Cabaret (UK Touring)
Originally a novel, 'Goodbye To Berlin' by Christopher Isherwood written in the 1930s recounting his experiences in pre-Nazi Germany, adapted into a play, 'I Am A Camera' by John van Druten in the 1950s and eventually immortalised into the stage musical 'Cabaret' in the 1960s by John Kander & Fred Ebb.
There is a rich history to the story of the seedy Kit Kat Club inhabited and ruled in a metamorphic way by the Emcee played in the current touring production by somebody who is so much more than a 'Pop Idol', the charismatic Will Young able to move from character to character with seamless ease whilst keeping a continuous rapport with the audience.
Relationships are formed and broken, regularly due to external forces rather than incompatibilities, throughout the story. Front and centre are nightclub singer Sally Bowles (memorably played by Liza Minnelli in the 1972 movie) and American author Cliff Bradshaw seemingly brought together by fate and played by the sizzling Louise Redknapp and perhaps relative unknown to the UK theatre-going public Charles Hagerty, somebody with a cool, lilting voice who I'm sure we will see a lot more of.
Let's just take a pause here to explore the performance of Louise and remember that Liza Minnelli was in her mid-20s when she undertook a role that was accurately aged at 32. Perhaps not as well known but, equally important was the performance of one Judi Dench in the same role when it first hit the West End and she was in her mid-30s. Louise however is in her 40s and totally owns this role physically, vocally and from a performance perspective.
Sadly doomed before it starts is the relationship between German boarding house owner Fräulein Schneider played compassionately by UK acting legend Susan Penhaligon and Jewish fruit shop proprietor Herr Schultz (a characterful performance by Linal Haft), proving that during that era even love cannot conquer all.
Much of the credit for this dark, yet poignant, production goes not only to the ensemble cast but, some powerful direction by Rufus Norris, vivid choreography from Javier de Frutos, the haunting design of Katrina Lindsay and the meaningful musical direction of Tim Whiting.
Defining the vulnerability of the times and the characters is a memorable final tableau of the Kit Kat Club boys and girls, joined by the Emcee, clinging together in naked jeopardy at the mercy of the impending Nazi regime.
Touring until 9th December 2017, I can promise your experience of musical theatre will be enriched by catching this one.
Book Here
There is a rich history to the story of the seedy Kit Kat Club inhabited and ruled in a metamorphic way by the Emcee played in the current touring production by somebody who is so much more than a 'Pop Idol', the charismatic Will Young able to move from character to character with seamless ease whilst keeping a continuous rapport with the audience.
Relationships are formed and broken, regularly due to external forces rather than incompatibilities, throughout the story. Front and centre are nightclub singer Sally Bowles (memorably played by Liza Minnelli in the 1972 movie) and American author Cliff Bradshaw seemingly brought together by fate and played by the sizzling Louise Redknapp and perhaps relative unknown to the UK theatre-going public Charles Hagerty, somebody with a cool, lilting voice who I'm sure we will see a lot more of.
Let's just take a pause here to explore the performance of Louise and remember that Liza Minnelli was in her mid-20s when she undertook a role that was accurately aged at 32. Perhaps not as well known but, equally important was the performance of one Judi Dench in the same role when it first hit the West End and she was in her mid-30s. Louise however is in her 40s and totally owns this role physically, vocally and from a performance perspective.
Sadly doomed before it starts is the relationship between German boarding house owner Fräulein Schneider played compassionately by UK acting legend Susan Penhaligon and Jewish fruit shop proprietor Herr Schultz (a characterful performance by Linal Haft), proving that during that era even love cannot conquer all.
Much of the credit for this dark, yet poignant, production goes not only to the ensemble cast but, some powerful direction by Rufus Norris, vivid choreography from Javier de Frutos, the haunting design of Katrina Lindsay and the meaningful musical direction of Tim Whiting.
Defining the vulnerability of the times and the characters is a memorable final tableau of the Kit Kat Club boys and girls, joined by the Emcee, clinging together in naked jeopardy at the mercy of the impending Nazi regime.
Touring until 9th December 2017, I can promise your experience of musical theatre will be enriched by catching this one.
Book Here
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