One of Broadway's greatest productions returns! Alan Cumming ("The Good Wife," Roundabout's The Threepenny Opera) reprises his Tony-winning performance as the Emcee in Sam Mendes (Skyfall, American Beauty) and Rob Marshall's (Nine and Chicago, the films) Tony-winning production of Cabaret. Three-time Academy Award nominee Michelle Williams (My Week with Marilyn, Brokeback Mountain) also stars, making her Broadway debut as Sally Bowles, alongside Tony nominees Danny Burstein (Follies, South Pacific) and Linda Emond (Death of a Salesman, Life (x) 3). Right this way, your table's waiting at Cabaret, John Kander, Fred Ebb and Joe Masteroff's Tony-winning musical about following your heart while the world loses its way.
Starting November 11, the Kit Kat Klub welcomes Golden Globe nominee Emma Stone (Easy A, The Help), making her Broadway debut as Sally Bowles for a limited time only.
Though Michelle Williams is credible but not memorable in her Broadway debut as songstress Sally Bowles, her performance can't mar the Roundabout's redo (re-revival?) of its Tony-winning 1998 take at Studio 54...As before, the oily emcee looms especially large. Alan Cumming won a Tony for the role 16 years ago. Beaming with creepy charisma, the sly Cumming is better than ever conjuring an androgynous bottom feeder whose smile hides something much darker and grimmer... a platinum-blond Williams assumes an English accent and an almost jolly and girlish demeanor flecked with desperation. She comes off so feathery that Sally could fly away -- except for her full-tilt go at the title song. Besides that final scene, Williams comes off paler and wispier than desired. Maybe next time.
Michelle Williams, an enormously gifted screen actress, is making her Broadway debut with this role. Doll-like in her blonde bob, she's more girlish than fatale, playing it with an unsteady, skittish desperation and a plummy, naughty accent that seems directly modelled on Renee Zellwegger's Bridget Jones. No bad thing, but occasionally it slips and falters and, like the accent, the spoken parts of her performance sometimes feel wobbly. She becomes more and more compelling, however, as the show goes on, singing and dancing with a furious, madcap quality and by the time she delivers the title number she's at the height of her power...Alan Cumming, made up like an Otto Dix painting, is perfect as the delicious and depraved Master of Ceremonies and he sets the tone for a show that's as riotously risqué as it is ultimately ruthless.
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