Cabaret at the Kit Kat Club
Opening Night: April 21, 2024
Theater: August Wilson Theatre
Website: kitkat.club
Experience this groundbreaking musical like never before. The denizens of the Kit Kat Club have created a decadent sanctuary inside Broadway’s August Wilson Theatre, where artists and performers, misfits and outsiders rule the night. Step inside their world. This is Berlin. Relax. Loosen up. Be yourself.
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April 21, 2024
When this new “Cabaret” follows that template, it achieves more than the buzz of chic architecture and louche dancing. (The choreography is by Julia Cheng.) Seducing us and then repelling us — in that order — it dramatizes why we flock to such things in the first place, whether at the Kit Kat Club or the August Wilson Theater. We hope, at our risk, to forget that, outside, “life is disappointing,” as the Emcee tells us. We want to unsee the trash.
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April 22, 2024
The lush bacchanal of the theater’s dressing seeps into every aspect of this production, from Julia Cheng’s sensual, prurient choreography to Eddie Redmayne’s eerie performance as the Emcee.
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April 21, 2024
The promise of an overwhelming theatrical event just never quite makes good on itself, certainly not with Rankin’s teary, intentionally overwrought delivery of the title song. We get it. Sally isn’t meant to be a big star. I’d still rather hear Liza.
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April 21, 2024
Those performers—led by movie star Eddie Redmayne as the Emcee, Gayle Rankin as Sally Bowles, Ato Blankson-Wood as American fish-out-of-water Cliff, Bebe Neuwirth as Fraulein Schneider and Steven Skybell as Herr Schultz—are impressively operating on a small, raised, circular plinth, surrounded on all sides by the audience. Working within this self-imposed physical constraint, director Rebecca Frecknall produces clever and piercing thrill after thrill.
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April 21, 2024
Enjoy the buzz, because it wears off quickly. Once seated inside the similarly reconfigured theater space, the revival of John Kander and Fred Ebb’s classic musical “Cabaret, which opened Sunday night on Broadway, begins, and our response shifts a tad.
“Ow. This is cold.” READ THE REVIEWApril 21, 2024
More than three years after opening on London’s West End and winning seven Olivier Awards, including Best Musical Revival, director Rebecca Frecknall’s celebrated take on the legendary musical has transferred to Broadway in a gritty, haunting production that is jaw-droppingly gorgeous from start to finish.
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April 21, 2024
However, it all makes for an exciting, edgy, and painstakingly-detailed production.
READ THE REVIEWApril 21, 2024
Even the most decadent denizens of Berlin in the Weimar era—such as a sinewy androgyne presiding as the Emcee at a nightclub where anything goes, sexually speaking—prove to be susceptible to the poisonous seductions of the ascendant Nazis in the theatrically sizzling if emotionally tepid Broadway revival of “Cabaret.”
April 21, 2024
It was only a matter of time for the starry revival to make its way over here to New York, and I am happy to report that this Cabaret, which opened tonight at the August Wilson Theatre, is a thrilling sight to behold.
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April 21, 2024
For this you should leave home? Pick up your knitting, your book, your broom, whatever. Life’s too short for this Cabaret.
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April 21, 2024
This is a story that speaks to now, and I really wish I could hear it clearly over the hideous shouting of auteur Rebecca Frecknall’s grotesque production at the August Wilson Theatre, where it arrives on a wave of acclaim from across the pond (the West End run is ongoing).
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April 21, 2024
Near the end of “Cabaret,” Rankin sings the title song, and like so much of this production, she only plays the subtext — that life is anything but beautiful, despite what the Emcee has been telling us. Indeed, life can be hell. She’s a little late to that realization. Redmayne is the Devil, complete with red hair, from the moment he steps on stage.
READ THE REVIEWApril 21, 2024
Despite the stellar Gayle Rankin’s best efforts to inject the latest revival with a sense of urgency as star performer Sally Bowles, director Rebecca Frecknall’s production, now on Broadway after winning multiple awards in London, stays stagnant.
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April 21, 2024
While Frecknall has put a lot of energy into giving Cabaret a glow-up—Sleep No More mood board, Eddie Redmayne in a party hat—she hasn’t provided the show underneath the makeover with sufficient focus or muscle.
READ THE REVIEWApril 21, 2024
None of this would matter, arguably, if the production within this naked attempt to offer a value-added experience to increase revenue was worth seeing. Alas, outside of Bebe Neuwirth’s and Steven Skybell’s Fraulein Schneider and Herr Schultz, it’s not.
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