REVIEW: Cabaret (Broadway) | my thoughts on the 2024 revival starring Eddie Redmayne

[@bobcatjordan]

The wrapping of the glass might also be a reference to a Jewish wedding where this is a tradition.

[@michaelgunney1183]

You beat me to it

[@k16570]

i just saw it and noticed it after the fact and it blew my mind, they used a jewish tradition to represent a hate crime being committed against a jewish character

[@christopheryoung4563]

In regard to the finale, there’s a moment when emcee sings tomorrow belongs and the dolls are going round the revolve and then the finale it’s full sized actors. I believe this is to show the scale of the politics growing and now uncomfortable

[@Gee-xb7rt]

IDF being the new SS is kinda weird.

[@amythomas7054]

When I saw the London production a few months ago, I couldn't work out the dolls at all and couldn't find an explanation online, thanks for this explanation, it makes so much sense now!

[@Thelionpaladin]

When I saw it, I felt it was (and I totally admit I may be extrapolating out of nothing) thought that it looked and felt a bit like a Holocaust memorial. In a way, it was sort of the beginning of the movement (the rise of the Nazis) and a reminder of what it leads to. But I think the figures being full actors is probably the direct reason!

[@kofender]

A couple of points of information. The pineapple song is called It Couldn't Please Me More. The first time I saw it, I looked in my program and exclaimed, "Look, Lotte Lenya is in this. Jack Gilford is in this." My mother, true to her Jewish roots, said, "Look, Mickey Katz' son [Joel Grey] is in this!"

[@kofender]

Just an FYI, dear. I Don't Care Much was written for the original production but Prince couldn't figure out what to do with it. It's still in the entre'act, though it's hardly noticed. When I directed Cabaret many years later, I did include it, but as a book song in the second act, with Sally singing it to Cliff before she walks out. Fred Ebb came to see us and liked what we did. He urged Prince to include it in the first revival, but it ended up with the Emcee (not a good movie in my opinion). Just a little history for you, Mickey.

[@gianb2585]

A production we saw in Chicago last year kept the Emcee singing it, but he was dressed in a gown that Sally had been wearing in the previous scene, (and as she sang the title song too) so I think it achieved a similar effect with that implication of it being Sally's inner monologue

[@musclsk1]

I directed a summer stock production here in Michigan back in the 70s. Also add the song in the same spot you did.

[@elizabetha.188]

In the US, the pineapple is a symbol for both hospitality and welcoming others into ones s3Xua! life. I've heard that on cruise ships, people will put a pineapple sticker on their room door for the 2nd reason I mentioned. In the southern states (maybe other regions, too ?), people put out pineapples, or have pineapple statues on their front porches for the 1st reason I mentioned. Cheers to good times for everyone! Thanks for the review!

[@unpaidpiper]

In my opinion it can get a bit iffy to do "immersive" Cabaret - if the audience has *too much* of a good time it all risks turning into a ren fair with Hugo Boss costumes. When Sam Mendez did it, the final number was particularily drab, as if to drive home the point that the party had been ruined.

[@rosepetal34]

thats what happens in this production too

[@scribbly2983]

My fewling was that they lure you in and make you feel comfortable so you're more caught off guard. When I saw it was Park as the emcee, I cried a full minute into intetmission.

[@mmbluemeanie]

With what people are saying about the pricing of the tickets, most people who see this show will probably be rich or upper middle class. Perhaps the immersive experience is meant to make them feel valued, welcomed, treasured, but the ending should flip that, making the audience realize (to put it casually) that they are the problem. I haven’t seen this production though so I’m not sure what they do, but I imagine they would almost have to do something to that effect.

[@stephaniedavis9419]

😊​@@scribbly2983

[@Raulgermont]

Yours is the first review I have come across for this production. You scooped The New York Times.

[@Sanchordia]

That’s because there is an embargo until 21.30 New York time! This breaks it. You naughty boy, MickeyJo.

[@MickeyJoTheatre]

I will, as a rule, observe a press embargo when I am invited to see a show in a press capacity, otherwise I have no idea when the embargo lifts 🤷‍♂️😉

[@Lucas-fs4gp]

Honest question, please don’t get upset… If you were not invited and still published a review before the embargo, does this mean that you technically saw a preview performance? If so, is it ok to comment on it? Tks!

[@lemonade4446]

my brother does security for the show and based on the stories he comes home with, the crowds are slowly becoming more rowdy as time goes by. people can’t handle their liquor

[@qprtx513]

Haha, they certainly do a lot to encourage audience members to purchase alcohol at the show. Theming of the production with themed bars encourages patrons to buy themed drinks, and they package in a bottle of champagne at every cabaret table. Bless your brother. Wrangling that crowd is hard work!

[@timlanders1935]

Brilliant review really liking your delivery knowledge and expertise thanks for filling us in

[@MsJaytee1975]

Cabaret is set in 1932. The production I saw has Cliff leaving on New Year’s Eve 1932. The ending that I saw in the Rupert Norris version is probably the most hard hitting. Emcee (played by Wayne Sleep) and all the Kit Kat boys have their backs to the audience, they’re all completely naked, and you just hear the sound of the gas being released. It leaves you in no doubt of what happened to gay men in Nazi Germany. I know Joel Grey played Emcee as Jewish, I saw an interview with him where he says that. Alan Cumming’s Emcee wasn’t just Jewish and gay, he was also a socialist and he has badges on his concentration camp uniform representing all three. This may be a spicy take but when it’s Eddie Redmayne in particular playing Emcee, when he becomes the representation of Germany doesn’t that make the Emcee look like cosplay? No disrespect to Redmayne, I know his own politics are mostly progressive, but his race, gender, social class, sexual orientation etc are exactly who nazis were. Doesn’t he look a bit like all the people who do disappear and conform, rather than those who were targets? I have two other spicy takes. So the channel Musical Hell looked at Goodbye to Berlin in their At The Source series. Jean Ross, the woman Sally Bowles is based on, hated her characterisation, because it was Isherwood who was politically naive and she was the one who could see what was coming. I wonder if they could slightly change Sally to acknowledge that, make her aware but not wanting to deal with the situation, rather than completely ignorant. I mean it’s 2024, surely we can handle a woman who performs in skimpy outfits, has sex, and understands politics, right?! My other spicy take is partly a question, because it may just be that I’ve missed it. But in everything I’ve seen or read about this production of Cabaret, I’ve never seen anyone say they saw parallels with what’s happening just now in the UK or US. And I’m not sure how you produce Cabaret right now without them. Honestly, one interpretation of the current ending is things are about to get really bad, but it doesn’t affect us (I don’t think that’s meant to be the interpretation). But, I haven’t seen it so hopefully I’m misreading it. I always have a massive comment about Cabaret whenever I watch your videos about the show. It’s my absolute favourite musical, but my apologies for banging on in your comments section!

[@HelenKeegan]

+1 for the Rufus Norris ending. His version is my favourite so far.

[@jackrosenfeld4713]

I think Redmayne said that he meant to "blend in" with the rest of Nazi Germany. He understands that he is exactly who the Nazis liked (physically, not politically) and he portrays the Emcee as a sort of shapeshifter. He said that while the rest of the Club has to face WWII head on, the Emcee isn't exactly corporeal, and is able to slink off, bend to whatever is happening in Berlin, and survive. That's why they've switched the ending from Cumming's Emcee to one where he ends up becoming the ringleader of the Facist party. I'll try to link a couple things where he says that if I can find this!

[@CindersSpot]

I don't think the ending can be interpreted as "It doesn't affect us" because it is very clear from context that it does affect all these characters, especially Herr Schultz and Sally Bowles. I do agree about Redmayne's Emcee!

[@joshuaklein8465]

MICKEY you’ve gotta talk about these Cabaret reviews!

[@edwardlupella6758]

I saw the London version when I was there last year (with a MARVELOUS performance of Sally by Aimee Lou Wood) and I've noticed American critics tend to slaughter anything that goes against the grain. The NYT review in particular reeked of "get off my lawn" style dissection, arguing the material should only be interpreted a specific way. I think the outspokenness of the characterizations in this version speaks to how maddening everything is going on CURRENTLY and also you could see it as everyone reaching their breaking point. It takes some big, very memorable swings, and it's a welcome addition to all the other versions I love very dearly. That being said, the one thing I did notice consistently across the American reviews was Gayle Rankin's performance, so I'm wondering if she sort of missed the point and just went too outlandish without grounding the character in anything that made sense? I haven't seen it so I can't comment on what it's like, but it does seem to be a pattern.

[@LisaHones]

I saw London and New York shows neither Sally's got it right too over the top

[@ricklopez2314]

The Broadway critics hate it - can you talk about why West End critics loved it but Broadway didn't?

[@IrukunTheTuna]

​​@@emhu2594I'm not sure that's entirely the reason. Stunt casting has had a long-standing place in Broadway productions of Cabaret, specifically for the roles of Sally Bowles and the Emcee (which are also the roles that tended to rotate in the West End in this recent production, as well).

[@rosepetal34]

@@emhu2594 Sally isn't meant to be a particularly good singer though

[@theodorapriska9860]

A couple of things to respond to @emhu2594 - the last version of Cabaret which was on Broadway, began first in the UK. Just so you know. It made Alan Cumming career here in the U.S. - he was fabulous and hard to beat. When Sam Mendes did this version, it was the first to cast non-singing actors in the roles. Especially the Sally Bowles role… because Sally Bowles was not meant to be a good singer, specifically Natasha Richardson before her tragic end. The show did NOT rely on “stunt casting.” It was not “Chicago.”

[@IrukunTheTuna]

@theodorapriska9860 I would respectfully do some research before making snarky comments about someone else's input; it doesn't have to be Chicago to implement stunt casting. Yes, Alan Cumming was in BOTH past productions of Cabaret on Broadway. You know who followed him after his contract was up in a rotating fashion during that first production? John Stamos, Neil Patrick Harris, Adam Pascal of RENT fame, Raul Esparza, Jon Secada, Michael C. Garth (Dexter, I think?). Then Emma Stone was the mainstream name draw as Sally Bowles for the second production. This isn't a random, off-the-top of my head opinion; people infinitely smarter than me have discussed it (Musicalsplaining podcast, Lindsay Ellis, MFA, Kaveh Taherian, MFA, Angelina Meehan, B.A. (Art History)).

[@michallgrace]

The LA Times also hated it

[@johns4545]

Will be seeing it in a few days. Your review always primes me for the show. I saw Alan Cumming and loved it. But that was then and this is NOW !!!!

[@jennybacon2429]

Have just skimmed through the critics reviews - would love to see a video on your thoughts on the mixed reviews!

[@Fantastikitty]

THis is one that I would love to see simply because of Bebe Neuwirth. I got to play Fraulein Schneider for a director who firmly believed that the Schneider/Schultz relationship is the heart of the story, so I want to see it done that masterfully.

[@LisaHones]

It was a bit distracting because of her fame . Not my favorite.

[@emilys8572]

I saw this in its third performance on Broadway and was blown away. I had loved the west end version but had never gotten to see eddy redmayne so was very excited to see him as the emcee and he was just as incredible as I had imagined. Unfortunately our audience had not quite caught on to “keep it in the kitkat club” compared to when I saw it in the west end there were so many in the audience simply peeling the sticker off and taking photos. The lady next to us even got told off for texting during the second act for around 15 mins! Despite that I enjoyed it just as much as the west end version and Gayle was the highlight for me as Sally Bowles.

[@joshuawilliams7351]

Were you offered a free shot upon arrival?

[@annamlanave]

Love the jazz hands when you mentioned Chicago 😂

[@KristinaEmilyOfficial]

Yessss - I was waiting for your review of this one! 😍 Thank you so much for sharing your thoughts and bringing a bit of atmosphere from Broadway to us in London who probably won't be able to see this production. Sounds fantastic! Really wish I could've seen Eddie Redmayne as the Emcee.

[@IshScout]

A very strong transfer indeed. Here's hoping this will have a nice strong run with different cast members that keep us wanting to come back for more & more. Definantly on my radar if I get the chance to visit.

[@linatenenbaum6595]

Another fantastic video! The Sun Kim shoutout made me particularly happy - she is an incredible popper and legend in NYC street dance. I had the opportunity to take a class from her a couple years ago and it was such a great time. She's one of my top reasons to go see this production.

[@CindersSpot]

Booo for the lack of unisex toilets. I loved the way the toilet signage on the West End works. (For those who weren't there: the signage said how many sit-down toilets and how many stand-up toilets there were.) Tells you exactly what to expect, and can make your decision of where to go accordingly (for example, if two doors have the exact same number of people in line buut one has more toilets, you can go there). I loved it and hope that becomes the norm now unisex toilets are becoming more commonplace. Feels like the most clear and accurate information you can give people!

[@ximenavalentina1064]

Omgggg would LOVE a review of lempika! I saw it and loved it and would love to know your thoughts on it since you’re in New York rn

[@kimber11buddha]

Thank you so much for this review! I planned a trip to NYC for my birthday this year just to see this show. I even splurged on table side seats. Your review makes me that much more excited for June! I grew up listening to the movie soundtrack so had favorite songs since I was a child. Was it appropriate that I loved Two Ladies as much as I did? Probably not but I am really looking forward to that number as well as Money. I have never seen a live production of Cabaret so I won’t be comparing it to anything. I truly can’t wait to experience this show and see this cast. I’ll also be seeing Merrily, Stereophonic, and Illinoise so I may be having one of the best birthdays ever. 😂🎉

[@JgmPaneque]

I have a slightly different interpretation of the ending, at least that's what came across the first time I saw it and it did add up the second time. Though I completely agree with your interpretation, I also think the final image of everyone looking the same, facing forward is building on the idea that the song "what would you do?" puts forward at some point of everyone being, in one way or another, an accomplice of what's to come. Whether it is because the characters themselves are nazis, or they make huge life decisions out of fear, or disregard the nazis as just another government that will come and go or simply do nothing thinking politics have "nothing to do with them", all of them are in a way responsible of what's to come. I did see the Mendes production in Spain a couple of times and this one and Frecknall's hit me the hardest because I felt it was appealing more directly to the audience: It makes me think if I'm doing enough, if I'm involved enough, if I'm vocal enough with my politics and or if I could be considered part of the problem should whatever form of modern totalitarism might come. Listening to your Broadway review has made me want to jump on a plane and watch it for a third time... maybe this summer?

[@ple577]

I agree completely with your interpretation. That's exactly how I see the ending and it's so resonant.

[@elliewebster4099]

Absolutely agree with your interpretation!

[@greatsaiyagirl]

I’m so brand new to broadway or anything theater and this was my first playbill to take home, ever. Got to see just this last week in New York. I knew a bit about Cabaret but made sure not to spoil too much. I was absolutely entranced. I was balling by intermission and by the end I felt so betrayed by Emcee. Moving forward I want to see any version of Cabaret I can. The way you described everything in this review was wonderful and so informative. I am now a fan!

[@ChrisWinterbottom-xh8wn]

Attended the performance Saturday 4/27, a stellar performance . Eddie Redmayne and the rest of cast gave an outstanding performance.

[@reneeracz]

Was there too. Great show.

[@dylansmith1833]

I just cannot wait to see this again but this time on the other side of the Atlantic. Still by far the greatest theatrical experience of my life, and I am ready for Eddie Redmayne to entrance me. I am intrigued to compare his performance with Mason Alexander Park's performance. Great review Mickey!

[@briannaisola432]

The glass that the Emcee breaks is not just symbolic of the brick. Breaking the glass as he did is a tradition in Jewish weddings. A neat but horrific new addition.

[@TheUntalentedCouple]

Loved it overall so much! Eddie is a PHENOM...pure and simple! Gayle Rankin did not do nearly as well as the leads I have seen on video from the WEST END (these West End leads had alot more grit and intensity especially in the titular song). I would see it again!!!

[@wehojm7320]

This is torture! I just back from NYC and now because of your review I have to get in the next plane and see Cabaret. How much is this going to set me back for a great night at the theater?👍🙏😜😬😵‍💫

[@Lucas-fs4gp]

Would you have any comments about the staging of the scenes that do not happen in the cabaret? Like the ones in the boarding house? To me, it feels kind of odd to see those scenes on the club stage, kind of misses the point of immersiveness. Perhaps they could have staged them on another level, like where the band is? Moulin Rouge also has some immersive component, but there, the setting helps a lot to differentiate what happens inside the Moulin Rouge vs elsewhere. Not the case here. Many tks for your review.

[@Nikki-tx6kh]

I kinda like we're reaching a point where we might be able to start recognising if your NY friend changes stuff on their house. Did she have that lovely Audrey drawing earlier on? I just got a look at it and I really like it.

[@krazykittymatt]

It's because for them they want a Liza style Cabaret here and can't appreciate any kind of stylized version of anything. Like when Sweeney Todd tried to do a reimagining they hated it, but I noticed that when Sondheim died all of a sudden they quickly produced stripped down versions of his shows were doing good.

[@gerrya4268]

I saw Cabaret in London 07 Nov 2023 and in Broadway during previews on 09 Apr 2024. I must say that London’s production felt superior than the Broadway one. The Broadway production felt cheap as compared to its counterpart across the pond. On the London version, I felt that I got instantly transported to a different world the moment I stepped onto the premises of the theatre/kitkat club. Meanwhile on Broadway, it was kind of meh maybe because the space was bigger or maybe I had high expectations. The audience on west end were better as well that they were ok following the set rules of the venue. In Broadway, I have seen people taking out those stickers on the camera and some are using the selfie camera to get a shot of the stage. A lot of audience in Broadway on the show I’ve seen were complaining about being lost in the show and did not understand the plot. As to the actors, Eddie’s EmCee was great as expected, however, I prefer the London’s version of Sally Bowles.

[@annaskellington1]

The devil works hard, but Mickey Jo works harder. Super quick review, thank you so much! I was quite curious to hear all about the opening night. Thank you!

[@eyesthere]

The contrast between west end and broadway audiences is fascinating. It will be intriguing to see if sunset elicits a similar response

[@fbueller]

12:15 “While they’re transporting you to 1930s Berlin, there’s still WiFi and they’re selling merchandise.” 😂😂😂😂

[@evie3673]

speaking to the ending: I think that this ending hits almost harder, but in a different way, because by removing the specificity that the striped pajamas ending has, it serves even more as a warning to the audience, which I think is particularly striking especially living in the states and seeing the rise of mainstream far right ideology & stuff like Jan 6

[@if3359]

There is also a rise of horrifying antisemitism from the left

[@kdunnmey]

My husband and I saw it last week. We had front row orchestra. We really loved the show. But I really didn’t like the costuming. I expected more vibrant or racier in both the prologue and 1st act. The color palette made me feel like I was at a Dune musical. I understood about going drabber towards the end. I didn’t like the “coats/suits” ending since I had trouble hearing the last song and better costuming would have helped. The performances were excellent!

[@chocolatesouljah]

Thanks for your first-hand account. Really appreciate the evenness of your take on the show and oh my goodness “Dune doing musical.”That’s pretty hilarious.

[@yankee04]

Thanks. Was surprised by the other reviews, not yours, which was more or less what I anticipated. It’s a steep ticket, so the other reviews could definitely impact the run. * Go see Here There are Blueberries at the New York Theater Workshop. It’s amazing, profound, and relevant.

[@Marcel_Audubon]

it would be interesting to see a revival of the John van Druten play I am a Camera, upon which the musical Cabaret was later based. It was this work that turned Sally Bowles into the central character. While she's in the Christopher Isherwood stories, of course, she comes and goes and is not the sun around which all the other characters orbit. Julie Harris won a Tony Award (her first of five!) as the first person to present the Sally Bowles character on stage. Isherwood, who we know wrote the stories later turned into I am a Camera lived well into the '80s - long enough to have seen many Sally Bowleses including Julie Harris both on stage and on film, Jill Haworth, Judi Dench, Liza Minnelli, and their various replacements, although didn't live long enough to see some of the more feral interpretations of the character. It's interesting that of all the Sallys he saw, his preference was Julie Harris - certainly the furthest from the Natasha Richardson/Cara deLevingne interpretations we've become accustomed to. But this is because to him Julie Harris came closest to the personality of the real person the Sally Bowles character was modeled upon, Jean Ross. We aren't required to choose our preference based upon Jean Ross as a model because we've never met her. Most people today cannot wait to tell you that they cannot stand Julie Harris' performance and find it too theatrical for film and too tame due to the film codes of the time (I happen to love it - it's possible to like many widely different Sallys!) Anyway if you've never seen the Julie Harris/Laurence Harvey/Shelley Winters movie from 1955, give it a watch a meet a different Sally (or perhaps meet Jean Ross) Did you know that Lotte Lenya was the first to play Frau Schneider on Broadway? quite a different approach from Bebe Neuwirth, I'm sure, but I'll bet both were wonderful

[@1983tsh]

Love your comments ! And your ensemble!!!!! So 🎉!

[@LisaHones]

I saw both with Eddie Redmayne absolutely loved it . Really don't like musicals but this whole immersive experience makes it different 🎉

[@austensg9596]

I’m going to see it in May!!! I’m so freakin excited! And I actually know somebody in the cast, which is extra thrilling (I hope he gets an applause when he enters).

[@clydepack]

Just saw it last night, a wonderful show as it was when I saw it in London with Mason Alexander Park and Maude Apatow; however these prices are absolutely insane (5 rows behind the tables for $400!). Also, I was taken aback by the American audience 'woo'ing and clapping at random times. I've overheard some people at the tables talk about how they don't know much about the show before it started, how are people paying these insane prices for a show they haven't even read the synopsis of? With the show being revived so often, and the average attendee being well over 50 (partly due to the astronomical prices), I'm surprised. Luckily at the performance I attended, nobody has tried to lunge at the actors on stage, but I cannot imagine paying $600 just to get myself kicked out of the theater (or even to attend a show for that price tbh). I guess it comes back to the topic of theater etiquette, but I haven't experienced this level of ??? I don't even know what to call it, in other Broadway houses.

[@sydneywu9326]

I so agree with you on Gayle’s Sally.

[@MarciaPze]

I loved your review! I haven’t seen Cabaret live ever, but honestly got very intrigued after watching the Tony’s. Very interesting! Huuuge Chicago fan (I’ve seen it on Broadway and it’s something else) that’s why I think I’ll like this one too!

[@mariah1676]

I saw it the first night of previews! I loved it and had a great time though I wasn’t blown away, tbh. But all the audience members were respectful and the energy was so high! I really loved the prologue performers, particularly once you get into the theater. I also loved the use of the stage, specifically when all the dancers came out of the suitcase. And I agree about the costumes though sometimes it felt like they were the focal point and distracted from the performance at times. The first time I saw cabaret was in an amateur production and I think that was my favorite.

[@megzworld1684]

Been waiting to see your review of this M.

[@dancingclassics]

Single-handedly convincing me to see this both on West End (by serendipitous travel events) AND to purposely take a trip Broadway-side this year as well to catch it. As a relative newcomer to my musical/theatre-kid stage of life, I wholly appreciate your review!!

[@aimeeamigone2717]

I thank u for lovely things said here. My dear friend produced this ❤

[@skylerover8643]

I know it's not technically part of the performance but the seats in the mezzanine of the august wilson are so small it's almost painful it sit there for the whole show.

[@mattk8460]

I truly adore this production

[@sesresu]

One of your best videos 🎉

[@KonniWynn]

We gotta get Mx Mason Alexander Park back

[@billbill5326]

I confess that I have never seen a theatrical performance of Cabaret. And further confess that I have never seen any theatrical performance of a play or musical. Hopefully someday. Anyway your video came up in my feed and I thoroughly enjoyed. And while I know nothing about theatrical productions, I so appreciate and respect those who perform and work in these shows. I’m grateful to have found your channel. You captivated me with your knowledge and expertise. ❤

[@witchygrrl]

Would you suggest a certain area in the Mezzanine or Orchestra as a good spot to see the show LOL WITHOUT spending over $200 a ticket? I'm struggling trying to buy tickets for my birthday next month

[@ozdustgal]

Watching this review omw to my doctor’s appointment at Nollendorfplatz (I can’t make it to New York so this is my own immersive Cabaret experience)

[@malikhaya]

I watched it twice in the West End with Alexader Park and Maude Apatow. I'm going to see in twice again on Broadway. I'm obsessed. Love it. (By the way, I live in Taiwan.)

[@Erni3K]

Of COURSE Bebe Neuwirth was one of the dancers! OH MY GOD.

[@johncubbidge2237]

Mickey, Just to add some clarity to the moment you likened to Krystallnacht, wrapping a glass in a napkin and smashing it underfoot is part of the jewish wedding ritual

[@jurney3478]

Do you think Bebe has a chance at beating Lindsay Mendez for the Tony? Really feel like it'll be between those two

[@esantan29]

If they are nominated, Lindsay would be for Leading Actress, Bebe as Featured Actress.

[@PS-DLMA]

​@@esantan29tony awards elegibility has Lindsay as featured

[@johnoh1374]

Just catching up with your program now, I did enjoyed the London production of Cabaret but was disappointed when I saw the Broadway version, I attributed it to 2 factors, the space and the performance of Eddie as MC (I saw an alternate cast in London after he left) and totally agree with NYT review about the overall concept of the show. Your thoughts?

[@clowchan]

I want to go but them ticket prices are woof. Kinda hoping with the bad reviews the prices will fall (but you know wishful thinking)

[@davemccracken3994]

I'll support ANY show that makes MJ wear that sheer shirt again!!! Cabaret-what?

[@michaeladkins6]

Bebe Nuworth is also a US TV Star via Cheers and Frasier.

[@20fouratirth]

…and JULIA!

[@PS-DLMA]

And the movie JUMANJI

[@BrunoSigrist]

Wish you could come see our São Paulo production of Cabaret 😌

[@michaeldenney6622]

i would love to see this

[@cyberlouis]

Saw it on April 5th and still can't get the screaming out of my head. Gayle Rankin is the worst Sally Bowles. She's like Mommie Dearest on crack. Her off-pitch screaming of Cabaret was not emotional to me--it was stagy and contrived. Eddie seemed more about how many weird costume changes he could make in 2 hours. His acting was little more than affectations and mannerisms.The highlights were the performances of Herr Schulz and Fräulein Schneider. No screaming from Bebe Neuwirth. She is too much of a pro for that. They were really pushing the shots and alcohol at the pre show. I assume they know there is only one way most will enjoy the show: drunk.

[@danieltobias9742]

Thank you!

[@redtowlie9]

Hey Mickey! Any chance if you know that they have a window card for the show? Would love to know if they do so I can save up to get one! Much appreciate it!

[@laurien4384]

Saw the production last Tuesday night. I thought the pre-show was great, although the shot of schnapps was hair-raising. Loved it, and loved sitting stage-side drinking Moët with actors rushing by to and from the stage. Anna Wintour and Hugh Jackman sitting 12 feet away was fun, although I was a tad annoyed that the Green Bar was closed off for her private party. I thought the costumes told their own story, and the minimalism of the stage was right. Bebe Neuwirth and Eddie Redmayne will get Tonys.

[@IWillBeHers]

Just bought tickets for late September (heading into town for the Broadway flea market)! Ended up finding table seats for an absolute steal.

[@benfrost7081]

We do t yet know who will be in the cast in Spet - Eddie R departs end of August

[@benfrost7081]

*sept

[@IWillBeHers]

@@benfrost7081 true, but I’m sure a good replacement will be brought in. And I don’t care much about who’s in the cast as long as they’re fabulous.

[@Sanchordia]

How do you afford to see everything, on BOTH sides of the Atlantic? I want to be you!😩

[@JohnSmith-wi4xo]

What does he say at 18:36? “Crystal knacked comparison?” I can’t understand.

[@MickeyJoTheatre]

Kristallnacht!

[@andyanderson3628]

I've been a professional actor for 30 years. My dream role has always been the part of the Emcee in Cabaret. I'm beginning to think that I won't get my chance.

[@PaulSmith-is2tt]

To have to be a celebrity to get cast in Cabaret now. But you could become a KZbin sensation and qualify (ask Joe Sugg).

[@1NOgl]

Personal compiment- now that's one hell of a lovely hairy chest. ❤❤❤

[@myrtlewrenwood]

I have seen the Frecknall directed revival three times: twice in London (with Redmayne/Benjamin and with Howells/Brewer) and once in NYC. IMO major differences: Gayle Rankin’s Sally is not as vulnerable as the London Sally’s and comes across too modern. Even though Bebe Neuwirth’s Fraulein Schneider was fantastic and Steven Skybell’s Herr Schultz was fine, they didn’t have nearly the level of chemistry that London’s Liza Sadovy and Elliot Levey did. The latter were so hot while singing the Pineapple song, as soon as I could I googled to see if pineapple has sexual connotations of which I had been unaware. After that, Neuwirth and Skybell’s was just a literal pineapple - kinda dull. Re: building, pre show. I preferred the smallness and therefore intimacy of London’s. As for Redmayne: it may be just my mind playing tricks but I think he has become more muscular to play in NYC - not a particularly helpful-to-the-role choice. Note: People sitting next to me in NYC had seen Joel Grey as the Emcee on Bway; they left at intermission. This plus mixed reviews leads me to believe Cabaret in NYC will not have the success with other casts the way it has is London

[@claybyrd2]

Skybell brilliantly and memorably starred as Teyve in the all Yiddish version on Fiddler on the Roof.

[@adrianaoviedo8640]

Im scared for your review, but ill just say it: I flew to New York and saw it on April 5 and I absolutely loved it (?!) I though it was spectacular. About the Emcee and Sally, id abmit maybe I am biased because I have been a fan of him for some time, but I though Eddie was great, and Gayle was awesome as well. Anyway, I don't want to leave my own long opinion, but I left moved and it was one the best nights i've had.

[@MorusRubra]

I am so surprised it got so many negative reviews.

[@cripbabe111]

I'm not. Former agent and casting person here and frankly, they've stripped so much sexuality from the show, they literally neutered it. Rankin and her Cliff have ZERO chemistry and where did his queer tendencies go? Ditto for the Emcee. Queer subtext is a vital thread in the show because in previous incarnations, we're supposed to feel terror and empathy for not only the Jews getting herded away, but so is this quirky Emcee we've grown to love. The drab, rather oblique end robbed the audience of the shocking pink triangle symbolism, again a key point. Rankin's breakdown was good, but really could anyone EVER outdo Jane Horrocks' meltdown - which I only saw on YT and keep going back to? We couldn't afford ringside seats so the pre-show featuring dancers doing little else but Martha Graham warm-up exercises were a waste because they largely stayed around the stage. Eddie sings well enough, but his Emcee always feels like nothing more than an observer rather than drawing you into what ultimately should be an immersive experience. My friend and I (he is also a former agent) left very disappointed...

[@scribbly2983]

Based in this review, I think I wouldn’t like Rankin's performance here. I saw Park and Apatow in London and that combo really worked for me. I'm going to wait and see who the replacements are.

[@lessolomon231]

You have probably seen, slammed by NY critics.......very mixed to Time Out's total pan.

[@jerry_6122]

Gayle was kotz-kritzie in Michelle Williams staging of cabaret. I saw her in that role, very charming and naughty. She was one of Michelle’s understudies so, this isn’t really her first bout as Sally on broadway.

[@jamesgeorgi6627]

What’s your favorite production of Caberet

[@amylou22snowhite]

So Mickey, are you planning to go see Gypsy on Broadway? I can’t wait!

[@roberteigen4499]

You a brilliant commentator!

[@malp1]

You would describe the conception and performance of "Two Ladies" as "fun and whimsical???"

[@garykanter7137]

I had a different interpretation of the broken glass. It is tradition to stomp on a wrapped glass at the end of a wedding ceremony. To my thinking the glass breaking was also saying the engagement of Shultz and Schneider was broken and marriage was never going to happen.

[@peterbreughel4440]

No one has ever come close to Joel Grey as the Emcee and Lotte Lenya as Frl. Schneider.

[@melissaboren1104]

The question is will this take the Best Revival Tony over Merrily (I saw Merrily and loved it, haven’t seen Cabaret)🤔

[@haterobics]

Thoughts on sitting at those two partial view tables on the mezzanine level?

[@minutemanmuster]

I'm curious about these seats also, I think that's what I have for September

[@Rebecca_Fish]

I would like to know too as I have these booked for my birthday in October

[@Izzyprobably]

Oh I so disagree with your take on Money I think the staging of it and the way the costume change is done and the performance quality of all of the dancers makes it THE pivotal moment of the show outside of the glass smash I was completely floored by it it was so so so sinister and felt incredibly potent

[@MICHAEL-k8b5u]

Thank you for your detailed elaboration of the show, CABARET. Saw it with Joel Grey and Alan Cummings and looking forward to seeing Eddie in June

[@davidlesh7162]

Would you recommend one side of the mezzanine over the other?

[@Joeysaddress1966]

Took my BF to see Moulin Rouge last night with Boy George as Harold Zidler. Amazing show. We loved it from start to end.

[@ritaarmbruster6941]

have you seen Illinoise? gorgeous...

[@susanpolastaples9688]

I'm waiting for the scene when Eddie as MC reveals in a NAZIS uniform. Always found other productions powerful. Kinda like everyone is Germans who aren't Pink, Jess etc, accept Hitler.

[@wilaballeartprojects3772]

I just saw this revival in London last month, and I have to say I didn't like it. The immersive experience felt superfluous to the already well-constructed musical, and it did feel like there was a lack of nuance in the delivery of the songs (too much scream singing). I also didn't like the way the ending was dealt.