Life is a Cabaret: A Review of the West End Production

“Where are your troubles now? Forgotten.” So you would think, however the current West End production of “Cabaret” starring Katherine Langford and Adam Gillen only heightened my troubles and worries about the future of American politics with an eerier than usual interpretation of the famous musical “Cabaret;” based on the 1939 novel, “Goodbye to Berlin” written by Christopher Isherwood and the 1951 play “I Am A Camera.” Though you perhaps may be more familiar with the 1972 film adaptation starring Liza Minelli and Joel Grey directed by Bob Fosse himself. The show is currently playing at the Kit Kat Playhouse theater in London, and I highly recommend anyone in the area or just stopping by to allow themselves the pleasure of witnessing such a fantastic performance. Gracefully dancing the thin line between comedy and horror. Enough housekeeping, let’s get into my review of the "Cabaret" West End Production. Grab a drink, get comfortable while you can because I am sure some of your readers won’t be so cozy by the end of this. 

I owe this delightful evening at the theater to a spontaneous decision between my friend Emma and I who are currently traveling around bits of England. Two days ago while we were staying in Canterbury we decided it would be in our best interest to see a show, when we couldn’t get tickets to “Wicked” at the Apollo Victoria Theater I thought what a perfect time to see “Cabaret”- not only because I am such a fan, but because I was dying to see Katherine Langford’s debut as Sally Bowels. The show began as soon as our tickets were scanned at the entrance and our phone cameras were covered with stickers - not that anyone should be recording anyway, but the stickers heightened the immersion of the experience. As we entered the Kit Kat Club we were greeted by a combination of green and red lights, beautiful headshots of former cast members- including Eddie Redmayne. After a short walk down a narrow corridor, we were stopped by a mini bar offering shots of gin (or vodka, I honestly don’t know… also these were optional). Continuing on we went to yet another bar where I ordered a double Tanqueray Gin and Tonic with lime, meanwhile an accordion player and a violinist played beautifully alongside a fantastic dancer. While walking through the playhouse the Prologue is being performed around you, through dance and song. It was a lively, connective experience that really kick started the energy to direct you into the auditorium for the rest of the show to unfold. It seems obvious but experiencing performances without other people’s phone cameras in the way is far more enjoyable and comfortable in my opinion.

We found our seats and immediately I was overcome with excitement and vitality. The dancers paraded around the space in beautiful harmony with the musicians as the audience flocked to their seats interacting with one another. The set design was both practical and imaginative, focused on drawing attention to the center. Eventually the lights dimmed and a staccato fanfare began as a spotlight hit center stage revealing the Emcee, played by Adam Gillen. One of my absolute favorite opening numbers, the production design, the costume design and makeup gagged me- brilliant direction and fabulous use of a turntable with the choreography. We briefly meet Langford as Sally Bowels and act one is off with a bang. The entire cast was phenomenal, truthfully, they were so connected it felt like one moving piece as everyone added their own flare and personality. Clifford Bradshaw played by Daniel Bowerbank offered a naivety to the stage, a curious novelist blinded by hope while still possessing intense masculinity. Frauline Schneider, played by Sally Ann Triplet, offered a master class in dynamics and physical comedy. Langfords vocal work was impeccable. The engagement to the party scene created an echoing silence throughout the theater when Ernst, played by Fred Haig, revealed his Nazi armband- simple and effective. Herr Schultz played by Fenton Gray offered a traditional, yet whimsical performance that broke my heart. As the cast sings together, the initial sense of terror fills the stage while planting seeds for the second act. Throughout act one, Emcee transforms from a puppeteer to a jester, decorated in hints of teals and reds to black and white with a clown painted frame by the end. 

Act two begins with abrupt tonal shit, eerie, fearful, alert following the joyfully distracting entract; almost blinding you for what's soon to come. We are brought back to the world we recently left, only this time with darker chaos. Our Emcee has shifted from jester to a full blown clown accompanied by a gorilla. As the second act progresses he loses the paint and becomes a bystander to the nazi party, with bright blond hair and a colorless face and red tie; the use of red incites fear subtly due to its connotation. Frauline Schneider has called off teh engagement to Herr Shultz in fear of being tied to the Jewish community. Mr. Bradshaw is fleeing to America which he imagines to be a safe haven, meanwhile Bowels is returning to the Kit Kat Club for any sort of comfort she can cling onto after losing her baby. We are in complete disarray, and yet somehow find time to be entertained. Langford’s performance of Cabaret is absolutley gut-wrenching, the power she delivered with minimal direction and choreography was a testiment to her technical skill as an actor. “What good's permitting Some prophet of doom. To wipe every smile away. Life is a Cabaret, old chum, Come to the Cabaret!” The end of act two was breakneck as we see the once colorful characters trek timidly across the stage alongside Mr. Bradshaw as he begins his journey to Paris, when the Emcee returns one last time to begin the finale. The entire cast joins together on the stage to rub salt in the wound. The entire cast circles MC and Mr. Bradshaw in matching suits, alluding to forfeiting their individuality and beliefs for a false sense of security. “Where are your troubles now? Forgotten.” A powerful cut to black, leaves us and the cast hanging in silence only for a moment to let the room breathe before an explosion of applause. The production design of this show was so captivating and kinetic, it felt like a character itself. Absolutely spectacular direction from Rebecca Frecknall, set and costume by Tom Scutt, and choreography by Julia Cheng. 

Truly an emotional rollercoaster performance, emphasizing the threat of politics and division through fear, reflecting anti-semitism and the culture of the 1930s leading to World War II. Some would consider this to be a warning, to prevent history from repeating itself, but unfortunately this show and its message may fall on deaf ears. So allow me to add my final thoughts as this show, and other interpretations of “Cabaret” relate to the current political state of the world. It would take an ignorant person to see this interpretation of “Cabaret” and not draw parallels to the state of American politics, and the divide in which it creates through hatred. Political parties in America are no longer separated by policy, as people in red hats continue to spew sexist, racist, homophobic rhetoric. Feeling safe to do so as their elected official tolerates such hatred himself. Those who choose to live in ignorance or complacency are not fools, to sacrifice others rights for their own comfort is a privilege. Mr. Bradshaw leaves Berlin after he realizes just how serious the future is for those opposing the Nazi regime, meanwhile others like Sally Bowels or Frauline Schneider stay in hopes of being spared the realities soon to come. Even Herr Schultz chooses to stay in Berlin, as a jewish man himself, accepting his fate or fearing the consequences of running away. As we see in “Cabaret”, those who choose to deny the harsh truths that surround them are just as guilty as those who assist in creating them, it also does not grant them immunity from violence. A lively display of individuality, humanity, and community in act one transforms into a morbid depiction of conformity in act two with a blatant undertone of both fear and acceptance. The Emcee wears a beige suit with a red tie and a bright blond wig, his demeanor has shifted from welcoming to warning as we descended into darkness. We follow as the Emcee emerges as a puppeteer, to jester, to finally a victim of his own fate. We have the choice to stand up for ourselves and our neighbors in times of uncertainty and chaos, or we can sacrifice the rights of others for the possibility of security. “Cabaret” is a timeless show that reflects the state of politics and cross-cultural experiences. You can try to escape the reality of politics through sex, song and dance (and gin), but eventually you have to go home. To say this show didn’t leave me feeling a little uneasy would be a lie. I highly recommend going to see this performance for yourself, if that isn’t possible please watch the film available on Tubi and understand where I am coming from. My heart yearns for live theater, if you would like more reviews like this please let me know- it’s an excuse to go see more shows! Till next time, consume media with intention and watch how it reflects the worls around you. “Life is a Cabaret old chum, come to the Cabaret.”

Cin Cin,

Paige B.