Review: CABARET at Dramaten

Many of you have probably seen Cabaret in some set on stage or the iconic film with Liza Minnelli as the nightclub singer Sally Bowles, and that it would be staged Dramaten was a bit unpredictable. Unfortunately, it seems that it is always a current musical, not least now with the increasingly harder right winds blowing in Sweden.

This set is one of the best I have seen, strong, raw, provocative and it leaves no one indifferent. Jenny Kronberg's scenography is fate-saturated with a large skull with a large swastika that, like the wings of a windmill, rotates faster the harder the political winds blow is ingenious. The skull is rotated in different positions and varies to be Kit Kat Klub and Fraulein Schneider's room rental. In addition, there are basically some chairs that are moved around, easily and effectively. Costume, wig, mask are a mixture of provocative and casual. The choreography is a bit more withdrawn but effective and gives greater weight to the played scenes, which highlights the political tension more, which fits very well here on the Drama stage with the skilled actors at your disposal.

Meritorious talented actors who really elevate this set very highly both in their role interpretations but also in terms of singing. Some adaptation has been made in the arrangements and stage solutions and in some situations it becomes a little more talkative, but nothing that affects the whole. Jonas Malmsjö's conferences are vulgar, observational and creepily unpleasant. Ana Gil de Meio Nascimento has energy, presence and a strong luminosity in her Sally Bowles. Marie Richardson brings out the insecure and fragile in Fraulein Schneider when she is torn between capturing happiness and choosing what may seem to be the simple and comfortable path. The interaction between her and Johan Holmberg as Herr Schultz is very fine-tuned and tender. Christoffer Svensson's Ernst Ludvig goes from being the nice guy who has many contacts to highlighting the cold and harshness when his political position is revealed. Alexander Salzberger highlights the naive and gullible in Cliff Bradshaw when he allows himself to be seduced in the decadent Berlin of the 1930s.

The group Damn! is allowed to fill both the orchestra pit and to be actively present as part of the set, more than just being a musician.

A complete strong set of Cabaret where technology, scenography, costume, acting, song, dance and music are in perfect symbiosis with and lift each other. If you like Cabaret, you should really get tickets for it.

Cabaret runs until 31 December and tickets are on sale here:

https://www.dramaten.se/repertoar/cabaret

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