Book by Joe
Masteroff
Music by
John Kander
Lyrics by
Fred Ebb
Directed by
Nicholas Christo
Choreographed
by Kelley Abbey
Presented by
David H.Hawkins
Hayes
Theatre, Sydney until 5th March 2017.
Athenaeum Theatre
Melbourne from 1st May 2017
Performance
on 19th January reviewed by Bill Stephens OAM
Continuing
in the long line of inventive small scale reworking’s of classic musicals at
The Hayes Theatre, David Hawkins’s new production of the Kander and Ebb musical
“Cabaret” is nothing short of brilliant. For those who only know the show from
the Liza Minnelli film, this production will be quite a revelation … and all
the better for that.
This
production subtly refocuses the spotlight on the journey of the Cliff Bradshaw
character, rather than Sally Bowles, revealing a whole new set of possibilities,
of which director, Nicholas Christo and choreographer, Kelley Abbey, take full
advantage. It also returns the show closer to the original Christopher
Isherwood stories which inspired it.
An explosive
combination of impeccable casting, imaginative staging, red hot choreography
and a sizzling band, has produced a fire-cracker production which had the
audience at this performance screaming for more.
Paul Capsis as The Emcee |
Heading the
all-star ensemble cast, Paul Capsis, as The Emcee, is completely mesmerising,
offering one of his most unforgettable creations. Preposterous makeup, oozing decadence
from every pore, and all the charm of a snake, he completely owns the stage, defying the audience to tear its
eyes away from him as he struts and flirts outrageously.
With her
flaming red hair, creamy white skin and long show-girl legs, Chelsea Gibb not
only looks stunning, but is remarkably affecting, as the lovable, silly, doomed
cabaret singer, Sally Bowles. The realisation of what she has lost, and the inevitable
fate that awaits her, is strikingly portrayed in her sensational interpretation
of the title song, which provides a brilliant high-point in the show.
The first
person, and the last, you see in the show, is Cliff Bradshaw, arriving and
departing Berlin. Bradshaw is charmingly portrayed with an air of bemused
detachment, and a fine singing voice, by handsome Jason Kos. At first, curious but uncommitted, he
willingly submits to the temptations proffered, but finally flees the city,
without Sally, when he can no longer cope with the results of his profligacy.
Cliff and
Sally join The Emcee in the Kit Kat Klub for clever new staging of “Two Ladies”, “The Money Song” and “Sitting
Pretty”, moving more of the focus on to them without detracting from the Emcee.
Stylish performances
from Debra Krizak as Fraulein Kost, Marcus Graham as the manipulative Ernst
Ludwig, Kate Fitzpatrick , heartbreakingly defiant as Fraulein Schneider,
wringing every ounce of pathos and
almost stopping the show with her performance of “What Would You Do? “, and John O’May, touchingly bewildered as Herr
Schultz, add considerable gloss and star
power to an already classy production.
The rest of
the cast is made up of triple threats, Michelle Barr, Michelle Smitheram, Nick
Jones and newcomer, Matthew Manahan, who makes an eye-catching entrance playing
a young German, Rudy. Everybody doubles in small roles, giving the impression
that the cast is much larger than it actually is, an impression enhanced by the
full-throated vocals, lightning fast costume changes, and dazzling dancing.
Lindsay
Partridge leads the terrific band tucked in behind James Browne’s witty
costumes, and atmospheric setting which includes members of the audience seated
at tables, and which transforms seamlessly from decadent cabaret room to
run-down boarding house at the blink of an eye. Members of the cast efficiently
take care of necessary props as they enter and leave the stage. No hiding mischievous
Andrew Worboys however, popping onstage with his accordion, just to prove that
even the orchestra is beautiful.
This
production is destined to become the hot ticket wherever it’s playing. Don’t miss
out; get yourself a ticket while there are still some available.
This review also appears in AUSTRALIAN ARTS REVIEW www.artsreview.com.au