Skip to main content

Cabaret

The Playhouse, Edinburgh
Five stars

Will Young's pasty-faced Emcee pokes his head through the giant 'O' in the word 'WILLKOMMEN' that covers the stage curtain at the start of this touring revival of composer John Kander and lyricist Fred Ebb's finest musical hour. Young's peek-a-boo moment shatters through something monumental, even as it hails the coming new order. With Emcee the gate-keeper to Berlin's 1930s underground club scene, Young resembles a malevolent doll in leather lederhosen. By the end of the first act, Young is pulling the strings, as he leads a chilling version of Tomorrow Belongs To Me.

Such are the delicious contradictions of a show originally drawn from Christopher Isherwood's Berlin stories, with Young Olivier nominated when he first appeared in Rufus Norris' West End production five years ago. On the one hand, Joe Masteroff's book is a damning indictment of how austerity culture and mass disaffection is exploited by populist demagogues. On the other, Kander and Ebb's fistful of show-tunes that first wowed Broadway in 1966 remain powerful enough to have become standards. Either way, this is a thrilling rendition of decadent Europe's last hedonistic gasp before the bullies moved in.

The party is already over by the time Charles Hagerty's American wannabe writer Cliff stumbles into the Kit Kat Club and collides with the force of nature that is Sally Bowles, played here by Louise Redknapp as a woman in glamorous denial of what's coming beyond the bed-hopping. If the show's conscience is seen through the relationship between Susan Penhaligon's Fraulein Schneider and Linal Haft's Herr Schultz, it's edge comes through Javier de Frutos' daring choreography. Played out by the eleven-strong chorus against Katrina Lindsay's expressionist set, the moves are by turns cheeky, lascivious and unashamedly thrusting. By the time of the play's final, startling scene, the dancing has stopped, in a shockingly current warning of what might happen next.

 
The Herald, November 20th 2017

ends

Comments

Popular posts from this blog

Peter Brook – The Prisoner

Peter Brook is no stranger to Scotland, ever since the guru of European and world theatre first brought his nine-hour epic, The Mahabharata, to Glasgow in 1988. That was at the city’s old transport museum, which by 1990 had become Tramway, the still-functioning permanent venue that opened up Glasgow and Scotland as a major channel for international theatre in a way that had previously only been on offer at Edinburgh International Festival.
Brook and his Paris-based Theatre des Bouffes du Nord company’s relationship with Tramway saw him bring his productions of La Tragedie de Carmen, La Tempete, Pellease et Mellisande, The Man Who…, and Oh Les Beaux Jours – the French version of Samuel Beckett’s Happy Days – to Glasgow.
Thirty years on from The Mahabharata, Brook comes to EIF with another piece of pan-global theatre as part of a residency by Theatre des Bouffes du Nord, which Brook has led since he decamped to Paris from London in the early 1970s. The current Edinburgh residency has alr…

Romeo And Juliet - Shakespeare's Globe Comes to Glasgow

Open-air Shakepeares are a summer-time perennial of the theatre calendar, attracting picnicking audiences as much as midges. More often than not, such romps through the grass are frothy, heritage industry affairs designed to be accompanied by strawberries and cream and not to be taken too seriously. Shakespeare’s Globe theatre company look set to change such perceptions when they open their outdoor tour of Romeo And Juliet in Glasgow next week as part of the West End festival.

For the two young actors taking the title roles of the doomed lovers, it will also be something of a homecoming. Richard Madden and Ellie Piercy both studied in Glasgow prior to turning professional. Indeed, Madden has yet to graduate from the acting course at RSAMD, and, as well as facing the pressures of playing such a meaty role in close proximity to the audience, will have the added anxiety of being assessed and graded by his tutors.

“This is the end of my third year,” says Madden following a Saturday mornin…

Suzy Glass – Message from the Skies

Freedom of movement matters to Suzy Glass, the arts and events producer currently overseeing the second edition of Message from the Skies.This animated literary derive around the city forms part of this year’s Edinburgh’s Hogmanay programme, and runs right through till Burns’ Night. Glass’ concerns are inherent in the event itself, which has commissioned six writers from different disciplines and experiences to each pen a love letter to Europe. Each writer has then paired up with a composer and visual artist or film-maker, with the results of each collaboration projected in monumental fashion on the walls of one of half a dozen of the capital’s most iconic buildings.
With venues stretching from the south side of Edinburgh to Leith, and with one city centre stop requiring a walk up Calton Hill, there is considerable legwork required to complete the circuit. It shouldn’t be considered a race, however, and audiences are free to move between venues at their leisure, visiting each site on d…