Summer 2024 Shows : Cabaret on Broadway

There exists a common saying: “History repeats itself.” As politics become uncertain and social activists become more prominent, there seem to be no truer words. Education is often promoted as the most effective way to prevent the repetition of a negative past, and as Lawrentians, we are accustomed to relying on our textbooks and notes in order to remember facts. However, there remains a more unique way to ensure the past is not forgotten and thus repeated—musicals. While musicals are often lighthearted and meant for nothing more than a good time, the concept of utilizing a musical to preserve the past and inform the future is nothing new. Hamilton, for example, became a viral sensation a few years ago, and it continues to be one of the best-selling musicals. The show, which depicts the life of founding father Alexander Hamilton, is currently the third best-selling show on Broadway. A little below the biographical musical, though, sits an often overlooked musical.

At number six on the best-selling Broadway list, the satirical musical Cabaret was recently revived on Broadway for the fourth time since its original production in 1966. The musical is exactly what it sounds like—a cabaret, featuring an ensemble of performers who dance and sing around the featured characters. The catchy show, which is about Nazi-era Berlin, is led by an ambiguous and strange Emcee, who follows the characters but rarely interacts directly with them. Based on the novel Goodbye to Berlin by Christopher Isherwood and the play I Am A Camera by John Van Druten, the story follows Clifford Bradshaw, an aspiring American novelist traveling to Berlin during the 1930s in search of inspiration. On his way, he meets Ernst Ludwig, a patriotic German man who invites him to “Berlin’s hottest club”; Fraulein Schneider, an aged yet friendly woman who runs a boarding house; Sally Bowles, an eccentric and intriguing young performer from the club; and several other characters who shape his experience in Berlin. The reviews of the Cabaret revival have been relatively negative, with several critics noting that the main actors failed to represent the characters in an engaging manner. However, after watching Cabaret over the summer, I can easily say it was the best Broadway show I have had the privilege of watching.

The 2024 revival, featuring Eddie Redmayne as the Emcee and Gayle Rankin as Bowles, does an incredible job of creating an unforgettable experience. As I entered the theater, I momentarily forgot I was on Broadway: the theater had been transformed into a club, inviting the audience into the one that Bradshaw visits in the musical. The ensemble of performers walks between the club’s levels with unique costumes and awe-inspiring gaits, playing live music and dancing for audience members before they enter the seating area. There are three levels of the “club,” or the stage, and each one has a distinct atmosphere. The stage itself is in-the-round, meaning it is a circular stage with seats on all sides. There are tables surrounding the edge of the stage, where audience members are invited to eat and drink as they enjoy the show, further reinforcing a club-like atmosphere in order to imitate the one presented in the musical.

The drinks and snacks on sale are, admittedly, incredibly expensive, perhaps symbolizing the astonishing inflation that occurred in Germany after World War I. During the shows, the actors often interact with the audience members at their tables, even inviting some on stage during intermission. The live orchestra sits on the balcony with the second-floor seating rather than in an orchestra pit, which creates a sense of intimacy and excitement. However, Cabaret’s artistic designs, influenced heavily by the West End production, do have room for improvement and thought. The choreography is intriguing, albeit overly sexualized, and the same can be said for the costume designs. Relative to previous revivals, I was disappointed by the finale of the musical, which was adapted to illustrate a completely different message and took away some of the awe-factor that made me fall in love with the musical in the first place. Nevertheless, the actors do a phenomenal job of portraying the storyline. The role playing of the Emcee by Redmayne and Henry Gottfried’s charismatic depiction of Ludwig are all genius details. Put together by Rebecca Frecknall, the show’s impressive director, these minutiae depict the deceptively lighthearted, yet horrifically haunting, plot of the musical. The show continuously attempts to pull you into a relaxing state in order to distract from the brutal treatment of Jews that occurs throughout the show—as Bradshaw remarks in the finale, “It was the end of the world, and I was dancing with Bowles, and we were fast asleep.”

A large number of people who watch musicals go in completely blind; I do the same from time to time. The adrenaline of discovering something new and getting to experience a novel soundtrack is incomparable. However, Cabaret is a show I recommend researching before you enter the theater. Though there is not much I can describe without spoiling it, I was astonished at the reception of the musical by the audience. There are moments in Cabaret that make you wonder, “Should I be clapping right now?” I remember one notable moment at the closure of Act One, when the audience’s applause was almost as thunderous as it was during the curtain call. Although I have watched different versions of the musical countless times, the revival’s actors repeatedly continue to leave me speechless. The audience, however, seemed a little too enthusiastic when themes of fascism and antisemitism reached the stage, with laughter and clapping often littering the seats.

Ironically, the critics reviewing the show tend to display their ignorance in their negative articles as well. A notable critique of the show is that Rankin performed too wildly for their taste, becoming such an obscure and eccentric character that it made them uncomfortable. What they fail to recognize, though, is that this personality is intentional—the original script of Cabaret, premiering in 1966, describes Bowles as having a noticeably husky and unenjoyable singing voice, but a performance and appearance appealing enough to keep the audience intrigued. When this is taken into consideration, Rankin’s depiction of Bowles is executed exceedingly well.

Though there is much to be said about the deeper analysis of Cabaret, such as the original production’s set, which included a mirror as the backdrop, or the club’s name in the original script being the “Kit Kat Klub,” the show’s message is a timeless one. The reception somewhat proves the point of the musical, which is to give the audience such a good time that they almost miss the message. The best is said by Bowles in the show’s title number, “Life is a Cabaret Ol’ Chum.” The original ending of the musical best portrayed the extent of this message—each character is revealed to be on one side or the other, portraying how a conflict that is seemingly irrelevant to you may potentially affect you and the people around you. Cabaret is a powerful and timeless commentary on how society would rather revel in their own good fortune than take action against others’ misfortune, encouraging others to do the same, thus displaying the brutal results of society’s oblivion. Considering the political and social unrest occurring today, I would recommend everyone to watch this beautiful musical to gain a different perspective on our roles in an ever-oppressive society.