what's wrong with Eddie Redmayne in CABARET? | about the response to his performance as the Emcee

[@BrielleHobbit]

i feel like nowadays there is such a preoccupation with everyone doing anything on screen or on stage HAS to be attractive...pretty crying, pretty screaming, pretty dying. I've seen the difference where in horror movies especially actors are not making "weird" enough faces because everything has to be able to look good. so anytime someone actually goes to weird places and does interesting/realistic things people are way to weirded out

[@Starburst514]

And there's such a fear of "cringe" too, which causes a hesitantion to take chances, because taking a chance to be cringe in the moment but benefit the art for emotionality on the whole, yeah it might not work, but it's something, it's material, its diversification of performance But being scared of someone calling a work "cringe" and embarrassing is causing so much stiltedness. Theater, TV movies, I've even seen it in books printed in the last few years too

[@jonelrobinson582]

Yeah I agree! I seen the 98 version of Cabret on KZbin and some people in the comment section were complaining about Sally not being a good singer when she supposed to be a bad singer and when singers waver their voices to show emotion singing the song. Singing is not supposed to be always pretty and that’s okay.

[@lindakahler4799]

Thought Redmayne s performance looked foolish rather than menacing. And that party hat was ridiculous

[@lindakahler4799]

Saw the original Cabaret with Joel Grey on Bwy in 66 or 67. Amazing and like nothing before

[@vanessawhitneypro]

@@lindakahler4799 So, tiny little Joel Grey in makeup WAS menacing? LOL. The Emcee IS ridiculous... That's what makes it scary at the end of the show. Don't be so precious with performances - Everyone brings something different to EVERY production. Peace.

[@lmsteller9736]

The fact that you either love or hate what you’re seeing - actually IS THE VERY DEFINITION OF ART! Cabaret or any musical, play, art work. It’s SUBJECTIVE.

[@Truelib99Hobbes]

That is absolutely NOT the DEFINITION OF ART! ART is NOT SUBJECTIVE! There exists thousands of years of scholarship detailing very clear rules, criteria and interpretation. While some of those rules differ based on culture, there are many overlaps. No one says you can't like whatever you want, but you are entirely wrong about ART.

[@akayray]

@@Truelib99Hobbeswhat a depressing opinion about art and what defines it. I’m sure by those standards very few things can be art

[@LisaHones]

I found and find musical theater a huge bore...however I saw Eddie Redmayne 2x . He's a Tony winner ur not bless ur heart. Saw it in UK and Nyc

[@JessIdlehart]

What I loved most about Eddie's performance is how his movements were inspired by Egon Schiele drawings, which in themselves are very evocative and haunting.

[@menaceinsane]

That makes so much sense!

[@BroadwayFan-s7h]

@@menaceinsane Redmayne's mannerisms, makeup and costuming also has strong references from the German Expressionist Films of the Weimar Era.

[@cambryn]

Oh!! That actually makes SO much sense! Thank you for contextualising this!! I still don’t quite like it- I just find it hard to watch- but I do respect it for the bold choices

[@wonderrob3225]

Those inspirations are true of the original show. Kurt Weill and lotte Lenya are also indicated. The show is based on the "I am a camera ": stories by Christopher Isherwood. Still this newest version of Cabaret looks over staged, mannered and less successful than The Alan Cumming version or the original.

[@msomers24]

If I'd known of the Egon S. connection (he is my favorite) I'd have gone last month while in NYC. ARGH

[@CinnamonQuills]

As someone who grew up with just the movie version of Cabaret on TV, the Emcee was *always* a deeply disturbing character to me. Alan Cumming, if anything, played the character with a lot more endearing puckish humanity than was originally shown, where the original Emcee was more of a clear amalgamation and device than a *person*. I think that Redmayne's interpretation is just the right amount of unsettling and big, in a show where every performance on the part of the performers is huge - especially in the relatively small space of the interactively sized theater. They're all a creepy puppet show, including Sally a lot of the time, and that's the point.

[@dylansmith1833]

Honestly, I don't know what people found creepy about that performance. It's a new interpretation, and that's ok. This emcee is more seductive and cheeky. If you look at the whole thing, the emcee becomes a scary, dark monster later on, which sends chills down my spine. That's why people need to see it before making judgments like that.

[@cannibalisticrequiem]

"Honestly, I don't know what people found creepy about that performance." Two seconds later: "If you look at the whole thing, the emcee becomes a scary, dark monster later on." Soooooo are you acknowledging that it's creepy/scary or not? Because it's confusing try to figure out what you mean when you say "It's not a creepy performance" and then shortly after go, "The character turns into a scary monster"-- which is it? If Redmayne was going for "creepy", "unnerving", "monsterous", I personally think he did a great job because he does a great job at selling his characterization where you feel unnerved and maybe not quite safe around this embodiment of a trickstery fae creature.

[@ruepaul]

​@@cannibalisticrequiemDylan here is referring to later in the whole show, not this specific performance. And yes, later on the Emcee grows into an entirely different monster and at the point in the show that was in the Tony Awards, the opening, he's arguably a charismatic and comedic character that dazzles the audience. At least, both of the times when I saw it on the west end were like this.

[@LittleMissLion]

I think it may just need to be a slower burn (for my liking). That is not to say it is a bad interpretation at all or that Eddie has done anything wrong here. It's simply just a preference I have with the directing.

[@rosepetal34]

@@breebartkowiakova are you just being racist about this production everywhere? I saw you in the comments for the west end live performance too

[@HeatherLandon227]

Same.. Cabaret isn't supposed to be cheery.

[@BryceBensema-sb8cb]

Many consider CABARET the first "concept" musical. I think Eddie brilliantly portrays a "concept" more than a "character"

[@clarebearclare99]

I'm surprised more people aren't talking about the fact that he is almost constantly depicted as a clown throughout this production. Especially since the clown character European theatre to me, goes perfectly hand in hand with the emcee in cabaret, the downtrodden but optimistic character that we as an audience laugh at, sometimes fear, and relate and root for. Particularly within Shakespeare's plays the clown/fool also tends to be the most intelligent character, being the only one who gets to have these moment of blunt truth, as they're the only ones who can get away with saying what they think.

[@_purble]

I suppose it's obvious in a way, but I'd never made the connection of the Emcee to a shakespearian fool. Interesting parallel

[@maurinet2291]

FYI, for anyone who wants an additional deep dive into the historical background and role of the Emcee, Matt Baume has a fantastic video out, Cabaret and the Seductive Power of Evil.

[@sophiaashbahian]

This!!!

[@kemmes7]

so many interesting stories from the making of the film! including Bob Fosse eating it on a backflip kzbin.info/www/bejne/mYHTqIuLj7OVhNU

[@Juliexits]

Yes!!! I came upon it entirely by accident and absolutely LOVED IT!

[@soph996]

Watching it now. Thanks!!

[@Awidferd]

I'm super sad that it's been getting so much backlash, I saw the actual production in nyc, and I loved it. He did a fantastic job, and it makes me so sad to see that people are hating on him.

[@wonderrob3225]

I've only seen clips of the new show, but I experienced Alan Cumming's entire live performance, which was both revelatory and innovative. Thus, while the new version may appear slick and superficial to me, I acknowledge that my comparison might not be entirely fair.

[@Awidferd]

@@wonderrob3225 Real!! some people just hate change lol

[@matchamelon330]

i feel like eddie also just gets backlash so often for multiple characters he plays, even when he plays them well

[@th4tw1ndydud3]

yeah same!!

[@melissaoneal8126]

I did defintely find Eddie creepy and that is what was so brilliant about it. I absolutely loved him. And yes, I saw it on Broadway

[@BruinPhD2009]

A friend and I saw it on the Friday before the Tony Awards and we both thought he was brilliant. I think some of these people don't really know how deeply disturbing the show is meant to be, socially, politically, everything. The Emcee is not so much a person as he is a window into all the disturbing issues presented in the show.

[@edenfahy6901]

To me, the Emcee in Frecknall's Cabaret is like a trickster god who is always lurking, always watching. He's not a man but an omniscient being who doesn't care about anything except for power and control. His costumes do a really good job of representing this! As he sees the tides turn in favor of the Nazi regime, he realizes that the skin he had on at the beginning allowed him to control the Kit Kat Club performers, and even Cliff at times wouldn't cut it anymore. He then begins a transformation, starting with Tomorrow belongs to me, to become the Aryan ideal. And it works!! In the end, he can blend in with the book scenes in the same way he could blend in with the Kit Kat Club performers at the beginning of the show. I think he represents how most of the people in power nowadays have the privilege of being able to be a political chameleon or being able to change themselves to hold as much power as possible. This is a huge detour from previous versions of the emcee where he was the victim of the nazi regime. But I think that this version speaks much clearer to our current political climate. It warns its audience to second guess the charismatic leaders who hold power in our world, because as we have seen across the globe it is not our well-being that they have in mind, but their own profit and control.

[@karouselferris2296]

What a fantastic, beautiful mind you have! 👏🏾👏🏾👏🏾Well-said!

[@nineteenfortyeight6762]

🏆

[@kimber11buddha]

THANK YOU for doing this video! I loved Eddie’s performance~ I’m so impressed with his passion and ability to turn himself into this character each night. I saw the show on the 14th, so right before the Tony’s. So glad I ignored the noise and trusted what I wanted to see. Just getting started on this video so I may have more to say… lol

[@finleyforevermore]

10 seconds ago is a RECORD for me! 😅 I loved Eddie's performance already, but someone here on KZbin described his performance as both the puppet master and the puppet which I think is just SO amazing

[@claddagh1826]

i do not understand why people are referring to him as a puppet. he represents the victims of the puppets . . . .

[@ffd214]

​@@claddagh1826 Did you fail to watch the video you're actually commenting on? He's not the victim

[@claddagh1826]

@@ffd214 yeah i am not sitting through a 44 minutes video listening a guy who annoys me talking, but i have watched video of alan cumming's performance, so i do not understand how you could possible say he is not a victim. unless alan cumming was completely off base, in which case i do not think he would have gotten so much praise.

[@ffd214]

​@@claddagh1826 You are supremely dumb and might be an indicator of why the revival was received this way. Alan Cumming offered one interpretation. Joel Grey originally described him as Hitler. He's not a victim in this produdction. Clearly you understand nothing about art or revivals.

[@Mori-wy8my]

@@claddagh1826truly iconic of you to come into comment sections of videos you don’t even watch to display profound lack of understanding of all the elements involved (this performance, the material of the musical and the nature of a production as interpretation just generally) 😂

[@855tido]

Both Eddie and Rebecca Frecknall have talked about how performance through movement is so important to them. All of Rebecca's productions have had movement work, and she cites Hofesh Shechter and Pina Bausch constantly. Eddie is the only actor from one of her productions who has committed to it in this manner. I don't understand why naturalism is so demanded in acting when it's never the case for other arts. So many countries have traditional theatre practices that are all about eschewing naturalism, Japan and India just being two examples off the top of my head. And Weimar Germany was also leaning into Expressionism in acting and dance, or in Dada practices.

[@margicates553]

Yes! Well said 🙌🏻🙌🏻🙌🏻

[@Wavinglighter]

I think that maybe it’s because it’s easier for people to relate and see themselves in the character when it’s more natural?

[@QuikVidGuy]

​@@Wavinglighternot necessarily. Abstraction allows the expression to take on more fluid meanings and relate to more people. I can connect to a painting that's not naturalistic because of what meanings my own experiences allow the shapes to take on

[@HoneyB_-]

I recently saw this production and LOVED it! I genuinely do not understand what critics and haters are so worked up about. Redmayne's Emcee made me think of a meddling shape shifting fey creature. He wasn't so much a human character as a living allegory for the changing world of berlin in the 1930s. Also his costume in "Money" was one of the scariest things i've ever seen on stage. Terrifying.

[@solcarlosofficial]

Here in miami I saw a production of cabaret that blew me away. The Emcee from the get go was misterios and seductive and charismatic. You never knew if he was good or bad. And in the end is Herr Schultz who shows the concentration pijamas. And it was so sad cause the entire show he si so hopeful and then we see him sent away.

[@corinneferrarolam5101]

I wanted to see the recent production in Miami! If I didn’t have young kids and live 2 hours away I would have so been there. Looked very interesting. Glad to hear your feedback on it.

[@batyachanna]

There is an essential piece of Joel Grey's performance that your are missing: Joel Grey is Jewish. Like really, undeniably, stereotypically, fundamentally Jewish. They didn't need to show him in striped pajamas at the end of the show because this fact was such an essential part of who he is as an actor and performer. He is very sinister, but also, this aspect of his identity looms over his performance. It is very clear what is going to happen to him, even if it is never made explicit. Eddie Redmayne is quite Aryan, and thus, more suitable as a stand in symbol for Berlin.

[@nekusakura6748]

What's your perspective on Alan Cummings' Emcee?

[@batyachanna]

@@nekusakura6748 I remember liking it. I think there are many legitimate ways to play the part. I just wanted to point out something that was missing from Mickey Jo's (generally excellent) analysis.

[@anava7030]

@@nekusakura6748i’m pretty sure his concentration pjs at the end has a pink triangle on it, I thought that if he wasn’t Jewish he was probably gay and was a representation of the crazy gay club culture that thrived in Berlin before WWII

[@dianeshelton9592]

I never knew he was Jewish, I have just asked 20 people who also didn’t know , that fact tends to rubbish your point. They all described him as creepy and memorable. Are you calling Jewish people creepy and memorable ?

[@batyachanna]

@@dianeshelton9592 Jews know he's Jewish. Maybe you don't know any Jews. He just directed Fiddler in Yiddish of Broadway.

[@Aneli713]

So here's my two cents: I'm currently living in Mexico City, where is currently an originally directed production of CABARET, meaning that this production is not nor aims to be a replica of any particular production. The titular EMCEE in this production is a cisgender actress named Irene Arzuela. Obviously this casting choice was the talk of the mexican thespians and Cabaret lovers when it was announced a few months ago. The reaction was similar to some of what's happening on twitter, as some people were complaining that she was "appropiating" a classicaly queer role. First of all, I don't know if she would identify as queer or not, but also it's not the first time she has played a character out of usual profile (2 years ago she played Hamlet in a production, while leaving the text basically intact), so I wondered but had hoped she could bring something new and exciting to the part. And I'm glad to say she did, I saw the production and was glad to see her leaning (maybe not as much as Eddie) on the corporality, quirkness and fluidity on the character. Her choices are also puppet like, and I would say even more muppet like at times. And though her phisicality certainly stands out there amongst everybody else, the caricature is often questioned. The audience may wonder if she's putting on the character or if such a character could have possibly existed. It's a very fine balance that intrigues and keeps you excited everytime she comes out on stage. I personally enjoyed her a lot, but was a bit dissapointed on the second act because they use "I don't care much" as the soundtrack for other characters moments, instead of letting her explore th vulnerability and the humanity of a character whose humanity you doubt from the beginning. This long explanation drives me to think about the flexibility of the role beyong basically any of the types we've had. I think that's what makes it so interesting and appealing, specially as an actor.

[@ffd214]

Just reading this interview with Sondheim and reminded of the way that art is treated with such hostility and vitriol. "I thought, I don’t want to be in this profession; it’s just too hostile and mean-spirited." For him to say this, as one of the most revered, just has to show how terrible it must be for everyone else.

[@rebalanna3003]

I’m a massive Cabaret fan. So much so, I fought to direct scenes from I Am A Camera for my directing classes in college. I’ve seen the show performed 6 times, 3 different iterations (original, post movie version that made some edits and includes “Maybe This Time”, and the Sam Mendes revival) and would kill to see this interpretation. I was very excited to hear about Eddie Redmaynes casting as the Emcee and was even more interested after the small taste we got at the Tony’s. I was shocked to hear how divisive this performance was. Thank you for doing this thorough breakdown. Also, WHERE did you get those pillows?!??

[@Jedikimica12]

I stumbled across Eddie’s Tony performance while scrolling and watched it with zero context and I was so intrigued by his strange voice and puppet movements that I took a deep dive into what Cabaret was about and it reignited my long lost love for musicals and theater. For that I am eternally grateful to Eddie’s art and talent ❤

[@indieconquers]

Saw Eddie's performance in person this weekend. Was mesmerized and thought he was the standout in a revival that didn't wow me much otherwise. His movements, his audience banter, whew! His opening number that comes out of the darkness??? So good (despite the dumb orchestra member who kept their phone on for a few secs, ruining the atmosphere.)

[@madelinebrennan7603]

Sorry for my multiple comments--your way of discussing this is very stimulating for me intellectually. I've often felt like American audiences, perhaps in particular, have come to define "good" acting as almost solely naturalistic acting b/c that's virtually all they see on TV and movie screens. It's been a source of frustration for me. So YES to that observation.

[@poppyameiIa]

these sorts of things are always subjective, of course but again, to me, this really screams that audiences can’t handle change. time and time again, there’ll be a revival of a show and subsequently, you’ll see every single aspect of it torn apart and meticulously compared to its predecessors and it’s frustrating to see that there’s so much resistance to allowing new productions space to stand on their own. analysis is all well and good, encouraged in fact! however when it’s just… needless, thoughtless comparisons and _noise_ for lack of a better term, it all comes across as rather unproductive. especially now that i’ve seen people dragging previous west end sally’s into the discourse too. what good does needlessly beating down on an actress’ portrayal of a character do when they’ve been out of the show for two years at this point? it’s bad faith criticism at the end of the day, particularly when so much of it is based on nothing more than a few live tv performances.

[@ffd214]

There's actually a person here leaving negative comments all over, who said they neither saw this video nor the show

[@maddiec7204]

I think the beautiful part of theatre is that good productions work hard to bring shows that reflected the “modern day” at the time, yet when we find a show we think “does it all”, we shut out other interpretations (which can totally make sense! I’m guilty of it) but that’s why I think it’s all the more important for theatre to grow with its audience - new adaptations should not be shunned, but an opportunity to discuss what people enjoyed (or didn’t) about the performance. If many refuse to see it off of a shallow basis, how will conversation ever continue?

[@maddiec7204]

gurl be rambling but addressing my own biases, I love to see how adaptations of older musicals address subject matter and the changing view of the audience ☺️

[@adrianaoviedo8640]

All the debate has been absolutely insane and overwhelming. i saw this production on April, and just personally, i made the comment on your other video. it was an absolute dream come true- And i just want to say that in an ocean of melodramatic takes and opinions, your video was very cathartic and refreshing. I really appreciate you and i know you know a lot about this production since 2021 so i just love hearing from someone that has really seen plenty to have an opinion formed on. And on the positive side, something i really really loved is that some people saw the Tony's performance and i read someone that tweeted " I have never seen Cabaret in my life, but now im curious and im going to look for the movie" and im like, YES! it is good that people are wanting to know about the story, specially being a cautionary tale about facism. So , hey if it brings more people into it, it did something right.👍

[@amandagerstner6077]

I thought the Tony performance was brilliant! I had no desire to see the show, but Eddie was so hypnotizing I am planning a trip, this is a performance that needs to be seen and I am excited to his the full performance after this fantastic sneak peek

[@lizrudkin6565]

I think the one thing that we should all agree on, that Eddie Redmayne is probably one of the best actors of this generation.

[@Erni3K]

Stealing a comment from @theoryfruit from the You tube finale of Cumming's emcee "The yellow star symbolized Jewish people, the pink triangle symbolized homosexuals, and the red star symbolized political prisoners/dissenters." He wore all three

[@EmoBearRights]

I saw the Mendes production at Studio 54 but didn't catch Cumming in the role (although the guy I saw was very good) and I clicked the yellow star and pink triangle but not the red star.

[@letitbe121]

I saw this production last week and overall I absolutely loved it. I had avoided reviews so I could more easily make up my own mind and when I read them afterwards I was kinda baffled at the negative reception it's gotten. I had previously seen the Sam Mendes version twice (once on broadway in 2014 with Alan Cumming and Emma Stone and once on tour) and loved that one for years, but I was more than willing to accept a new take on the show. That said, initially I was kinda thrown by Eddie's Emcee (so I can see why his performance is divisive) but soon enough I settled into what he was doing and then when he transforms over the course of the evening it all clicked with me. Side note, I also loved Gayle Rankin's performance as well and do not understand some of the shade she's been getting, and Bebe Neuwirth of course is a genius. Great video!

[@claddagh1826]

so at the end, everyone dresses in the same suit and just spins around, right? maybe i am just really dumb, but did you get the point? if it is supposed to represent assimilation, eddie redmayne and such are the victims of the assimilators, not the ones doing the assimilating, so why are they in the suits?

[@Scele-sr9er]

Honestly, the resistance of the Americans is kind of troubling even. Some of them are so fixated on the party hat, it's absurd. Like, see the show if you want to know (even then, all productions have the New Year's eve setting? )

[@heckofabecca]

I have only seen the film (and read the book). I clicked in for curiosity's sake, and I'm so glad I did! What a great breakdown. I paused partway through to watch the Tony performance, and WOW. Absolutely brilliant-and I'm not sure how much of my awe is due to having all of the context you provided, but I'm sure it's not an insignificant amount XD

[@amandasrur278]

I personally felt that the Tony performance’s only issue was the same issue I’ve noticed with other filmed musical performances in recent years; the performer is still playing to the mezzanine while the cameraman is right up in their nostrils. It’s always off-putting and considering that this performance is already meant to be off-putting it’s just that much worse. I don’t know that Eddie should have done any differently though considering he was still on a large stage in a large theater with a large audience even with the camera Right There.

[@mylittlepeonies8693]

It’s definitely a case of people having already decided that they don’t like Eddie Redmayne and they were going to blindly criticize him no matter what he did. Whenever you see this many hot takes people are aiming for likes and retweets, not objective criticism

[@emhu2594]

Yeah, like the comment section on Mickeys Romeo and juliet review. The irony.

[@princedonovaughn1182]

I didn't know who Eddie was before this. I knew Cabaret in it's multiple different versions and didn't care for his interpretation. People can also just not like an interpretation and that's ok. I also didn't like his makeup in comparison to other mcs even those within this version of the show. To me it's much too natural compared to others,and comes off as more a random twink instead of the guy "pulling the strings" as this version chooses to do. Let's not brush criticism with such broad strokes.

[@Casutama]

@@princedonovaughn1182 butting in to say that I'm sure OP didn't literally mean "every single person who's voiced criticism" but rather addresses the group phenomenon.

[@rebeccag8589]

I haven't seen this version of the show, but I didn't have any issues with the Tony performance and I'm a fan in general of Redmayne. The two Mendes revivals with Alan Cumming though were unbelievable, and the more recent one wasn't that long ago and remains very much in people's consciousness, at least in the states. I was fortunate enough to see the second Mendes revival. I'm open to different people performing a role, of course, but Cumming's performance (and that ending) were so impactful and, at least for me, really tough to top. I still remember sobbing at the end of the show. I think Cumming might be to this role as Streisand is to Fanny Brice? Cumming didn't originate it like Grey but he fleshed out the role and really made it his own. And some people will have a tough time seeing someone else in that role. I'm not saying that's right or wrong, but I do think it's a reality. I would love to see this revival, it's been really interesting reading comments by people who have seen it!

[@darththespian4856]

I like the comparison to Barbara as Fanny I agree with that a lot. I think it’s just a case of people getting attached to one actor in a role/one version of a production which is difficult with live theatre 🤷🏻

[@Eilish-ex8xo]

And people have so divorced the story from history, both in terms of the socio-political environment and the performance and art. I had someone argue with me that Cliff wouldn't be drawn to Berlin if he knows about the Nazis already or that Sally would not hold any hopes and I had to scream. Hitler had already had a big coup attempt. Cliff is reading Mein Kampf already. The economy is in the toilet and people are suffering a form of national humiiliation following the war. Berlin wasn't all that charmed anwyays, and the most well known artists made dark macabre art about it that the Nazis censored or burned. Even in performance, the kind of expressionist dancing that Eddie was classified as degenerate and banned. Julia Cheng actually mentioned some of those choreographers.

[@amazingspiderlad]

The best take I've seen was something along the lines of "The people who were creeped out by this probably thought of cabaret as the fun, sexy show, and they were probably actually thinking of chicago or moulin rouge."

[@nerdy_nurse]

Mickey Jo! I just came back to find this video just so I could comment that there was ABSOLUTELY NOTHING WRONG with Eddie Redamyne’s performance! I saw him on his penultimate night in NYC and was BLOWN AWAY! ❤️❤️❤️❤️❤️

[@nerdy_nurse]

Oh also wanted to add that I have also had the pleasure of seeing Joel Grey and Alan Cumming. Both also amazing.

[@comfortm1506]

I watched a clip of Eddie Redmayne on Jimmy Fallon in which Redmayne at one point described the Emcee as an 'abstraction' and this completely explains what he's going for in his performance.

[@asf8648]

Personally this is the first time I've found Caberet interesting. I usually don't like this show but I'd definitely go see this production.

[@jamesoniris2647]

People who are mad at Eddie for being weird and cookie DONT UNDERSTAND WHO EMCEE IS AS A CHARCATER

[@Exiled.New.Yorker]

IMHO. The MC isnt a person AT ALL. He's the Weimar Republic's Overton Window.

[@ChienaAvtzon]

@@Exiled.New.Yorker - He is actually the mouthpiece for the antisemitic propaganda.

[@erikstefandunnschneider799]

The Emcee is deliberately interpretable, with little to no textual characterization. “WHO (the) EMCEE IS AS A CHARACTER” is not a set thing.

[@jenniferlamont7460]

FYI it’s spelled kooky (though they are slight homonyms:)

[@kitsygirl]

​@Exiled.New.Yorker This.

[@MissPerriwinkle]

we absolutely loved it, cant wait to see it again : eddie is brilliant.

[@KimberlyWatson-vd5wl]

I’m seeing Cabaret on Broadway in 2 weeks. I hesitated to watch this video before seeing the show, but now I’m glad I did. I think it will help me understand the character better. Thank you MickeyJo!

[@TutuStarlight]

I saw Cabaret over the weekend, I can't stop talking about it. The Emcee is open to subjectivity, I agree. Not all Drag are queer, many have wives and kids, etc. However, it's open to interpretation. The person under the character can change the audience's mind. When I see Eddie Redmayne I do think the Emcee is queer. In that case, I do not believe the character is a Nazi, until he is forced to, like most people during that time. The story is amazing, and through time, there absolutely are subtle changes, which is what makes it intriguing. Again, the newer stuff on Broadway really fail when the revivals like this come out. Big shoes to fill. Bravo! Loved it.

[@chibiktsn3]

Personally, I was deeply put off by the Eddie Redmayne’s performance and GREATLY ENJOYED IT for that reason. I love Cabaret, and while his take was very different, I enjoyed it for what it was.

[@swimfastwv]

Appreciate you taking the time to make this video! 👏🏻 (Side note: Please do a review of Layton and Rhea - I’m seeing them in September and am curious!)

[@brianrcarey]

Thank you for this thoughtful, intentioned video! Spot on - from a member of the Bway Kit Kat Club Prologue Co xx

[@kimber11buddha]

Just finished watching… fantastic video Mickey Jo! Well said! Appreciate you putting these thoughts together. I appreciate what Eddie Redmayne (and Rebecca) have done with this character. The production is pretty amazing in my opinion. I feel really lucky I was able to see this show.

[@AGothNamedWednessday]

When I was 16 my grandma and sister took me to see Theater Latté da's production if it here in Minneapolis and the guy who played the Emcee Tyler Micheals played the emcee a lot closer to Joel's performance but with a lot of Alan Cummings anergy. And he became my favorite local actor for a long time, ive seen him in several things and he is the most captivating actor I've ever seen. He learned how to do areal acrobatics for the role, and when he entered he climbed down a rope off the balcony with no harness off the aisle next to me and it was so cool; and what I'm heating about redmanes performance reminds me of his a lot, not in characterization, but in tone, I'm really glad we're getting a new version of the emcee through him, it's such a complex character

[@IouliaTheGreek]

I watched the Tony’s but skipped over the Cabaret performance because I knew I was about to see it and didn’t want to even have a preview. (I have it saved on DVR to watch when I get home tonight). Saw it on Broadway yesterday and it was amazing. And Eddie Redmayne was unbelievably creepy and marvelous. The show is quite an “experience”!!!

[@fabrisseterbrugghe8567]

The Emcee is inherently creepy. Joel Grey's interpretation is pretty damn creepy. Alan Cumming's seems to be more sexually creepy -- not a production I've seen live, clips on KZbin. My impression based on reviews and your videos, is that this production is more Brechtian in some ways, which is appropriate to what was going on in German theater at the time. All three hit deep, though in different ways in context.

[@LadyGagadriel]

I saw Cabaret only once in Italy and the emcee was different from all those 3. It was a yet another kind of creepy. I don't know hot to describe it, but it was more a carnival entertainer/comedian, scary at times. It worked perfectly well for the Italian audience because it's a figure we understand. I'm sure it would never work as well in UK or Broadway. And I'm sure that in Brazil or in the Philippines or Sweden they all adapt the show in different ways. Most people focus on a specific way to portrait something that they consider 'the right way' and miss the point of what is the theatre.

[@fabrisseterbrugghe8567]

@@LadyGagadriel Since I worked in a U.S. Commedia dell'Arte troupe for awhile, would you say the Emcee was more like Brighella or more of an Arlecchino or Zanni? Just curiosity on my part.

[@LadyGagadriel]

@@fabrisseterbrugghe8567 Mh, good question... I think I would consider him more like Arlecchino, but in a dark 1900s way.

[@fabrisseterbrugghe8567]

@@LadyGagadriel Thank you and cool!

[@ElizabethMcCormick-s2n]

Joel Grey was, is, and always will be the Emcee in my book!

[@karenkoziol5353]

I agree, but it's probably because we're "of an age". Joel Grey was, is, and always will be the Emcee in my book! That being said, Eddie Redmayne's interpretation of the role is beautiful. Isn't that what good theater is all about? Each actor brings something unique to a role, interpreting it through their own lens and adding layers of depth and emotion. While Joel Grey's portrayal may be a nostalgic favorite, Eddie Redmayne's performance offers a fresh perspective that resonates with modern audiences. Both interpretations contribute to the rich tapestry of theater, showcasing the versatility and enduring appeal of classic characters

[@freakyfit99]

I agree. I'm a newbie to the stage versions and was only interested in this revival because I loved the movie. The Soundtrack to Cabaret was one of the first vinyl records I ever owned. I loved the songs and sang them over and over. I was about 12 years old at the time. Maybe I'm just not cultured enough, but I don't think anyone can match Joel Grey's performance.

[@Tuckerz5d]

I only saw the Tony performance and I thought it was a classic example of what doesn’t work on the small screen. What might be interesting from a 10th row orchestra seat was just too much in my living room. The close-ups didn’t help at all. Broadway & night club stars had to adapt when television came along. Judy Garland famously bombed on the small screen. I don’t think Ethel Merman ever figured it out - and dare we mention Anthony Newley?

[@LittleMissLion]

Yes, I'm honestly wondering if this is what people are responding to.

[@louandrade7863]

what i dont understand is when we went from getting excited to see new takes on old rolls to expecting everyone to perform it like that last person did to a tee or they’re untalented/“ruined it”.

[@beverley_anne_88]

Out of all clips I've seen, Eddie Redmayne is the one I would want to see the most. He's so unique, although a few others also looked very good, he's my top pick.

[@soothsayersourdough]

Such a great video, thank you! So I haven't actually been following The Discourse on this but I did see Eddie and thought he was fantastic. I thought he was completely mesmorising as a physical presence and liked how he was an embodiment of the political situation. One thing I've been wondering: how much of the reaction is because they gave him a super closeup? He basically performed the start directly to the camera. Like you said, it is A Performance and being that close to him probably didn't help the creep factor for those unfamiliar with it. This might be a great example of the difference between a film performance and a stage performance and how they don't necessarily land well interchangeably.

[@thystldown]

I have to say - I love when your educator background comes out. It’s very easy to just state one’s opinion hot-take style, but I think talking about *how* to evaluate and examine a performance, as you do here, is a lot more helpful overall. That whole how to think vs what to think thing with education. Thanks for your viewpoint!

[@Nikkishops2022]

Thank you for doing my video request (though you probably didn't see my comment asking) I had said the whole discourse made me plan to go see it. I can update that I got my ticket!Though in the West End as I'm in Ireland. So excited! 🥳 Ps. Thank you for wearing a party hat, I appreciate the effort. And now I want one too of course.

[@stewiegriffin993]

People love to dunk on that performance primarily because they love to dunk on Redmayne tbh. Coupled with the fact that most of the hot-takes are surely from people who haven't seen Cabaret in any way, shape or form (and I'd bet, wouldn't even want to see it), you get this nonsense. I think he did a FANTASTIC job, I was floored by his performance

[@theatregirl]

Thank you! I wish I had seen this as I stewed about seeing this Cabaret when I read the NYC reviews. Now, I want to see it, but fearful it’s too late.

[@danielharmon15]

I also wonder if the image of Alan Cumming as an emcee in that 2010 Cher/Christina Aguilera film Burlesque is contributing to people first thinking of him over Joel Grey.

[@TheEileen]

Very enlightening. I have only seen one live performance of Cabaret, mostly I've seen the movie (over 15 times). So, I only had other people talking about this and I couldn't understand what it was about. This was super helpful! Thanks!

[@matthewplampton955]

Think that nails it perfectly. Seen this production a handful of times now, and for me the emcee is more than just a person but a reflection of Berlin's soul. Queerness and everything else is there, without it being overtly signposted.

[@falafelfilms1]

Great video, thank you for discussing this. I didn't get to see Eddie in the role but have always really enjoyed his vocal performance through the cast recording. I loved Mason's performance when I saw them last summer and am very much looking forward to seeing Layton when I go again next month. I appreciate a range of interpretations in this role and find many varied takes to be interesting, exciting and valid. Regarding whether the Emcee should be specifically played as queer or not...my interpretation of the Emcee has always been that his role/his vignettes are meant to hold up a warped magic mirror to the real world characters - the Gorilla number reflecting the Schlutz and Schneider relationship, I Don't Care Much reflecting Sally's political apathy, and Two Ladies reflecting Cliff's sexual awakening upon coming to Berlin. For me the strongest mirroring is between the Emcee and Cliff as narratively speaking I feel Cliff is positioned as the protagonist more so than Sally; the newcomer experiencing Berlin for the first time. Also Cliff is the only character in the show that ever references the "Master of Ceremonies", so it is possible to think of the Emcee as Cliff's imaginary friend/his spirit guide/a dreamlike through-the-looking-glass being existing only to Cliff. And as Cliff is an explicitly bisexual character, it feels appropriate to me that the Emcee reflects Cliff's queerness, especially if the Emcee is more flamboyantly queer than Cliff would dare to be himself. I think in the Frecknall production you can see the Emcee's slow transformation into an emblem of Nazism as being almost like Cliff's prophetic vision of what he might become if he were to stay in Berlin. I've personally always liked the choice in this revival to have Cliff played by a black actor because (while some might quibble over historical accuracy) it feels very fitting that an African American outsider would be the one who is more awake to the fascist and racist oppression taking over Berlin than many of the white European characters who are sleepwalking into this horrifying societal shift. Given the mirroring that I see between their characters, I am really interested in seeing the latest London cast with Cliff and the Emcee both being played by black actors. Would love to hear your take on the new cast as your Cabaret videos are always very thoughtful and insightful.

[@kitsygirl]

The song 'Two Ladies' is meant to be poking fun at the practice of high-ranking members of the Nazi Party havng two female lovers in order to spread their "superior genes" as quickly as possible to build their "master race". There's a line in the song, "you on the left and you on the right and me in the middle..." (a political reference). Maybe it was changed for this revival to be about someone's sexual awakenking, i don't know.

[@dknify]

I like to go into performances blind. I saw Alan 2x on his second run, and I've seen the Liza/Fosse/Joel film. I did know there was an immersive pre-show element, and that we were going to see Eddie & Gayle. I absolutely loved it just as much as, if not more than, previous productions. Alan's emcee will always hold a special place in my heart! And that production moved me to sobbing both times. But I found the overall design, characterizations, etc of this one much more interesting and intellectually stimulating. This review/recap was both very cathartic and enlightening!!! One thing I was kind of obsessed with that I did not hear you or the other reviewers really get into: both the choreo and the costuming for the entire ensemble was very rooted in clowning. I think there's always been a touch of clowning, as well as grittiness, a threatening quality to other performances...but the Fosse choreo and traditional costuming leaned into the traditional sexiness of it all. The gender swapping, the modern living, the queerness. All black and flesh toned wardrobe pieces. This production had brighter colors, alternating with muddy colors. It felt much more androgenous, kink forward, brash, and rooted. Barefoot and work boots instead of character shoes. Grounded, human bodies living grounded, human lives. Even some of the props. All with this delicious grotesque edge. Gayle's performance was also much more brash and masc than previous performances. I thought it was a fabulous choice. I would LIVE to see an androgenous AFAB emcee, or a trans Sally...I felt very inspired by this staging. I really liked what the London reviews said about this emcee embodying Berlin-that really hits for me.

[@michelleconcannon7584]

Looking forward to seeing what Adam Lambert does with the role (rumored to be following Eddie).

[@sapphicaltaria]

When I was in college I played a character who was more concept than person, much like the Emcee. There are so many different choices an actor can make in a role like that. Physicality, voice, playing extreme actions, etc. It’s disappointing to see such reactionary criticism in response to non-realistic choices. I would LOVE to see more actors making more extreme choices in roles like these. Our culture has been setting realism as the highest possible standard for many art mediums for far too long. Embracing the absurd is so freeing.

[@johns4545]

You nailed it !!!! Second time watching this video. I am going to see Adam Lambert as Emcee this Wednesday night.

[@AProfessionalYapper]

Hello! Relatively new cabaret fan here. I watched the Alan Cumming 1993 revival on film recently, and I suppose I’ve got a few things to say (fair warning, I may just be yapping and rephrasing things, so apologies!) All of what I refer to will most likely be in reference to the 1993 revival, just fyi- it’s all just my opinion. No hate to anyone who thinks differently! The Emcee, to me at least, starts off like a neutral narrator. His life exists solely through the Kit Kat club, and he is shown as this vulgar, erotic, cheeky, charming figure who puts on these marvelous acts, and has the audience in a whirlwind of feels. His character is a caricature of who this “Emcee” actually is. As you said, we know nothing about him outside of the Kit Kat Club. As the show progresses into the second act, we notice a change. The Cabaret Girls switch from their old, unique personalities, into matching girls including outfits, and hair. The songs at the Kit Kat club turn from silly little jabs at politics and sexuality, to focus more on what the people want to see. As mentioned- The Emcee’s caricature revolves around the club. So as the audience changes (and grows more fond of nazism and facism) the shows lean towards shedding light on interracial relationships between Jews and non Jews in “If you could See her” (as well as mocks Jewish women by having this person dressed in a gorilla suit) along with “Money” which not only plays off the Great Depression, but the anti-Semitic idea that Jewish people are money chasers. (And that they’re the people with all the money.) We eventually get to “I don’t care much,” which is where we end up getting what may be a potential glimpse at Emcee’s wants. “Lips grow cold With the rent to meet” references the fact that he might want love, but because of the Great Depression, as well as the fact he wants to keep the club running, he simply doesn’t have the time. (It also could play off the fact that Emcee has to change the way his show runs to fit Nazi Propaganda; and therefore, keep food on the table.) His character is a caricature. A Narrator of the story, but not in a reliable, or easily plausible way. The Kit Kat Club, as is everything else in Cabaret, highlight the true problems in Berlin through showy, risqué songs, and fun dance numbers. “ Leave your troubles outside! So, Life is disappointing? Forget it! We have no Troubles here! “ The Emcee boasts this at the start during Willkommen, asking the audience to cast their worries aside. But by the end, as Nazi power grows, his show is no longer his. Whether he is in favor of these changes, as well as political problems, is unknown for the most part. (In this specific show, it’s most likely implied that he isn’t in favor, judging by the fact he wears a Star of David in the end.) Alan Cumming is an amazing actor, there is no doubt about it, but to base an up-to-interpretation thing off of one specific, well known performance, is a little bit absurd. Each Emcee is unique, and represents the ideas of both the director, and actor. Headcanons and opinions are wonderful, but there is a line where “friendly discussions and opinions” becomes “this one specific portrayal is the one I know, which means this new one has to be the same. Anyways! Thank you for your time, (if you read all this, that is!)

[@MindiB]

“There is a difference between an opinion which is informed and an opinion which is not (and I don’t mean “educated” and I don’t meant that you’re only allowed to talk about this if you’ve seen the show).” YES. Well-said.

[@susanpolastaples9688]

Of course Mr Redmayne is good. American audiences still remember Allen and Joel. I don't think they're ready to accept another interpretation

[@janelane92]

Totally agree. Americans hold Alan and Joel very dear, and I believe they miss the Emcee as the touchstone for them, emotionally. Which, as MJ points out, is perhaps a limiting way to experience theatre.

[@nickdemarco4244]

Redmayne’s interpretation is uniquely chilling. He was a marionette. I don’t know who the puppeteer is supposed to be - the nazis, Amit Kat Club patrons, the MC’s conscience? I see the character of the MC as a symbol of Hitler mesmerizing patrons and drawing them into his desires. I thought Redmayne did a fantastic job!

[@rickm238]

This was my first chance to see one of your reviews and I think youd analysis was brilliant. Many critics of the arts give us "hot takes", you concisely gave us history and perspective. Bravo,,

[@EMM_84]

I was more distracted by the camera work during the tony performance to really focus on precise acting choices. Im not super familiar with the material as its never been produced anywhere near me so I was intrigued to see what the fuss was about. In general I feel like its a love or hate show. I was a bit confused (for lack of a better word) initially but also couldnt stop watching so I felt like that was the intention - like you know something isnt quite right and should probably look away but you also just cant help but see how it will play out. If anything a polarized reception to the performance will attract the intended audience and others will steer clear. Gets people talking and maybe people who would normally give it a pass will check it out. Id like to see a production of the show at some point to see what I think about it - they wouldnt revive it so often if it wasnt beloved.

[@odilejones9129]

I think this entire production of Cabaret has just been a really interesting examination of the fact that shows that translate in one culture not necessarily translate in the other. Despite the West End and Broadway and the US/ UK having a ton of crossover in terms of culture and appeal they also have their own individual tastes. For example there has never really been a successful production of RENT in the UK despite it being one of the biggest, most significant musicals to come out of Broadway. , I think it’s the same with this production of Cabret. I think it sensibility appeals more to West End sensibilities than Broadway. I also think the frankly ludicrous prices of the Broadway production doesn’t help either. But everything I’ve heard or seen from the Broadway production has been met with mixed responses from people.

[@ruthspanos2532]

High ticket prices can certainly affect the makeup of the audience! Older people have more wealth.

[@hannahluke9381]

I hadn’t heard any of the drama, and I’ve only seen cabaret once when I was DEFINITELY too young to be seeing it, but I did recently watch Matt baume’s video on it and it was very interesting. I was too young to grasp the themes when I was watching it the first time, but based on Matt’s description of it I had come to a similar conclusion that the emcee was supposed to be like a metaphor for the attitude of the people as a whole rather than just one guy.

[@thepacksvrvives]

yes please make a video about the new west end cast! i'm so curious about your thoughts on layton and rhea!

[@TheatreIzzy]

So glad you made this video! I've been getting so frustrated at all the "creepy" comments. People are also constantly saying he's not sexy enough... he's literally not meant to be sexy, that was how Alan Cummings played the role but that's not an intrinsic part of the emcee's character in a general sense 😭 the man more or less represents natzi supremism in this production

[@linklink3541]

You sounded like an english teacher grading book reports when going over the New York reviews, and I absolutely love it

[@Mimiheart9]

I was only able to watch the Tony awards this morning due to RL stuff and was hiding under my bubble all week to avoid all spoilers so didn't get any of the discourse. And I'm kind of glad about it! (Mostly I was just happy for my Merrily wins and enjoyed the performances.) I live on the other side of the US and will never be able to get to Broadway or the West End to see this show, so the Tony Award snippet was all I had to go on. I don't know why everyone is so upset? It was obvious from all of the promos and even the title that this wasn't going to be the same show. I was a bit annoyed with the cinematography, but that wasn't about his performance. I would have loved to see Bebe Neuwirth perform, but there's not much to showcase for her character along with the emcee. Either way, thank you for your take on it all. Always good to hear your opinion, especially since you've seen the performance both in NY and London.

[@lizrudkin6565]

MickeyJo, as usual you offer a wonderful take, and an inciteful analysis. I've learned a lot from your videos.

[@stephinitely1275]

I really wish they would film the show With him. would love to see the show but I don't think il will get the opportunity to do so

[@effers6854]

Hey! Even if you already know this, I want to share that you are an excellent reviewer. What a treat!

[@nealeTH]

We saw Cabaret in London with Mason Alexander Park as Emcee and Emily Benjamin (understudy to Maude Apatow) as Sally Bowles. Spectacular. Loved their interpretation and physicality. Very very different to Redmayne’s performance. Darker, more seductive, more threatening. I love how this production finds different nuances from each actor folded into each interpretation of Emcee fused with the director’s vision. Incidentally, what a treat to see Emily Benjamin, we were really lucky to see Emily playing Sally on the night we attended. She should have been lead throughout the run.

[@matthewgoddard9631]

Great job! You’re such a pro. The best (musical)theatre critic ever! ❤️

[@Namron9797]

Out of all of the characters, the Emcee is one of the most versatile. He doesn't have specific character traits like most of the others. Meaning, his performance as an Emcee could be just that, a performance! Who knows what goes on behind the scenes with his psyche/personality/etc. Then think of the history of the era and someone in his position and you have amazing material to make the character your own.

[@XploringGender]

This was such a well thought out and stated video. I haven't gotten to see the current production, but love what I'm hearing of the reimagining.

[@XploringGender]

Love the intimacy coordinator / director shout out! It's exciting to be recognized. :) Lauren DeLeon worked on the Broadway production as intimacy director.

[@chris...9497]

A lot of what you've said in this video takes me back to Michael Crawford and director Harold Prince setting up "Phantom of the Opera". I don't have the money for attending musical performances and I'm in Seattle anyway, but I do appreciate the theater. I've seen some road shows over the years, have watched film versions, and caught videos of stage performances. Most acting I've watched are presented in cinema, and even there you find remakes that present fresh interpretations that may or may not work. It's not exactly the same, but it's similar. I've caught some highlights off Crawford and Prince's POTO, and Crawford is stunning in the role. His "Music of the Night" gives me chills. It pushed me to research how he got this role, how the musical came to be, and it was illuminating. There are interviews with Crawford where he speaks of his passion for the role, how he was determined to get the role, even though it was nothing like the silly comedy stuff he had done previously. He had such respect for the role that he immersed himself in the character once the makeup was on; he was a different person and never played it for laughs. There were videos of Harold Prince's direction as they set up the blocking and the motivations. Prince telling Crawford and Sarah Brightman how they had to play their interactions more 'erotically', a quality that was noticeable in every depiction I had viewed. In Crawford's case, he took all that direction and his own instinct to form a character that was human and palpable and in pain. He even had wardrobe shorten his sleeve, so his hands and wrists added to the image. Crawford's Phantom dominated every scene and could be read and understood in or out of context. The only confusion was whether the Phantom, usually interpreted as villain, was actually the musical's true hero. There are hints of that in choosing tenors to play the role (tenors are usually the hero in opera), but the question is never posed as to who the hero is. Yet most theater goers lean to the Phantom being the hero; that's more the choices of the director and the actor playing that role. Since Crawford's departure, different actors in different countries have given their interpretations, but I would say Crawford's portrayal is the most complex, the most heart-stoppingly confusing. Crawford's Phantom breaks, and you feel it. He is the master up until that point, but he unexpectedly hits an emotional wall he never anticipated. No other portrayal by others accomplishes that; the others reveal a weakness that Crawford's never did. Crawford is not a strong singer; he had decided to develop his voice in more operatic ways before ever hearing about the musical, and you can hear him reaching to make the notes as he plays this role. But that crescendo in "Music of the Night" is so emotive and powerful, you hold your breath without realizing it as he bellows out; the minor imperfections elsewhere just add to the power of this moment. There is magic in someone taking on a role they were destined to play. You see that in Joel Gray's Emcee. You see that in Alan Cumming's Emcee (and I have to say Cumming wearing a Star of David and a Pink Triangle is a nod both to Cumming's gayness and Gray's Jewishness). I appreciate an actor's process and choices blended with a director's concept and leadership in creating something new in a work that has been stretched into different visions. I haven't seen Eddie Redmayne's Emcee, but you are describing almost a different play. Cumming played the same Emcee, but just a bit more twisted, a bit darker, a bit closer or too close. Gray's Emcee was distant enough that you could fool yourself and think you're seeing a human being. Cumming's Emcee is too close for comfort and there's no mistaking a missing humanity; he's more feral. Still, the context is still the same: a rendition of Berlin's KitKat Club over there the other side of the footlights in a theater. But Redmayne is doing theater-in-the-round with an immersed audience. It's something entirely different when you're interacting with the actors on THEIR turf. You can't convey that experience from a stage; it will absolutely be rendered out of context, no matter what song is featured. You did a great job pulling together everything to describe the indescribable. So, how is it these theater 'professionals' don't grasp this subtly? I've been a connoisseur of cinema for many decades, and I have been shocked at the thickheadedness of critics. They too often have no idea what they're talking about... Thank you for presenting some balance. Oh, how I wish I could see this musical with Redmayne in it.

[@harrie.a.v]

When i saw Cabaret at West End live a couple of years ago, i didnt bloody get it, at all, thought it looked sh and not my bag, lost interest entirely. Then, i was lucky enough to be gifted tickets for the Cabaret tables to see it properly. This has now become my favourite show, and general London experience activity, of all times. I cannot describe my flip in attitude between seeing one short snippet performance out of context vs seeing the actual thing, i cant believe i ever passed negative judgement. I now rewatch the west end live set i saw in disbelief that i didnt appreciate it the first time. If you have ANY negative ideas on the show be it the costumes, choreo, vocal performance, Emcee, etc (like i did), respectfully, go and see it. I beg.

[@MickeyJoTheatre]

In all fairness to you also, the show has struggled to represent itself well at West End Live, and is not particularly well suited to that format and stage.

[@grutarg2938]

I know very littleabput this show, so I went and watched what clips I could find online. All the MCs seemed to have very heightened performaces to my eyes- reminding me of clowns, court jesters, puppets or clockwork.

[@jessajayne1982]

Excuse me, this style evolution continues to give me life! As someone who took your inspiration and is now teaching drama and performing in Medea thank you for your work. Also if anyone is interested I’d sell my left ovary to see Cabaret in NYC… it’s the bad one anyway

[@marypoppins2006]

There is a more general tendency for New York reviewers to dislike productions that have garnered significant praise, and awards, in London. This is across both plays, such as The Inheritance, and musicals. Even when a production that has worked in London is praised in New York, such as Merrily, it has to distance itself from the London production (and certainly not contain the same casts/leads), ideally working through off-broadway first. New York reviewers do not welcome a cold opening on Broadway, without out of town or off-Broadway before transfer.

[@MeganSin]

It’s interesting the gate keeping for the emcee character and while I adore the way Alan played the role, I think eddie’s interpretation is also fine and works for the production. I think it’s funny that in that same production, Jane Horrocks who plays sally in the mendes production plays her off kilter and not the glamorous character we see her as, but no one has opinions on that because she’s not the quintessential portrayal.

[@vanessawhitneypro]

Cheers to Theatre and Musical Theatre... What a SPECIAL medium Live Performance is... Aren't we lucky to see it! Thanks for your videos!

[@snappykrab]

Love your channel and your take.

[@RachelLaw-p4o]

I’ve been cleaning for a rent inspection and normally I need a podcast or something to mindlessly tune out. I loved this so much I’m a day behind but definitely not mad. Just everything I thought and educated more😊

[@KarinShah]

I watched the Tony performance on youtube and I enjoyed his take. As a theatre goer, I have seen the same show performed by different performers many times. I saw Anastasia on Broadway with the OG cast and I’ve seen the traveling show. Yes, you can end up comparing the actors, but this changing of actors and staging is what makes theater different from watching a movie again and again. Each performance of a show is different, even from day to day. That is one of the things that makes theater so exciting.

[@EnvyAliceBand]

It's the first time I've ever wanted to see it. I love Baz Luhrmann's style of Moulin Rouge and Romeo and Juliet, the style of the Cabaret revival reminded me of that so it made me extremely interested in it. I think the idea is to bring in a new audience. I've been going to the theatre since I was a child and I feel like a huge proportion of the criticism came from people who didn't necessarily grow up going to one and are not particularly interested in it now. I also think a lot of them forget they're not supposed to see it as close up as the cameras were. Of course it seems exaggerated when filmed but everything is meant to be big enough to be able to reach the back row of a theatre.

[@ronniek4478]

Hey Mickey Jo, thanks for the in-depth analysis! I haven't seen this version of the show but did see the Tony's. I will say his performance did throw me for a loop. That's not a bad thing, however. Just not what I was expecting I guess. The last version I saw was the Sam Mendez version. I'm in California so not sure when this version will make it's way out here but will see it when it does. And to answer your question, yes!! I would love to see your review of the new cast with Rhea Norwood.

[@Sarostar16]

I will give the performance this, now I'm seriously considering seeing the show myself in London, when I go there in august.

[@EvBarney]

Regarding your comments on the 'shift' of the MC at the end, Joel Grey originated the MC role when I was 12. I never saw that on stage, but I became obsessed with the Fossi film (yes, I'm aware of the many differences). Grey appears in one of the final shots as a reflection in a funhouse mirror. He seems to be the personification of a demon, perhaps Loki, the god of mischief, trickery, and deception in Norse mythology.