home in a black box behind a pub where Tristam and Esmerelda can take their two year old to discover the wonders of modern dance. The stellar cast did their best but tragically got lost under all of the patronising iconography and the desperate need for something other. Quite frankly dont bother. - 80.225.168.189) | 31 Dec 06 |
| As James Dreyfus was off the night I went, I can't comment on his performance. Anna Maxwell-Martin was remarkable - vulnerable, desperate and deeply moving but she appeared to be acting in a vacuum. Michael Hayden as Cliff is much too old for the part - this character is supposed to be just starting out in life not a middle-aged man. As for the much vaunted Sheila Hancock and Geoffrey Hutchings, they left me cold. Finally, the dark dull set was a turn off - everything was set in a large empty space. Apart from Anna Maxwell Martin, a very dispiriting evening. - 172.143.182.25) | 27 Dec 06 |
| i loved it. i laughed, i sniggered. In the end I wept. Well done all - 159.92.106.174) | 12 Dec 06 |
| I thought it a wonderful production,beautifully staged with a great cast. The end was so moving,I could not move for some minutes. - 62.253.128.14) | 30 Nov 06 |
| A waste of time, an insult to the good material they buthered. Horribly done. - 76.171.79.93) | 25 Nov 06 |
| Exceptional, I love the film but I also love this, probably more. They are 2 entirely different products. The film is all about Liza, this production is all about the grim unstoppable rise of the Nazis and the impossibilty of individuals to resist it 9that is a sub-plot to teh film). It is entertaining but it is not a fun night out at the theatre. Be prepared to be grim faced by the final curtain. Fortunately the orchestra rturn with an encore to lighten the final mood (perhaps reminding us that evil can wreack terrible havoc but cannot ultimatly overcome the human spirit?). It is a musical but it is also deep and moving. Performance wise, it is set in a seedy dive of a club and lodging house and doesn't hide from that. The cabaret is seedy and a bit unpleaseant, Sally Bowles is not a star but a desperate wannabe (AMM is acting that if you didn't notice!) and the lodgers are flailing about for happines in their lonely lives. Treasure this for what it is - a major statement on humanity and it's failings. - 88.96.1.229) | 24 Nov 06 |
| Saw Cabaret with top West End Sign Language Interpreter Donna Ruane on stage; even though I don't understand a word of sign language it added a whole extra dimension to the songs and heightened them. This is a very powerful production and while I can understand that some people are disappointed that Sally Bowles is not played by a big star the fact is like the entire production, Anna Maxwell Martin's portrayal is different. Forget the film - this is more how it should be. - 81.154.96.247) | 10 Nov 06 |
| Saw this at an early preview and disliked it intensely. All I can say is that I am so glad I went back a couple of weeks later. I have seldom seen a show transform itself so thoroughly from preview to actual performance. This is a dark jewel of a show: at times almost aggressively ugly to look at and listen to (but then we are dealing with one of the most horrifying periods of European history), it then suddenly unexpectedly moves you to the point of tears. Rufus Norris and his designer Katrina Lindsay have conceived a nightmarish environment for the show that gives the sense of 30s Berlin as a giant machine gradually dehumanising its inhabitants as they endlessly push ladders, beds, huge letters around, culminating in a shatteringly powerful tableau that hauntingly unites the imagery of the show with Hitler's Final Solution. Javier De Frutos' choreography is more grotesque than erotic despite the endless muscle flexing, buttock slapping and crotch grabbing, but I suspect that is the point: it is compellingly weird and watchable. I would only cut the over emphatic rubber genitalia in the "Three Ladies" number and the Hawaiian dancer in the pineapple song. The cast are terrific: in what could be a cypher of a role, Michael Hayden makes something fine and touching out of Cliff's confusion and despair, James Dreyfus discovers a sinister, gravelly quality that triumphantly reclaims Emcee from Joel Grey, while Sheila Hancock and Geoffrey Hutchings provide a beautiful, still emotional centre to the piece as the ageing couple whose late flowering romance is destroyed by the rise of fascism: they give flawless performances. Andrew Maud's sinister Nazi sympathiser and Harriet Thorpe's blowsy lodger also register strongly while the ensemble perform with talent, commitment....and very nice bottoms!! Anna Maxwell Martin's Sally will divide people, especially those who are fans of Liza in the film. Whereas the film Sally was a star, however eccentric, AMM's is a screwed up, emotionally needy loser. It is a brave and consistent characterisation and probably very close to the real thing: a genuine lost soul adrift in the stews of Berlin. Her singing voice is surprisingly strong, and her renditions of Maybe This Time and the title song have considerable emotional power. All in all, this is an original and challenging take on a classic musical, and it will probably offend as many people as it delights, but it is a rich and deserving addition to the West End. - 195.82.123.181) | 06 Nov 06 |
| I loved every minute of the show. the dancers are amazing, as are the band. the actors are brillent. However for me Sheila Hancock is the greatest joy of the show. She is amazing with the singing, dancing and acting. I just loved every minute of the show. Will See it again - 86.10.73.34) | 06 Nov 06 |
| LOVED IT!!!! Its dark, dirty, gritty, real and surprisingly powerful at the end- just what the West end needs. Never been a fan of the film, or the musical because I have only ever seen the film. Changed my mind. Its brilliant. Anna Maxwell Martin - brilliant actress, and a much better singer than people have given her credit for - she showed real emotion during 'Maybe This Time' (I sudder at the thought of what Martine Macutchen would have done with the show). Her 'Cabaret' was powerful as well.She had real stage presence and showed star quality. James Dreyfus was a revelation, he was actually VERY good, strong singer, brought accross the humour, and seedyness of the emcee. loved 'The Money Song' and the way the show opened i thought was fun (wont spoil it). All the supporting cast were strong, but Sheila Hancock outshone everyone, I feel she should be up for Best Supporting actress at awards time. The ensemble, slick and oh my god sexy as hell (special mention to Jack jefferson) The choreography was very different, erotic and exciting. The set, simple and dark, but it suits the story pefectly. The problem with Cabaret is it isnt an easy sell, theres no happy ending, no glamour, but thats what makes it such a unique and exciting show. Oh and the nakedness, wasnt as big a deal as expected (haha you know what I mean)and isnt shocking. The show got a strong reception with some people standing. This to me is a must see, especially with this cast. This is a show I want to see again and would definately pay £50.00 for. - 81.153.75.151) | 21 Oct 06 |
| By the interval I wasn't entirely convinceed, but I was by the end. The ending resulted in complete silence from the audience until after the curtain had come fully down and this seems to me to sum up its impact. Rufus Norris has taken a show best known from its film version as a star vehicle with a serious backdrop and returned it to what I suspect was its originators intention -a piece of social history thrillingly but chillingly told through the medium of cabaret and music. The staging and choreography is truely inventive. It has been cast for acting rather than singing and to me that paid off, though if you go for iconic torch songs you'll be disappointed. Sheila Hancock and Geoffry Hutchings bring their roles out of the background to become pivotal to the story. Both Anna Maxwell-Martin and Michael Hayden were completely convincing, though I was less convinced by James Deyfuss, who seemed to be to be reverting to his camp stereotype. Don't go to see this if you want a fun night out at a West End musical, but if you want to be challenged, stimulated and thrilled, you should start queuing now. A very welcome and DIFFERENT evening of musical theatre and well done Bill Kenwright for being brave enough to trust Rufus Norris to re-interpret it 40 years on. - 193.35.134.151) | 19 Oct 06 |
| I don't understand all the negative reviews - if you accept this is NOT the film, and it's not about being an amazing singer like Liza, then maybe you'll be able to see what an imaginative production this is, and you'll enjoy the great performances without whining as many otherse are! This is definitely a must see simply so you can make your own mind up! - 86.134.110.118) | 19 Oct 06 |
| How sad to see a leading lady so dire. The acting was bad enough, but the singing (so called). A total miscast. Sheila Hancock excellent and I enjoyed James Dreyfus. Had to leave in the interval - couldn't stand it any longer. - 194.203.201.92) | 18 Oct 06 |
| TRUE TO THE FILTH AND HORRORS OF EARLY NAZI GERMANY BUT OVERPOWERINGLY DEPRESSING. CRUDE SADISTIC GAYS,OBSESSIVE BISEXUAL MIMING, HUGE PROSTHETIC PENISES,SIMULATED BUGGERY AND THUGERRY, SADO-MASOCHISTIC GEAR, AND THE TALENTED DREYFUSS HORRIBLY UNPLEASANT (as the mc should be), ALL DRENCHED IN REPELLANT MACABRE GREY AND BLUE LIGHTING...LEAVE AUDIENCE IN A GLOOMY MOOD. RELIEF ALTHOUGH IRONIC MOVINGLY PROVIDED BY THE WONDERFUL SHEILA HANCOCK. A SUCCESSFUL AND ADMIRABLE INTERPRETATION OF ISHERWOOD'S ORIGINAL INTENTION BUT NOT UPLIFTING ENTERTAINMENT. - 86.139.191.60) | 17 Oct 06 |
| Deplorable presentation it's a waste of time and the money - 192.114.45.194) | 17 Oct 06 |
| It's notable from the WoS user reviews that there's a generation of theatregoers completely uninfluenced by the Minelli/Fosse movie, or earlier, earthier stage incarnations of this story. Good, for them this can be an acceptable production. In her can't sing/won't sing flat and English-inflected Sally, Anna Maxwell Martin is probably truest to the initial London stage production where, against all expectations, Sally Bowles was played to perfection by Judi Dench. However, what served to amuse audiences in 1968 won't do nearly 40 years later, and she fails to hold the stage or the audience's attention. Moving on to the second lead, the dismal James Dreyfus. Dreyfus has neither charisma, voice, physical comedy nor much in the way of acting ability to raise his portrayal of Emcee above the level of cardboard. What a waste, and why did no-one learn from his appalling outing in "The Producers" where the audience, and the WoS reviewers, cheered his understudy so often and so enthusiastically? So with the comedy and musicality of the central characters effectively sidelined, the focus of the play shifts to the sub-plot and the late-bloom relationship of Fraulein Schneider and Herr Schultz, here elevated to a masterclass in understated acting and singing by Sheila Hancock and Geoffrey Hutchings. Hancock's delicacy in the return of the engagement gifts belongs in an altogether classier production. The nudity really is gratuitous - i.e. it's the unwanted free gift that comes with your purchase. The bodies are athletic but unerotic, and I have to say the only frisson of excitement I experienced from the nudity was the recreated the gas chamber tableau at the end. It's not a coup de theatre, but it's this show's only "moment". - 195.93.21.73) | 14 Oct 06 |
| Possibly the most disturbing, humbling brilliant performance I have ever seen. 5 stars! - 82.35.195.239) | 13 Oct 06 |
| Anna Maxwell Martin – great actor, completely mis-cast. Not enough tragedy or vulnerability to her. Wanted to love her, but really didn’t care what happened to her Sally Bowles. James Dreyfus – just not sinister enough . Shelia Hancock – great but looked embarrassed to be part of the show. Set- lazy & dull. Wanted rich colourful tawdry worn seedy Kit Kat Club. Choreography – can’t beat Fosse. Bums tits and willies aren’t necessarily sexy or shocking. The seductive moves and direction that Fosse put in to the film made it come alive. There was no sensuality or electricity between the cast. The music from the show demands big moves - a big wow, but there was none of that. Direction – not really unimaginative, more uninspired, and a lost opportunity to bring a great show back to the West End and give it some pizzazz. Dull, monochrome and sparse. Darn. - 86.134.200.12) | 12 Oct 06 |
| Superb, intelligent, visionary production with wonderfully committed performances from the entire cast. Rufus Norris hs done well to allow the cast to bring their own ideas to the production, ensuring that they are encouraged to do what they do best. This was particularly evident in the "Two Ladies" number, where most of the gags were thought up by James Dreyfus and the hysterical comedienne Rebecca Bainbridge (also the show's violinist! .. Look out for this girl!) Javier de Frutos' choreography is enthralling and deeply moving, as are the performances by Sheila Hancock and Geoffrey Hutchings as Frau Schneider and Herr Schultz, which bring a tear to the eye. The final image is so harrowing I could barely bring myself to clap afterwards; I felt there should have been a compulsory 30-second silence before applause. Have seen it twice now, and can't wait to see it again - not something I normally say about a musical, but then this is an extraordinary theatrical experience, not just a musical. Bravo Mr Norris and all concerned. - 86.134.190.67) | 12 Oct 06 |
| The opening night of CABARET was interesting, and even quite moving by the final scene. It is the first time that I've seen a production where Sally Bowles - Anna Maxwell Martin - is rather sidestepped by the other characters (imagine the film with Liza taking a back seat). Her singing was fine; her acting a bit manic (tribute to the current Liza state perhaps?) but there seemed a lack of energy in her character especially in the Cabaret numbers. Sheila Hancock was fabulous. This was another first where this landlady dominates the production. Even the kitschy 'Pineapple' song was sweet and touching. Her big second act song ' What Would You Do?', following her break with the charming Herr Schultz - Geoffrey Hutchings, stops the show and really brings home the effect the Nazi's are having on those who will soon be under their control. Cliff (Herr Isherwood's alter ego), played by an American - Michael Hayden - is very strong. This is another first as he is usually played as a limp noodle of a character. In this production the gay side of Cliff is no longer just hinted at. A few full on snogs with Bobby - Jason Rowe, his ex from Paris, certainly leave no question about his true preferences in partners. The Emcee - James Dreyfus of 'Gimme, Gimme, Gimme' fame - was surprising fine, sometimes his performance even rose to being very good. He appears in the background of many of the non Cabaret scenes. His performances of 'The Money Song' and 'If You Could See Her (through my eyes)" were strong solo performances, different from their normal duet presentation in other productions. The only real disaster was in the sweet, but naughty 'Two Ladies' which was embarrassingly, and excessively, staged - a bit too much sex for no real gain. Fraulein Kost - Harriet Thorpe - is bigger than life in her tight, bust raising outfits as she ushers her numerous sailor 'cousins' in and out of her room. Her performance is very strong, for a relatively small role, illustrating the average German's acquiescence to the rise of the Nazis. The much gossiped about reports of full-frontal nudity did materialise, but not in as nearly as shocking a way as predicted. the nudity was used comically with Fraulein's Kost's 'cousin', emotionally with the Hitler Youth's in 'Tomorrow Belongs to Me' and poignantly as the world of the Cabaret falls apart. The dancers (or Javier de Frutos, the choreographer, more likely) were a bit sex obsessed, especially in the first half of the show but I suppose it was pre Nazi Germany and, in the words of Cole Porter "Anything Goes". The Nazi's began to appear when the youthful the crystal clear voice of Alastair Brookshaw sang out ' Tomorrow Belongs to Me ' (he easily play the Aryan singing ' Springtime for Hitler' down the road in 'The Producers'). Later their more violent selves performed stylised, cartwheeling, thuggery on those who disagreed with their vision for Germany. The set was fairly abstract with angled velvet covered screen walls. These glided across the stage, in combination with full height steel ladders, to shift the scenes from rooming house to Cabaret to fruit store very smoothly. A few bare metal beds were the only furniture; they were used quite imaginatively as climbing frames in 'Don't Tell Mamma'. The clothes the dancers wore were bare bones leather harnesses, lederhosen and fragmented underwear. For the non Cabaret scenes the actors wore simple grey washed out clothes that seemed true to the period and added to the gloominess of the production. Over all CABARET was dark; I think it will be remembered as the show where Sally faded into the background allowing the rest of the story to move forward. The BIG SURPRISE of the evening was sitting a row or two in front or The Grey Man and his wife (Former PM John and Norma Major) - that made this Cabaret truly bizarre! - 86.141.95.35) | 11 Oct 06 |
| I really enjoyed the show, particularly the performance of James Dreyfus, who I thought made an excellent emcee. He managed to be both menacing and funny at the same time. - 62.254.64.17) | 11 Oct 06 |
| I saw a preview performance on the 6th October. I must say that this is a thought-provoking production that really sticks in the mind. I thought some bits of the show worked really well- James Dreyfus was excellent as the MC and he did manage to get some menace as well as campness across in the character. "Two Ladies" was priceless, as were some of his costumes! I also thought Sheila Hancock was wonderful and the number "A Pineapple" was so well done. It was really good hearing many songs that were cut from the film ("So What" in particular) and although the set was the usual cheap Kenwright fare, I thought it worked quite well and did not spoil the show. But the negatives-well, as so many people have said-Anna Maxwell Smith was quite dreadful imo and it totally mystifies me why she has been chosen for this part-terribly miscast. OK-I know Sally Bowles is meant to be a two-bit singer in a nightclub, but a little bit of artistic licence never hurt anyone-when you go to this show you do expect "Cabaret" and "Maybe this time" to be sung well-she crucified every number she had and was a huge disapppointment imo. I also thought the grim ending was very heavy-handed and unnecessary-there are ways of getting a point across, and the show had already done this well without having to resort to an image of "Auschwitz". I wasn't bothered at all by the regular nudity in the show and there were many times when I thought the production was very brave and often funny. However, there must be any number of actresses that could have played Sally Bowles better-and no, I wasn't expecting Liza Minnelli, but this is a musical and it helps if the lead actress can hold a note rather than sing everything in a breathy monotone.I also felt this production was missing a bit of fizz and ooomph at times. I would still recommend the show as there is much to enjoy. - 212.135.157.226) | 11 Oct 06 |
| Excellent. Excellent. Excellent. A fantasticly thought provocting piece of theatre. Possibly the best thing in the West End. - 82.45.214.214) | 11 Oct 06 |
| I think this is a very clever production. I think the direction is fantastic. I have always loved this show and this prodution had more 'meat' than any other I have seen. - 86.129.107.212) | 09 Oct 06 |
| I went to see Cabaret with some trepidation as the reviews here had seemed polarised between those that hated the production and those that thought it was good. I was captivated from the beginning and, although Anna Maxwell-Martin was too ill to appear, her understudy, Kaisa Hammarland, did a fine job. The sets were interesting the chorus were really brilliant and effused just the right amount of sleaze. I actually liked the slightly rough edges because it added an extra dimension. All the leads were good dramatically even if their singing wasn't perfect. A really good evening, with a thought-provoking story to tell and I think much nearer the Christopher Isherwood books' sentiment that the Hollywood version. - 82.43.168.3) | 08 Oct 06 |
| beautiful - 86.137.92.52) | 07 Oct 06 |
| I saw a preview on October 5th, when Anna Maxwell Martin was off with a virus. The understudy did a valiant job but the absence of the lead did mar the production a bit. Nonethless I thought this was a really thought-provoking and original production, and in particular the final scene was breathtakingly moving. The performances that stood out for me were James Dreyfus (unexpectedly un-camp, just very sleazy and sinister, which really worked) and Sheila Hancock, who was terrific, with real pathos. It's interesting that the star ratings for this show have improved as it gets closer to opening night - a sign perhaps that it's a bit unfair to start criticising from the first preview. - 130.32.42.1) | 06 Oct 06 |
| During the production, I cringed, winced and closed my eyes in shame. However, in hindsight, I've milled over the show in my mind, it really makes you think and my opinion grows and grows more positive. This a reworking of the original and there are some very intelligent decisions here. There is a lot of criticism over Anna in the part of Sally Bowles constant slatings that she can't sing etc, but the truth is, this is justified for the character. For the first two of her numbers I was very unimpressed but the play explains this, Sally had to have a reason for being fired and the Emcee quite bitterly announces how drunk she is. This is not your conventional big smiles and jazz hand type musical, this more a play with singing. Sheila Hancock steals the show however, the sub-plot really does become more intriguing than the main plot but I think a lot of this has to do with a lack of pace from the younger principals as it is still in the preview stages. My major criticism though is of James Dreyfus, it is the only time I've wished to see the understudy in a role over the main actor (the chorus are by the way very good). I left the theatre thinking "what was the point of him turning up", after the rather impressive vocal performance of Alan Cumming in the role, Dreyfus is just dead basically, there is no life, his songs are on all one level and sometimes all on one note. He barely moves, is extremely static and does not at all take advantage of his fantastic facial expressions, to sum up, it appears there was no effort on his part at all. As an overview, there are some great ideas in the production with a cast with bucketloads of potential, they are forgiven for their mediocre previews, I just hope that the production is done more justice by the time the press night comes around, otherwise the Lyric will be needing a new tenant for the new year - 88.110.144.207) | 05 Oct 06 |
| i have seen various productions of Cabaret and to be fair, i havent been overly impressed with any of them..the Wayne Sleep emcee sticks in my mind as particularly terrible.I went along hoping to finally find a great production. i wonder if Sheila Hancock, Geoffrey Hutchings and James Dreyfus are wondering if they can get out of their contracts. Anna Maxwell Martin is truly terrible, she couldnt decide where to pitch her voice last night, even when just speaking. Loved the set .Was hoping for a lot better. Shame there isnt more of the Sheila Hancock and Geoffrey Hutchings characters in theplay, as it was a relief when they came on as you knew some reliable acting was going on. I was on edge the whole time Anna Maxwell Martin was on in case she fluffed her lines, which i think she did several times . Sorry i didnt like the show, i had high hopes given the cast and production team.Glad i didnt pay top money for it. Even the nudity was dull.The end though was very effective. this may well cause a stir when it opens. - 194.223.152.82) | 04 Oct 06 |
| I saw the show last night - still in its preview stage - and I have been chewing on it all night. This is the first time a 'musical' has given me more than the stimulus of the moment. This felt like a significant piece of theatre, where the dilemmas and hopelessness of the choices that the characters faced were beautifully woven together. The second half for me was particularly powerful, with Anna showing the complexities of Sally's personality brilliantly. The characters are not simple translations of the film and those going to look for and compare with that will be surprised. Personally I would rather see an intelligent piece with the depth to leave me thinking for a few days and that is what I got. - 84.69.141.233) | 04 Oct 06 |
| Saw this last night and while it is obviously still in need of rehearsal, I thought it was great. It will certainly stay in my mind more than the production I saw at the Donmar years ago. If the polarised comments on this website are anything to go by, this production might well be a shot in the arm for the dull dull dull musicals currently dominating the West End (the logical conclusion of which is the BBC1 opiate 'How do you solve a problem like Maria?') As for the comment of a previous reviewer that 'Cabaret is set in Berlin in 1930 - not in a contemporary dance company' a little acquaintance with the history of contemporary dance might enlighten Sparklinggal. We need more people outside of the hermetically sealed world of musical theatre doing musical theatre (oh - check out the history of musical theatre.) - 213.78.69.50) | 03 Oct 06 |
| This is the most intelligent, stunning musical I have ever seen. I found it compelling - a musical for adults - not the all-American nit-wit stuff that spoon-feeds you every moment incase you were too thick to get it. Sally Bowles becomes the most comprehensive, mercurial character; Anna Maxwell Martin is an incredible actress, and it is our total good fortune that she can sing aswell - a punchy, emotional voice - to bring Sally Bowles to such vivid and vulnerable life. I remember Jane Horrocks at the Donmar didn't even try to join all the dots up, she was so far off delivering a comprehensive character. Here, Anna Maxwell Martin delivers a truly profound, rounded, full-blooded Sally. The dancing is extraordinary, and blends beuatifully with the complex world of this 30's Berlin. There wasn't a beat missing for me. Everybody's compromising position was clear, Sheila Hancock, Geoffrey Hutchens, James Dreyfus, Micheal Hayden, Andrew Maud - all of them truthful, brilliant actors - and yet the numbers, such as 'Two Ladies' were the total joy that they should be. Finally a musical that delivers on every level, to every sense. I wish I could go again and again. - 84.69.141.233) | 03 Oct 06 |
| I saw the show last Thursday, and I liked it very much. You should not go to this show is you expect something like the movie or a show with a happy ending, because this version of the show is rather dark and cynical. All the actors were very good in their roles. I agree that Anna Maxwell Martin is not a great singer, but the role of Sally Bowles in this version does not need a belter like Liza Minnelli, and Anne Maxwell Martin's voice is good enough for the Sally Bowles of this show, and her acting in the musical numbers is very good. As for the nudity in the show. Cabaret is not a show for children and there was nothing there that would shock an adult these days. And the nudity and dancing of the musical numbers worked very well to show the contract between the decadence of Berlin, and the coming Nazi regime. I did find the ending very impressive. So if want to see someting more than just silly entertainment, I can recommend this show. - 84.41.167.3) | 02 Oct 06 |
| I was fortunate enough to see a preview of Cabaret on Saturday night, and, on the whole, I thought it was an excellent production. I’m a great fan of the film, and the NYC Roundabout version, and this compared favourably to each. The supposed “furore” about the nudity is both prudish and point-missing. The nudity during “Tomorrow Belongs to Me” serves both to represent the Aryan ideal, and – in so doing – to prefigure the truly shocking, and heartbreaking, finale. I do not think that Nazism’s perverse fusion of horror and eroticism has ever been more imaginatively, or more powerfully, captured. It seems to be widely accepted that Sheila Hancock and Geoffrey Hutchings give excellent performances, and they do. But I simply cannot understand the criticism that has been heaped upon Anna Maxwell Martin. Her performance is mesmerising. She is perhaps the best Sally Bowles I have seen. Of course, if you judge her performance against the template of Liza Minnelli, she will fail. She is neither American, nor a great singer and dancer. But nor was Sally Bowles. AMM is a good singer, and a fantastic actress, whose performance gives Sally real vulnerability amidst her continual attempts to show strength. It is a wonderful performance. Special mention must also be made of Michael Hayden, who is excellent throughout. This is in many ways not a conventional musical – and, in my view, it is all the better for that. I can see many people being disappointed by Javier de Frutos’ choreography. At points, he creates very powerful, striking, and suggestive imagery. At other times, he does not. People will be disappointed by the fact that ‘Wilkommen’ is not the big, show-stopping number that it should be. But there was something effective about breaking it up with the scene at the border control, as it nicely dramatised Cliff’s introduction into the decadent, but exciting, world of 1930s Berlin. When I was watching the show, I was in two-minds about the Emcee. It is hard to know where this character can go after the path-breaking creations of Joel Grey and Alan Cumming. In the NYC production, the Emcee is very much centre-stage throughout the entire show. In this production, he is not; he is one amongst a host of characters. As others have said, the Emcee is usually the one who guides the audience through the show, and James Dreyfus did not really do this during the first act. But he came into his own during the second, and ultimately left a lasting, and unsettling, impression. But what really made this production special were three astonishing numbers, which stand above both the film and the Roundabout version. First, the dream sequence which brilliantly re-contextualised the song “When Will I Wake Up”. Originally sung, in the bowdlerised Hal Prince original, by a heterosexual Cliff in love with Sally, but cut from the Roundabout version, it now figures as a way of representing bisexual Cliff’s hallucinatory trip through the excesses of Weimer Berlin. Second, the Money song, presented as a visual representation of the anti-semitic caricature of the greedy Jew. And, finally, there was the devastating finale, which hit home harder than either the film or the NYC version. This is certainly a production that takes risks, and these do not always come off. It will not please the narrow minded, or those who go to the theatre not for great acting and thought-provoking content, but for nice sets and belted-out showtunes. So it will no doubt not please fans of the work of Lord Lloyd Webber. But that doesn't matter, does it? - 81.76.124.15) | 02 Oct 06 |
| Hugely disapppointing.We went on Saturday 30th, so little time left to salvage. Emotionless, tawdry and farcical rather than moving, decadent or sensual. Most of the cast can't sing. This might have been understandable had the acting compensated, but it didn't. Anna Maxwell Martin lacks stage presence, her singing voice lacks power and regularly descends into shouting or speaking in an over-affected accent. Michael Hayden sang flat. James Dreyfuss valiantly struggled against prop and costume malfunctions. 'The Money Song' was a disastrous farce as he vainly attempted to stuff multicoloured balloons back under his waistcoat so that they could be popped in the worst-disguised move I have ever seen in theatre. A shocking waste of talent and money. - 195.93.21.73) | 02 Oct 06 |
| I saw the first preview on Saturday afternoon. I know that previews tend to have various glitches and rough edges that need to be polished, but this show was quite hopeless. For me, it started on the wrong foot when I found out a lady sitting in my seat. A minute before the show started, we found out it was a double booking case. I was assigned a different seat at a row behind. And this was the most positive part in this experience. The show was quite boring, and lacked any real talent. Instead of reconstructing the decadence of Berlin in the 1930 (watch "the Blue Angel" with Marlene Dietrich to get a clue on the real atmosphere of that era and place), it turned out to be a Chicago clone, with bland jokes, a lot of nudity which was probably the producers cheap way of making a statement and a sensation but it doesn't really work, and a very watered down plot. I remember too many ladders moving around, butt slaps and stupid costumes but this wasn't supposed to be a comedy. In terms of singing, there's absolutely nothing to write about. "Tomorrow belongs to me" may have been the only redeeming moment in this whole long and boring show. Truth be told: this show is in dire need of recasting and restaging before it can turn into an acceptable West End musical. West End producers should realize that a few bland jokes, nudity and ladders still don't count as a musical. I wish I had spent those 40 pounds elsewhere. - 80.230.126.125) | 02 Oct 06 |
| I am only giving this production 2 stars, one for Sheila Hancock because she is the only star in this show. And the second star for making ‘an effort’ in producing a new take on a classical musical. The main problem with this show is the leading lady Anna Maxwell Martin . I know Sally Bowles isn't supposed to be a 'top notch' performer - but I agree that it would have been far better casting an actress who can sing pretending that she can't rather than an actress who can't sing pretending that she can. In years to come I am sure Anna Maxwell Martin with her great Bafta award acting ability will be perfect for ‘A Little Light Music’ which requires the female lead to sing a song or two. Compared with what I heard before even Judi Dench sang better than Anna Maxwell Martin, so this show is very ‘bleak’ with Anna Maxwell Martin staying on . I was also disappointed with James Dreyfus performance as Emcee after his performance in The Producers I was hoping much more from him. Most of his songs were ok but the opening song Willkomen really shows off his weakness as a singer. I am not professional enough to comment about the choreography but the set, lighting, the orchestra sounds fine to me. But less is more so keep the nudity for the last scene that might be more effective. I don’t have any hidden motives in writing these comments I am not involve in the West End industry I am only an ordinary audience who loves musicals esp Cabaret. I only hope the people who is responsible for this show will be less defensive and take on the viewers comments. - 81.157.201.213) | 01 Oct 06 |
| Can someone tell me where I can get my money back?Went to see Cabaret last Monday and came out of the theatre feeling totally conned!Who do I complain to?Why are theatres allowed to get away with putting on such weak and amateurish performances ,especially in The West End?Frankly there is little to commend this staging of Cabaret at the Lyric---as for the nudity--as Frankie Howard would have said-it raised a few titters!(excuse the pun!).The acting was amateurish,stilted and as for the singing---none of the main characters,including Sheila Hancock,perfomed or were of the standard required of a West End production.Went to see Evita a couple of days later---brillant! - 86.144.39.46) | 01 Oct 06 |
| What a travesty! Hal Prince would be devasted to see what they have done to Cabaret. Rufus Norris may be an awarding winning director - but he does not have one musical theatre credit to his name - same with the choreographer (except for Carousel). Why oh why do these people who are not qualified to touch a piece of musical theatre - think they can do it? Because they can't. Vanity, vanity, thy name is vanity. As for the lead actress Anna, as Sally Bowles - why on earth did she think that she would make a good Sally Bowles? And who agreed with her? She is beyond dreadful. Can't sing a note - worse than any lead I've seen in Am dram. As for the choreographer. Cabaret is set in Berlin in 1930 - not in a contemporary dance company- it was absolutely awful - completely wrong for the show. Now if Stephen Mears had done the choreography they would have had a hit. The choreograper should be sacked. They still have time to re-choreograph all the numbers before they open. I asked everyone in my row at the interval what they thought of the show - and without exception they all thought it was awful. Get musical theatre people to do musical theatre. On a final note - Market Boy which Rufus also directed was dire too. - 82.69.1.188) | 01 Oct 06 |
| I want my money back. This was a terrible production. Hardly a new take on a classic piece, just a completely botched up job. You do not expect to have to cover your ears when the singing starts in a musical. The dancing was very ordinary too and frankly the acting was not great either. The staging is just old hat, ladders being dragged across the stage etc. and just throwing in a lot of nudity does not of itself create the atmosphere of decandent Berlin in the 30's. The director must carry the can for this fiasco. - 195.93.21.73) | 30 Sep 06 |
| To all of those shallow minded, near sighted folks who've been to see Cabaret. Clearly many of you like to spend your days slagging off other people's efforts. Saying you don't like a new take on a classic work, and saying that eveyone is involved is bad at their job are two different things. I chatted to some people on the tube who loved the show, and found it innovative and new. Javier's contemporary choreography is world class (check out his biog). Rufus Norris is an award winning, contemporary director(did anyone see Feston?), and as for the cast - perhaps you should read their biographies before commenting on their acting ability. To the person who commented on Clifford being badly cast - clearly Sam Mendes would disagree as Michael played the role in New York to great acclaim. I'm guessing from your comments that you didn't get an audition, and haven't yet worked on a West End show. Good luck at drama school! Why not leave the reviews to grown ups. - 62.255.83.12) | 30 Sep 06 |
| Agree the show was rubbish - but all gay men want to be Sally Bowles? Get a life. - 84.68.173.67) | 29 Sep 06 |
| I went to see this show last night. I am a big fan of the film but obviously wasn't expecting an exact replica. I also took my boyfriend who hates musicals.. and he said it was the one he hated the least! so that's a plus. But sadlt one of the only one's this show will get. I would have to agree with a lot of the criticism. The actors playing Sally Bowles and Clifford were very poorly cast. Sally should have a raw sexiness with a clear disregard for sexual convention.. I'm afraid the actress just could not portray this. She completely lacked stage presence and in all honesty I couldn't have given a toss what happened to most of the characters as not one of the leads could invoke any real pathos. Even the fabulous Sheila Hancock could not save such a dull 2D character as Frau Schneider. The true stars of the show were the chorus who were clear professionals with energy and sex appeal. James Dreyfuss made an excellent Emcee. Perhaps he was too butch for some, but I spent most of the show looking forward to his numbers. To save this show I would suggest changing the actors who play Sally and Clifford. They may be great actors but not in these roles.. Sally must be a woman that all the straight men want, and the gay men want to be! - 62.244.178.194) | 28 Sep 06 |
| Oh dear. I have only given this show one star as there was no option to select zero. Anna Maxwell Martin as Sally Bowles can be summed up in two words; hopelessly miscast. She has no stage presence,( I spent more time looking at the chorus than at her) no sex appeal and sings in a way that would have had her eliminated in round one of X factor. Some of the time she doesn't even sing properly she sort of sing talks like Rex Harrison in My Fair Lady. I have never before attended a musical where I have actually covered my ears. Moreover she sings in a terribly middle class voice like an escapee from Roedean and talks in a completely different rather more downmarket mode. No no no. Even if the idea was to demonstrate that Sally wasn't a great singer. She has to have charisma, energy and sex appeal to make it understandable that people would want to sleep with her and watch her on stage. Could I plead with the director and producer to simply stand in the foyer and listen to the audience comments as they leave? At the moment you are getting audiences because this show has a tremendous amount of goodwill on the back of the original film. Unless you change the lead, word will get round that it stinks. - 86.138.234.117) | 28 Sep 06 |
| sad sad sad woeful production of a scintilating story evokes nothing only sheila hancock stands out and is touching in her ability to hold back and let the others try a bit harder but they dont nudity for the most part boring and adds nothing to the production or telling of story. needs some real razzle dazzle to perk up the whole production and it is not there. - 86.141.58.180) | 28 Sep 06 |
| Whilst still experiencing teething problems, this 'Cabaret' has strong potential. Anna Maxwell Martin gives a solid performance as Sally Bowles, and even if at times her singing lacks power, her ability to communicate the message of the songs, particularly the pathos of the title track is riveting. Choreography is inspired, and the dancers all do a strong job. Ignore the negative reviews below: this is an adult, sophisticated musical, of the sort sorely lacking currently on the West End. - 82.69.106.187) | 26 Sep 06 |
| Saw the third preview. You would expect singers in a musical but there were none with the lead being particularly weak. In the club scenes there was a complete failure to evoke a seedy (or indeed any) atmosphere due to thoughtless set design and weak choreography. The Emcee boasted beautiful men and women. Which show was he referring to? Amateur dramatics. - 81.101.87.161) | 26 Sep 06 |
| Saw the third preview; this is a bad production. The costume and set design are uninspired to say the least. The set isn't evocative of anything - let alone 1930s Berlin. No hang on, most of it looks like the bits of wood my Dad used to have hanging around at the back of the garage in case they 'came in handy' but invariably didn't. The fact that bits of body were hanging out (more of that later) when lumps of panelling are being trudged across the stage and that people can be quite clearly be seen milling about in the wings (bits of panelling in wrong place) during the performance didn't help. As you'd never guess from the set that this is decadent Berlin in the 1930s, it has to be 'signposted' for us by one of Fraulein Kost's clients running around the stage naked and Anna Maxwell Martin getting her tits out. I'm not bothered about naked flesh on the stage - but its not exactly a subtle evocation of hedonism. I realise that Sally Bowles isn't supposed to be a 'top notch' performer - but it would have been far better casting an actress who can sing pretending that she can't rather than an actress who can't sing pretending that she can. In fact, the curious thing about this show is that hardly any of the performers can sing! What's that all about? The only real tension for me came when Anna Maxwell Martin sang 'Maybe this time, I'll be lucky...' Unfortunately she wasn't - she sounded like an X Factor reject. No-one stands out in this lacklustre show. James Dreyfuss' Emcee is more butch than you would expect - and his acting is good - but he can't sing. The chorus get their kit off at the end again - just for good measure; presumably to symbolise the execution of millions in the death camps. I'm afraid this production is doomed from the start - perhaps they should perform the whole thing naked to symbolise that. - 84.66.164.242) | 26 Sep 06 |
| Saw the second day matinee performance, it was rough and ready but it has got a basis to develop into a reasonable effort at this rather raunchy tale. Don't expect direct comparision with the film as roles are changed. Some of the nudity will shock some people though. Worth giving it a try when the previews finish early October. - 82.3.32.75) | 25 Sep 06 |
| Saw the second night preview. What a mess, actually it's worse than that, the show is totally misconceived and poorly performed. The singing was hideous, choreography woeful and the staging takes west end theatre back at least 30 years. Total trainwreck. very sad. - 81.138.161.145) | 25 Sep 06 |
