She had the best voice by far of any of the Cabaret stars on Broadway.
It always amuses me when people rate the singing voices of the actresses playing Sally. She's supposed to be a third-rate performer working in a seedy Berlin club. She's NOT supposed to have a great singing voice. This criteria is why non-singing actresses successfully appeared during the original run of the Sam Mendes/Rob Marshall Broadway revival in the late 1990s to 2001.
Wow! Kudos to the filmmaker for completely changing his angle on his documentary. It's quite obvious the feedback from the NY community after the first trailer was released months ago definitely enlightened him to his chosen subject and he reaccessed what his documentary was really about.
Word of advice: please learn to reduce the fast vibrato. It's the one stereotypical Broadway tenor bit I hate the most. It's even mocked when any TV show or film wants to represent the bad cliche'd Broadway type. The crazy vibrato. You sound like a phuckin' chicken. Geez.
Ouch! Ticket sales are terrible. I'm here looking for tickets in March and I can literally get a pair in Orchestra Center, Row K, L, M, etc at regular non-Premium prices for all the dates I'm checking. Even Mezzanine Center, Row A, B, C, etc.
Geez. Audiences are fully aware it'll be The Divine Miss M on that stage the entire time. If you were expecting otherwise, you're an idiot. This is WHY first day ticket sales broke records and why this revival is even happening. No one is expecting Miss Midler to reinvent the wheel here in characterization. We expect the occasional ad-lib and all the fabulousness we love and adore from The Divine Miss M - Bette Midler's legendary alter ego.
Stage doors at closing performances are chaotic. Actors leaving with boxes and stuff plus family members waiting and helping them. Lots of activity. Actors are pleasant but with things going on unlike regular performances where they're just simply leaving the theatre for the night.