Willkommen. Bienvenue. Welcome to the Kit Kat Club. Home to an intimate and electrifying new production of CABARET.
Experience this groundbreaking musical like never before. The denizens of the Kit Kat Club have created a decadent sanctuary inside Broadway’s August Wilson Theatre, where artists and performers, misfits and outsiders rule the night. Step inside their world. This is Berlin. Relax. Loosen up. Be yourself.
London’s hottest ticket arrives on Broadway this Spring with Academy® and Tony Award® winner Eddie Redmayne reprising his Olivier Award-winning performance as the Emcee, and introducing Gayle Rankin as the Toast of Mayfair, Sally Bowles.
CABARET has music by John Kander, lyrics by Fred Ebb and a book by Joe Masteroff – based on the play by John Van Druten and stories by Christopher Isherwood.
The triumph of this iteration is how it anticipates its audience, teasing them with frothy liberation before making them gasp at Nazi armbands and shattered windows. As the Emcee oversees, or even appears at times to orchestrate, these national contradictions, it’s hard not to feel queasy at the dissonance. Particularly, I’d imagine, if you paid the upcharge for a stage-side meal. When the drumroll closes the show, a new aesthetic takes hold, complete in its muted menace. Dramatic irony is the play’s engine; we know there’s no changing the outcome. But when we sit pretty at the Kit Kat Club — tipsy, titillated, terrified — it’s not too late for us.
It’s not that the performers aren’t trying. As the naïve, swept-away American narrator, Cliff Bradshaw, Ato Blankson-Wood is doing his best to bring vulnerability, sincerity, and even some dignity to the part; but it’s always a bit of a surprise to recall just how often Cliff is left on the sidelines, and just how little he sings (a real loss here, given Blankson-Wood’s gorgeous voice). And as the strung-out Kit Kat Club singer, Sally Bowles, Gayle Rankin is making every effort to leave her guts on the stage, but she’s not getting any help. Rankin has the ability to be wrenching and spectacular — I once watched her swim across a lake in the dark, climb out and play Nina’s devastating Act Four scene from The Seagull, get back in, and swim away again. But her delivery of “Maybe This Time” and of the show’s final drill to the stomach, its great title song, is hampered by extraneous gesture. She flickers between singing, talking, and half-singing in a way that feels like a misguided directorial attempt to make the songs new, but that ends up making Rankin seem nervous about her ability to deliver them. I have no doubt that she really can, and I wish Frecknall had helped her find more connection and more release.
Digital Lottery:
Price: $25
Where: www.luckyseat.com
When: For weekday performances, entries will be accepted until 9:30 AM ET the day before the performance with winners being selected beginning at 10 AM ET and continuing throughout the day as needed. For weekend performances, entries will be accepted until 9:30 AM ET the Friday before, with winner selection following at 10 AM ET and continuing throughout the day as needed.
Limit: Two per customer
Information: Winners will have a limited window in which to purchase and claim their tickets, so those entering are encouraged to keep an eye on the drawing on the dates they have entered. Tickets are subject to availability.
1966 | Broadway | Original Broadway Production Broadway |
1967 | US Tour | National Tour US Tour |
1968 | West End | London Production West End |
1982 | Regional (US) | Regional Revival Regional (US) |
1986 | West End | London Revival West End |
1987 | Broadway | Broadway Revival Broadway |
1993 | West End | Donmar Warehouse Revival West End |
1998 | Broadway | Roundabout Revival Broadway |
2006 | West End | London Revival West End |
2008 | UK Tour | National Tour UK Tour |
2012 | West End | West End Revival Production West End |
2014 | Broadway | Roundabout Revival Broadway |
2016 | US Tour | 2016 National Tour US Tour |
2021 | West End | London Production West End |
2024 | Broadway | Broadway Revival Production Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2024 | Drama Desk Awards | Outstanding Direction of a Musical | Rebecca Frecknall |
2024 | Drama Desk Awards | Outstanding Featured Performance in a Musical | Bebe Neuwirth |
2024 | Drama Desk Awards | Outstanding Lead Performance in a Musical | Gayle Rankin |
2024 | Drama Desk Awards | Outstanding Sound Design of a Musical | Nick Lidster for Autograph |
2024 | Drama League Awards | Distinguished Performance | Gayle Rankin |
2024 | Drama League Awards | Distinguished Performance | Eddie Redmayne |
2024 | Drama League Awards | Outstanding Direction of a Musical | Rebecca Frecknall |
2024 | Drama League Awards | Outstanding Revival of a Musical | Cabaret |
2024 | Outer Critics Circle Awards | Outstanding Featured Performer in a Broadway Musical | Bebe Neuwirth |
2024 | Outer Critics Circle Awards | Outstanding Revival of a Musical | Cabaret |
2024 | Tony Awards | Best Costume Design of a Musical | Tom Scutt |
2024 | Tony Awards | Best Lighting Design of a Musical | Isabella Byrd |
2024 | Tony Awards | Best Performance by an Actor in a Featured Role in a Musical | Steven Skybell |
2024 | Tony Awards | Best Performance by an Actor in a Leading Role in a Musical | Eddie Redmayne |
2024 | Tony Awards | Best Performance by an Actress in a Featured Role in a Musical | Bebe Neuwirth |
2024 | Tony Awards | Best Performance by an Actress in a Leading Role in a Musical | Gayle Rankin |
2024 | Tony Awards | Best Revival of a Musical | Cabaret at the Kit Kat Club |
2024 | Tony Awards | Best Scenic Design of a Musical | Tom Scutt |
2024 | Tony Awards | Best Sound Design of a Musical | Nick Lidster for Autograph |
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