Theater: “Cabaret” (2024) starring Eddie Redmayne

Hard to believe, but it’s been nearly a century since Christopher Isherwood wrote “Farewell to Berlin,” a novel that introduced the character of Sally Bowles to the world. Similarly, it’s been more than 50 years since Liza Minnelli won an Oscar for her performance as Sally in “Cabaret.”

And it’s been far too long (28 years!) since we’ve seen a production as naughty, audacious and altogether smart as the one currently in previews at the August Wilson Theater (aka The Kit Kat Club).

Arriving largely intact from the Olivier-winning West End production, it deserves the attention and adoration of anyone who a) loves the Kander-Ebb score to distraction, b) wants romance and comedy and politics all rolled up into one, and c) would like an understanding of Weimar culture before Germany’s 12 years of horror set in.

The plot of Cabaret hasn’t changed much. Clifford Bradshaw (Ato Blankson-Wood), a penniless American novelist, arrives in Berlin by train, and through a connection he makes with a fellow passenger Ernst (Henry Gottfried), finds a room in a cheap flophouse run by Frau Schneider (Bebe Neuwirth). One night he sees Sally Bowles (Gayle Rankin) at the KKC and is captivated by her. Sallie smells a meal ticket when she sees one and after one evening together, moves in with Clifford. “You speak English!” she cries. He responds by reciting “Casey at the Bat” from memory.

In every revival of Cabaret, the cast is what makes the difference and in this largely British reboot, we get UK-trained actors who know their stuff. And that begins with Eddie Redmayne and Gayle Rankin as the Emcee and Sally.

Whippet-thin and almost gymnastic in his movements, ER may shock you with his musical range (he sings slow ballads and comic ones equally well). He may also amaze you with his sartorial smarts—he rocks ladies underwear and a man’s three-piece suit too. Further, he doesn’t just play the Emcee but takes on a number of roles—from the proto-Nazi singing “Tomorrow Belongs to Me” to a stiff-upper-lipped German train conductor. He also wrestles with a 7-foot gorilla while singing “If You Could See Her Through My Eyes.”

But it is Gayle Rankin as Sally who enters from below stage and commands your attention from the get-go. This is a first-class comic actress/singer (think a young Gertrude Lawrence) who totally disappears into the role of Sallie Bowles, a downtrodden second-rate singer who clings to Cliff like she would to a lifeboat. When Rankin sings “everybody loves a winner/but nobody loved me,” you absolutely believe it. Her bitter emotional rendition of the title song is one for the ages.

I also liked Neuwirth as Frau Schneider, the spinster-landlady, as well as Steven Skybell as Herr Schultz, the nice Jewish border she hopes to marry. Their duet “Married” is complemented by an onstage singer who croons the lyrics in German. Finally, the Kit Kat gypsies are appropriately naughty, marvelously costumed, and mime sexual acts that will shock everyone except the current readers of this post.

Note: the show’s producers are so determined that you have a good time, they’ve created a special “Kit Kat nightclub” which opens 75 minutes before curtain. You show your ticket at the door, get your hand stamped, follow a seemingly endless row of steps and eventually arrive at the lobby. Once there, you can order champagne, a special “Toast of Mayfair” cocktail, and a large pretzel. (I have heard you can go the full nine yards and have dinner and drinks beforehand—if you are willing to pay the price of a slightly used Tesla.)

Also note: taking photos is strictly verboten and to make sure you adhere to this rule, a sticker is placed over the lens of your phone. Apparently what happens in the Kit Kat Club stays in the KKC.

The score is as luscious as ever; if you are not mouthing the words and tapping your toes to your favorites, you must be on serious meds. The lively production numbers are performed on a tiny circular stage which rises up and down throughout the show. All performers somehow stay upright.

As for the behind-the-scenes folks, it’s an all-UK affair, starting with Jennifer Whyte, music supervisor; Julia Cheng, choreographer; Tom Scutt, costume design; and Rebecca Frecknall, director. As was once remarked, the sun never sets on the British Empire. Hopefully it will never set on this import either. Come to the Cabaret!

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