Review: CABARET Makes A Timely Return To The Australian Stage As Beneath The Delicious Debauchery Of Weimar Germany It Remains Frightfully Current
By: Jade Kops Feb. 05, 2017
Saturday 4th February 2017, 2pm, Hayes Theatre, Potts Point.
John Kander and Fred Ebb's legendary CABARET comes to life in fabulous intimacy at Hayes Theatre under the direction of Nicholas Christo. Having celebrated 50 years since CABARET debuted in New York on 20th November 1966, the return to the stage of this love story, set against the transition from the Hedonistic days of the Weimar Republic to the early days of the Nazi Germany, is both entertaining and a timely reminder to a world facing an uncertain future.
Given the intimate space of Hayes Theatre, Nicholas Christo (Director) has opted to turn the audience into the patrons of the Kit Kat Klub. Production Designer James Browne has flanked the raised stage with cabaret tables, complete with lamps and the telephones that would allow the patrons to talk to the Kit Kat Klub Girls or guests at other tables. The proscenium arch bears evidence of damage from the First World War and the murals on the walls comprise not only faces, places and the occasional exotic animal but also newspaper headlines and an ominous zeppelin airship. The small stage, bordered by caged bulb footlights with a backdrop of an illuminated archway to the Band pit remains relatively unadorned throughout. Browne has drawn on the idea that each dancer has their own unique personality and their costume becomes synonymous with them, only making small variations from their base attire except for the Engagement Party scene when they get away from the Kit Kat Klub. He has also drawn a contrast between the dancers, in corsets, fishnets, frills and lots of bare flesh and the more 'respectable' characters such as the dowdy black dress for the spinster Fraulein Schneider and dapper suits for the Herr Schultz, Clifford Bradshaw and Ernst Ludwig. Sitting on the edge between debauchery and respectability, the Master Of Ceremonies (Emcee) has an elegant tailcoat and slicked finger wave fringe, paired with leather pants, corset and bondage harness.
Artistic Director David M Hawkins has opted for Harold Prince's 1980's revival script which sees Clifford given more intrigue and complexity, drawing on the personal persuasions of Christopher Isherwood, the author of the stories on which CABARET is based. Christo has presented the work from Clifford's eyes, implying that for Isherwood to have written the stories, he had to be present to see them unfold, thereby keeping Clifford close, if not immersed, in everything that unfolds. He gives the Kit Kat Klub, and in particular it's Emcee, a larger than life mysticism as Clifford is lured into the dark underworld of scantily clad dancing girls, booze and much more but the shine wears off as time progresses and he learns more about his adopted residence, its politics and its people.
As the central character, Jason Kos is a wonderful fit for the bright eyed, seemingly innocent, writer from America, Clifford Bradshaw. Kos has the 'boy next door' handsome looks and a gentleness that plays well to Clifford's confusion and awe of the world in which he's found himself. The show's run, which commenced in on the 9th of January does however seem to be taking its toll on his vocals but he maintains the American's accent well throughout.
As Clifford's love interest, Sally Bowles, Chelsea Gibb is outstanding. She captures the damagEd English showgirl with an innocence and optimism and delightful energy. Ensuring that parallels with the movie are minimised, Gibb presents Sally with red waves and a fresh faced, lighter look, not the black bob from Isherwood's Goodbye to Berlin. She has a solid vocal and an expressive physicality whilst also being able to blend into the chorus line when needed. Her Don't Tell Mama is captivating and her Cabaret is heartbreaking.
Of the minor roles Marcus Graham brings a confident oiliness to the smuggler Ernst Ludwig and Debora Krizak gives Fraulein Kost a world weary disinterest from years on the game causing the prostitute and dancer to be dead on the inside. John O'May presents the Jewish Fruit seller a gentleness and optimism in the face of the impending Nazi regime whilst Kate Fitzpatrick's Fraulein Schneider has a gravelly fatigue as she manages her boarding house.
The stand out performance however comes from Paul Capsis as the Emcee. A role that fits Capsis so perfectly, he infuses his delicious physicality into the role to say so much with just a look or a flourish of his hand. Already having a reputation as a Weimar style Cabaret performer with a somewhat eccentric, unique look, the role of Emcee seems like an extension of Capsis' personal performance style whilst capturing the nuance of the changing political climate affecting the early 1930's Berlin. His vocals are bold and carry the gravitas required of the Master of Ceremonies, with an expression of weariness from repetition, as an Emcee presenting the same show night after night would experience, but without showing signs of fatigue.
Whilst the Sydney season is apparently sold out, it is worth checking daily to see if any seats become available and registering your interest in a return season, or if you can't wait, booking a trip down to Melbourne to catch the show in May. This is a thoroughly entertaining performance that immerses the audience in the experience of a Berlin Kabarett. CABARET is also a timely reminder of the perils of blindly agreeing to a government regime that seeks to segregate and discriminate and falsely believing that things can't be that bad and that Governments will only last so long, so how bad can things get.
Sydney
9th January - 5 March 2017
Melbourne
From 27th April 2017
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