Ah, thank you
Cabaret Starring Will Young - 2013 Uk Tour
Posted 15 September 2013 - 11:09 PM
Ah, thank you
Who dare tell the lambs in Spring what fate the later season brings?
Posted 16 September 2013 - 12:10 AM
Seems to be avoiding where it went last time - no Bromley and its done Wimbledon. .It is rather special though, I thought, and if you do want to see it, its coming to Tunbridge Wells - which is near the station and within easy train reach ? Will Young is still excellent as the Emcee and Siobhan Dillon is outstanding as Sally, credibily unstable, and stunning singing cabaret. The ensemble is full of energy too.
Posted 23 September 2013 - 09:05 PM
This brings me to my only slight other issue with Bill Kenwright’s production: I do not think that the flippant responses of certain audience members can be said to be entirely their own fault. Having seen the unbelievable Sam Mendes production of Cabaret twice in Paris, I think that this version of the show has a gravitas which Kenwright’s Cabaret is, in places, lacking. Personally, I think that there are a few moments in the show where sexual malaise and rising political and social violence take a backseat to random comedy. Don’t get me wrong, Cabaret is and should be an amusing musical, particularly in the first act, however, I find that “Two Ladies” in particular, dupes the audience a little too much into believing that they’re in an anodyne world of pantomime. I know that you could argue that this is a deliberate ploy, so that the eventual dénouement is all the more shocking in juxtaposition, but I just find the long string of miscellany pulled out of the bed, including a deep-sea diver, a safari explorer and a giraffe fail to serve any symbolic or metaphorical role in the play. Mendes’ version uses “Two Ladies” to explore fully the sense of sexual possibility, which is both so liberating and so damaging at the Kit Kat Klub: it is far more filthy and far more relevant. The second moment in Kenwright’s Cabaret which jars with me for this same reason is during “Tomorrow Belongs to Me” at the end of Act One. I absolutely love the staging of this, with Emcee as the malign puppet-master controlling a host of dirndl-clad marionettes and yet I found that the woman [Helga?] creeping up the lectern to smudge a Hitler moustache onto his face felt unnecessarily obvious and distracted from the power of the scene; it also provoked peels of laughter from the audience at a moment I don’t believe is supposed to be funny. I think that these couple of moments perhaps encourage certain members of the audience to believe that they are watching something which is pure comedy. It is a shame, I suppose, that they cannot see that a show ultimately about the origins of the holocaust is going to have a troubling subtext, no matter how bewitching it may appear.
My only other slight niggle was with Lyn Paul in the role of Frau Schneider. Her voice was beautiful, however, I do not believe that is requisite for the role. She performed the part exactly as she did Mrs J in Blood Brothers, with the exact same accent: “So What” is simply not “So What” without the exaggerated Germanic “Vhat”! Something in her performance also lacked the necessary pathos of Frau Schneider [most convincingly portrayed by Sheila Hancock I think]. On the other hand, Valerie Cutko was particularly brilliant as Frau Kost and I think that Matt Rawle is truly amazing as Clifford.
Posted 24 September 2013 - 12:47 PM
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