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.
The 1998 production was staged in the same venue, Studio 54, and starred Jennifer Jason Leigh as Sally Bowles, which she played with spiky, unpredictable abandon. Michelle Williams is a very different kind of actor, in this instance gauche, touching, unsure of herself in a way that seems as true to the idea of Sally Bowles as more robust approaches...As was the case the first time round, the show is Alan Cumming's and his MC has to be one of the great stage performances of all time. It's so rare to get a second shot at seeing something this good, you should do anything you can to get a ticket. Where Joel Grey, in the movie version, was impish and sinister, Cumming is brutish, jack-booted, playing the part with a yobbish licentiousness that highlights just how close the satirist and the satirised come to looking to each other in the end. It's a hard thing to be saucy and menacing at the same time, but Cumming pulls it off.
I'm not sure you could call Cumming, with his rouged nipples and S&M undergear, tame; certainly he's tireless. But as the only holdover cast member, he's also the only one with a need to articulate a deeper understanding of his character. I'm not sure this can be done with a character who is a concept; at any rate, Cumming over-articulates the Emcee, illustrating every word he speaks like a mime instructor. Some of the punch lines get killed by the huge pauses he takes to set them up...The performers who make the most of their material are in fact the two who have the least background in musicals. Michelle Williams's head voice is breathy, with a hummingbird vibrato; her belt is solid if somewhat coarse. But these are not handicaps with Sally, and in any case she acts the hell out of the role...Not even Richardson, superb as she was, brought quite this sense of brimming irrepressibility to the role: irrepressible eagerness and irrepressible sorrow. And, somehow, both together.
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