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.
Not a revival so much as a revival of a revival, this 'Cabaret' -- again produced by the Roundabout Theatre Company -- opened Thursday night, with only hours to spare before its eligibility expired. Whatever it's called, it's as thrilling as ever, a marvel of staging that hasn't lost its punch...One big change is the woman in the bob: Michelle Williams makes her Broadway debut as Sally Bowles and she does an excellent job, playing both scared and daffy superbly and singing with real heart...Williams starts out a little tentatively but soon roars into the role and her version of the title song has a wrenching, dead-eyed quality that hauntingly undercuts its light lyrics...Cumming is as lascivious as ever -- more playful than Joel Grey-scary in the film version...The addition of Linda Emond as the landlady Fraulein Schneider and Danny Burstein as her Jewish suitor Herr Schultz are strokes of casting genius.
The riotous fun of the Kit Kat boys and girls is firmly in place, and the joy they all take in playing their instruments is infectious. We need such relief as the book scenes feel a little plodding. High quality global journalism requires investment. Williams plays Sally as a British baby doll. She sings well but not too well. She makes no Liza Minnelli-type pleas for our sympathy. Instead, Williams offers intense desperation. She holds on to the microphone stand as if aware into just what abyss she will spin if she lets go.
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