![]() ![]() The song prefigures a moral decline that reaches a nadir in the Emcee’s second-act solo, “I Don’t Care Much.” With that number, cut from the original production but reinstated for various revivals, the Emcee’s assimilation into the Third Reich is complete.įrecknall shows that such transformations passed many onlookers by - or that they were reluctant to take action while there was still time. ![]() Redmayne’s lyric tenor lends itself well to “Tomorrow Belongs to Me,” the melodic Nazi anthem that sounds sweet enough until you grasp the lyrics. And there’s further assistance from the Irish actress-singer Jessie Buckley, an unusually ferocious Sally Bowles. Frecknall’s main accomplice in darkening the mood is her Oscar and Tony-winning leading man, Redmayne, returning to the London stage for the first time in a decade. That’s as it should be given this 1966 musical by John Kander (music), Fred Ebb (lyrics) and Joe Masteroff (book) about “the end of the world,” to cite a final observation from Cliff (Omari Douglas), an American writer in 1930s Germany who is alone among the show’s principals in sensing the danger of the Nazis’ rise. Its stars? An eclectic cast of dancers who are anything but machines. Feeling the Buzz: “Bob Fosse’s Dancin’” is back on Broadway.It will be one of the hottest tickets in town. Gustavo Dudamel: The New York Philharmonic’s new music director, will conduct Mahler’s Ninth Symphony in May.Rising Stars : These actors turned playwrights all excavate memories and meaning from their lives in creating these four shows, which arrive in New York in the coming months.Musical Revivals: Why do the worst characters in musicals get the best tunes? In upcoming revivals, world leaders both real and mythical get an image makeover they may not deserve, our critic writes.Making a remarkable entry into musical theater after lauded productions of Chekhov and Tennessee Williams, Frecknall pulls us into a hedonistic milieu, only to send us out nearly three hours later reminded of life’s horrors. Yet the director, Rebecca Frecknall, is more interested in disturbing the audience than handing them a drink. In the show’s hefty playbill, the brilliant designer Tom Scutt says he has tried to bring a “queer irreverence” to the venue, which rewards close inspection of its details, like a splash of gold here and an art-nouveau flourish there. The auditorium has lost 200 seats in its transformation into an immersive, plushly appointed space, complete with lamp-lit tables down front for a preshow meal. LONDON - At first glance, it looks as if there’s a party happening at the Kit Kat Club, the refurbished London venue where a nerve-shredding revival of “Cabaret,” starring Eddie Redmayne, opened last weekend.Įntering a side door of what was once the Playhouse Theater, you snake your way along corridors not usually open to the public and into a labyrinthine demimonde of dancers and drinks: a recreation of a seedy, Weimar-era Berlin nightclub. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |