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

The Maids

Dundee Rep

Two sisters sit in glass cases either side of the stage at the start of Eve Jamieson's production of Jean Genet's nasty little study of warped aspiration and abuse of power. Bathed in red light, the women look like artefacts in some cheap thrill waxworks horror-show, or else exhibits in a human zoo. Either way, they are both trapped, immortalised in a freak-show possibly of their own making.

Once the sisters come to life and drape themselves in the sumptuous bedroom of their absent mistress, they raid her bulging wardrobe to try on otherwise untouchable glad-rags and jewellery. As they do, the grotesque parody of the high-life they aspire to turns uglier by the second. When the Mistress returns, as played with daring abandon by Emily Winter as a glamour-chasing narcissist who gets her kicks from drooling over the criminal classes, you can't really blame the sisters for their fantasy of killing her.

Slabs of sound slice the air to punctuate each scene of Mart…

Phoebe Waller-Bridge - Fleabag

Phoebe Waller-Bridge is a busy woman. The thirty-two year old actress who burst onto our TV screens as writer and star of Fleabag, the tragi-comic sort of sit-com about a supposedly independent woman on the verge is currently overseeing Killing Eve, her new TV drama which she's written for BBC America. As an actress, Waller-Bridge is also filming a big screen project which we can't talk about, but which has already been outed as being part of the ongoing Star Wars franchise.

These are both pretty good reasons why Waller-Bridge won't be appearing in the brief Edinburgh Festival Fringe revival of the original stage play of Fleabag, when it opens next week at the Underbelly, where it was first unleashed to the world in 2013. In her place, Maddie Rice will take on the role of the potty-mouthed anti-heroine after touring Vickie Jones' production for Waller-Bridge and Jones' DryWrite company in association with Soho Theatre. This doesn't mean Waller-Bridge has turned…

Futureproof 2017

Street Level Photoworks, Glasgow until February 4th 2018
Four stars

Now in its ninth year, Futureproof's showcase of recent graduate photographers from seven Scottish art schools and universities returns to its spiritual home at Street Level, with nineteen artists embracing photo essays, abstraction and constructed narratives. It is Karlyn Marshall's Willies, Beuys and Me that grabs you first. Tucked in a corner, this depiction of a woman impersonating iconic artist Joseph Beuys says much about gender stereotyping, and recalls Manfred Karge's play, Man to Man, in which a German woman took on her dead husband's identity.

The personal and the political converge throughout. Ben Soedera's Foreign Sands contrasts natural resources and the constructed world. Gareth and Gavin Bragdon's The Bragdon Brothers moves onto the carnivalesque streets of Edinburgh. Kieran Delaney's Moments also looks at the apparently ordinary. Matthew Buick goes further afield, as tourists…