Various reviews from the Southampton run of Cabaret 3-8th September 2012
Daily Echo - Source
IT’S Willkommen, Bienvenue, welcome to Southampton for Will Young.
The celebrated singer/songwriter turned successful actor made his musical theatre debut last night on The Mayflower stage ahead of a West End run in Cabaret.
Perfectly cast as the enigmatic Emcee, he cuts a camp yet menacing figure as he oversees the transformation of early 1930s Berlin into a sexually charged haven of decadence each night as the master of ceremonies at the infamous Kit Kat Klub.
Former EastEnders star Michelle Ryan also makes her first foray into musical theatre, recovering from a disappointing stint in Hollywood as the Bionic Woman to put in a stunning performance as leading lady Sally Bowles.
A sultry, dark and somewhat disturbing reimagining of the double award winning production, Cabaret runs until Saturday.
A week-long Southampton stint is the first in a limited four-week run at a handful of UK venues before the show transfers to London’s Savoy Theatre in October.
IT’S Willkommen, Bienvenue, welcome to Southampton for Will Young.
The celebrated singer/songwriter turned successful actor made his musical theatre debut last night on The Mayflower stage ahead of a West End run in Cabaret.
Perfectly cast as the enigmatic Emcee, he cuts a camp yet menacing figure as he oversees the transformation of early 1930s Berlin into a sexually charged haven of decadence each night as the master of ceremonies at the infamous Kit Kat Klub.
Former EastEnders star Michelle Ryan also makes her first foray into musical theatre, recovering from a disappointing stint in Hollywood as the Bionic Woman to put in a stunning performance as leading lady Sally Bowles.
A sultry, dark and somewhat disturbing reimagining of the double award winning production, Cabaret runs until Saturday.
A week-long Southampton stint is the first in a limited four-week run at a handful of UK venues before the show transfers to London’s Savoy Theatre in October.
Listed Mag - Source
It’s divine decadence darling!
Set in Berlin, the capital city of Germany in the 1930s, ‘Cabaret’ charts the tale of a group of people who feel they are under no obligation to conform to discipline, order or frugality. Instead, they choose a life of remarkable extravagance and independence. With a ‘devil may care’ attitude and cocaine very much in fashion, the prostitutes and topless dancers found themselves swiftly flourishing in the highly popular cabarets and bars.
Currently showing at The Mayflower Theatre in Southampton (for one week only!) prior to the West End, Will Young and Michelle Ryan make their musical theatre debuts in ‘Cabaret.’ This is a seriously impressive rendition of Kander and Ebb’s landmark musical!
Will Young stars as Emcee, the puppeteer of the theatre that is Berlin and its inhabitants. Pulling the strings and orchestrating the cabaret, Emcee reveals the different levels operating in the musical. He showcases the political undercurrents and the poignancy of love interests within the story.
No doubt much of the audience were enticed to the theatre last night by the mention of Will Young and they would not have been disappointed! Both his theatrical performance and his musician-ship were faultless. His velvet voice resonated around The Mayflower to rapturous applause. With the exception of one highly inappropriate wolf-whistle when Will removed his trousers, his musical theatre debut went down a storm; it was very easy to suspend any ‘Pop Idol’ connections and believe whole-heartedly in the devilish and flamboyant character he was playing.
Michelle Ryan of Eastenders fame, met Will’s vocal abilities and combined Liza Minnelli-esque ‘va va voom’ with unique charm and vulnerability. Despite her tough exterior, Sally Bowles is a lady desperate to hold onto any man willing to love her, but eventually she gives it all up for a life of (supposed) glamour, cocaine and partying. It is the love story between Sally and Cliff which propels the narrative forward and twists and turns through the political undercurrents of the Berlin setting.
Make sure you get your tickets! ‘Cabaret’ will be showing at The Mayflower until Saturday 08 September before moving to a handful of other UK venues and then finally moving to London’s Savoy Theatre in October.
It’s divine decadence darling!
Set in Berlin, the capital city of Germany in the 1930s, ‘Cabaret’ charts the tale of a group of people who feel they are under no obligation to conform to discipline, order or frugality. Instead, they choose a life of remarkable extravagance and independence. With a ‘devil may care’ attitude and cocaine very much in fashion, the prostitutes and topless dancers found themselves swiftly flourishing in the highly popular cabarets and bars.
Currently showing at The Mayflower Theatre in Southampton (for one week only!) prior to the West End, Will Young and Michelle Ryan make their musical theatre debuts in ‘Cabaret.’ This is a seriously impressive rendition of Kander and Ebb’s landmark musical!
Will Young stars as Emcee, the puppeteer of the theatre that is Berlin and its inhabitants. Pulling the strings and orchestrating the cabaret, Emcee reveals the different levels operating in the musical. He showcases the political undercurrents and the poignancy of love interests within the story.
No doubt much of the audience were enticed to the theatre last night by the mention of Will Young and they would not have been disappointed! Both his theatrical performance and his musician-ship were faultless. His velvet voice resonated around The Mayflower to rapturous applause. With the exception of one highly inappropriate wolf-whistle when Will removed his trousers, his musical theatre debut went down a storm; it was very easy to suspend any ‘Pop Idol’ connections and believe whole-heartedly in the devilish and flamboyant character he was playing.
Michelle Ryan of Eastenders fame, met Will’s vocal abilities and combined Liza Minnelli-esque ‘va va voom’ with unique charm and vulnerability. Despite her tough exterior, Sally Bowles is a lady desperate to hold onto any man willing to love her, but eventually she gives it all up for a life of (supposed) glamour, cocaine and partying. It is the love story between Sally and Cliff which propels the narrative forward and twists and turns through the political undercurrents of the Berlin setting.
Make sure you get your tickets! ‘Cabaret’ will be showing at The Mayflower until Saturday 08 September before moving to a handful of other UK venues and then finally moving to London’s Savoy Theatre in October.
The Edge - Source
I went to the theatre slightly apprehensive as I wasn’t quite sure what to make of a musical with a cast consisting of an ex Eastenders actress and the winner of a pop star reality show. Most shows that go down the route of having famous faces as their headline stars tend to go down badly, but it is safe to say thatCabaret has done the complete opposite, offering an excellent rendition of the Kander and Ebb classic, Cabaret!
Cabaret takes place in Berlin, Germany, during 1930 and 1931 depicting the uprising of the Nazi’s and the unfortunate demise of cabaret with many directors and performers of cabaret actually being taken to concentration camps. This does not mean, however, that Cabaret is a morbid and depressing story - it is a show of great comedy, flamboyance and love.
Will Young does a fantastic job in catching the audiences’ attention and making them focus solely on him while cast and crew work in the background creating a phenomenal set. It was the job of an MC in cabaret to show wit and be masters of improvisation and Young’s depiction of Emcee, the MC at The Kit Kat Club draws you in to a false feeling of truly being at the cabaret. Young also adds an excellent comedic value to the performance and I sit waiting for his next arrival.
Young plays an excellent transition between scenes, and this brings me on the point of how amazing the scenery and lighting was for the performance. Space was used excellently and, although simple, the set depicted mood and setting brilliantly. The use of cast members to move pieces of set, limiting members of crew on stage, truly creates the ambiance of this being a trip to the cabaret as opposed to a trip to see a musical at The Mayflower. The transitions are slick and I only noticed a few problems in the symmetry of set and the movement during one number but apart from this you could not fault the work of the design and technical team. The lighting compliments the set with bright bulbs used where appropriate.
To add to the feel of being at the cabaret the band were situated behind a movable screen and were only uncovered when scenes took place in The Kit Kat Club. This takes away the fourth wall and draws the audience in to the performance. In the words of Emcee ‘even the orchestra are beautiful’. At times there were a few sound issues with Young’s voice being drowned out at the beginning but this was soon rectified and was fine throughout the rest of the performance.
Michelle Ryan was the only person who disappointed me slightly. There is no doubt that her acting skills are excellent but I believe her lack in vocal talents were shown in places. I expected a lot more from her rendition of Maybe This Time but she redeemed herself when she sang Cabaret as she belts out many a note. I cannot fault her ability to portray the character of Sally Bowles I just wish her vocals were slightly stronger and in places it did look like she was lip syncing although this cannot be confirmed. I don’t know if the reason for being so critical of her performance is due to the familiarity of her Eastenders character but I do believe this detracts from simply analysing her performance on the night. She did please the crowd and received a tremendous cheer in the finale.
I can safely say that this was a well structured performance with little fault. I wanted more from the accents but you can understand the difficulty in singing with the German accent. It was actually Will Young who had the best accent from the whole cast. A mention must go to Sian Phillips for playing the instantly loveable Fraulein Schneider and I admire her portrayal of a lonely widow who just so happens to fall in love with someone society does not accept. Cabaret touches on some sensitive areas but this is done well and is depicted well as to not cause offence to any member of the audience.
Cabaret has a limited run at The Mayflower Southampton with performances carrying on until 8th September 2012. It then moves directly to the Savoy Theatre for a limited run on the West End stage. Knowing this, my expectations were high when I entered the theatre and I did not leave disappointed. Cast and crew worked effortlessly to produce a marvellous piece of musical theatre and I urge everyone to see it before it’s too late.
8/10
I went to the theatre slightly apprehensive as I wasn’t quite sure what to make of a musical with a cast consisting of an ex Eastenders actress and the winner of a pop star reality show. Most shows that go down the route of having famous faces as their headline stars tend to go down badly, but it is safe to say thatCabaret has done the complete opposite, offering an excellent rendition of the Kander and Ebb classic, Cabaret!
Cabaret takes place in Berlin, Germany, during 1930 and 1931 depicting the uprising of the Nazi’s and the unfortunate demise of cabaret with many directors and performers of cabaret actually being taken to concentration camps. This does not mean, however, that Cabaret is a morbid and depressing story - it is a show of great comedy, flamboyance and love.
Will Young does a fantastic job in catching the audiences’ attention and making them focus solely on him while cast and crew work in the background creating a phenomenal set. It was the job of an MC in cabaret to show wit and be masters of improvisation and Young’s depiction of Emcee, the MC at The Kit Kat Club draws you in to a false feeling of truly being at the cabaret. Young also adds an excellent comedic value to the performance and I sit waiting for his next arrival.
Young plays an excellent transition between scenes, and this brings me on the point of how amazing the scenery and lighting was for the performance. Space was used excellently and, although simple, the set depicted mood and setting brilliantly. The use of cast members to move pieces of set, limiting members of crew on stage, truly creates the ambiance of this being a trip to the cabaret as opposed to a trip to see a musical at The Mayflower. The transitions are slick and I only noticed a few problems in the symmetry of set and the movement during one number but apart from this you could not fault the work of the design and technical team. The lighting compliments the set with bright bulbs used where appropriate.
To add to the feel of being at the cabaret the band were situated behind a movable screen and were only uncovered when scenes took place in The Kit Kat Club. This takes away the fourth wall and draws the audience in to the performance. In the words of Emcee ‘even the orchestra are beautiful’. At times there were a few sound issues with Young’s voice being drowned out at the beginning but this was soon rectified and was fine throughout the rest of the performance.
Michelle Ryan was the only person who disappointed me slightly. There is no doubt that her acting skills are excellent but I believe her lack in vocal talents were shown in places. I expected a lot more from her rendition of Maybe This Time but she redeemed herself when she sang Cabaret as she belts out many a note. I cannot fault her ability to portray the character of Sally Bowles I just wish her vocals were slightly stronger and in places it did look like she was lip syncing although this cannot be confirmed. I don’t know if the reason for being so critical of her performance is due to the familiarity of her Eastenders character but I do believe this detracts from simply analysing her performance on the night. She did please the crowd and received a tremendous cheer in the finale.
I can safely say that this was a well structured performance with little fault. I wanted more from the accents but you can understand the difficulty in singing with the German accent. It was actually Will Young who had the best accent from the whole cast. A mention must go to Sian Phillips for playing the instantly loveable Fraulein Schneider and I admire her portrayal of a lonely widow who just so happens to fall in love with someone society does not accept. Cabaret touches on some sensitive areas but this is done well and is depicted well as to not cause offence to any member of the audience.
Cabaret has a limited run at The Mayflower Southampton with performances carrying on until 8th September 2012. It then moves directly to the Savoy Theatre for a limited run on the West End stage. Knowing this, my expectations were high when I entered the theatre and I did not leave disappointed. Cast and crew worked effortlessly to produce a marvellous piece of musical theatre and I urge everyone to see it before it’s too late.
8/10
The Portsmouth News - Source
You have to hand it to Will Young. Not only is he playing one of the most responsible roles in musical theatre, he’s doing it in tight leather shorts.
The singer is donning the saucy apparel and hitting the high notes as Cabaret’s Emcee.
The show relies on a fabulously flamboyant master of ceremonies and Young puts in a great performance as the outrageous host of Berlin’s seedy Kit Kat Club.
He’s matched by Michelle Ryan as Sally Bowles – the flighty singer who is right at home in this city of sexual freedom.
And a host of other characters, including writer Clifford Bradshaw, landlady Fraulein Schneider (Sian Phillips), and night worker Fraulein Kost are excellently delivered.
In this production the regime’s rise creeps up on the audience as the swastika and other chilling reminders gain momentum in satirical cabaret numbers and ‘real life’ scenes.
The clever blend of flamboyance and foreboding leaves you cold but with those great songs still ringing in your ears. Simply wunderbar!
You have to hand it to Will Young. Not only is he playing one of the most responsible roles in musical theatre, he’s doing it in tight leather shorts.
The singer is donning the saucy apparel and hitting the high notes as Cabaret’s Emcee.
The show relies on a fabulously flamboyant master of ceremonies and Young puts in a great performance as the outrageous host of Berlin’s seedy Kit Kat Club.
He’s matched by Michelle Ryan as Sally Bowles – the flighty singer who is right at home in this city of sexual freedom.
And a host of other characters, including writer Clifford Bradshaw, landlady Fraulein Schneider (Sian Phillips), and night worker Fraulein Kost are excellently delivered.
In this production the regime’s rise creeps up on the audience as the swastika and other chilling reminders gain momentum in satirical cabaret numbers and ‘real life’ scenes.
The clever blend of flamboyance and foreboding leaves you cold but with those great songs still ringing in your ears. Simply wunderbar!
Shall I compare a play - Source
Cabaret
(Tour - The Mayflower Theatre, Southampton)
After having a break during August, I return to reviewing with the revival tour of Cabaret. This is the first time I have seen this musical. I had only seen the film which I heard was dissimilar to the stage version. It was worrying though to see this musical being headed by two celebrities who are not entirely experienced in musical theatre.
American writer, Clifford Bradshaw (Matt Rawle), goes to stay in Berlin to find inspiration for his new novel. He meets a British singer at a cabaret called the Kit Kat Club, Sally Bowles (Michelle Ryan), and the pair begin to develop a relationship. Meanwhile Clifford's landlady, Fraulein Schneider (Sian Phillips), falls in love with a Jewish fruit-seller, Herr Schultz (Linal Haft), and the two announce their engagement. However their lives are beginning to be disrupted by the rise of the Nazi party to power. Meanwhile, the events of the musical are addressed by The Kit Kat Club's Master of Ceremonies, Emcee (Will Young), and dancers.
Having listened to several previous cast recordings, the songs in Cabaret throb with sensuous music and lyrics, and it is no different here. There was an odd moment when the song Don't tell Mama formed part of the background for a short period and the lyrics could be heard in the distance. Looking at photos from the last tour I got the feeling that the song has been cut down, which was a shame. The story itself was interesting to follow and the impending threat of the Nazi party provided a sinister side to the musical.
With a pop star starring in a well known role, one would think that this celebrity casting would not work. Surprisingly however it is Will Young as Emcee who carries the show. It is clear that he is having so much fun acting as the Kit Kat Club's odd-ball, manic, and unpredictable Master of Ceremonies that his performance was immensely enjoyable.
Michelle Ryan was lovely as Sally Bowles but she did not seem as edgy as the actresses that can be heard on the cast recordings. She acted as a playful and alluring Sally, though at times she did come off as too innocent which did not really fit the Sally who was living the pleasures of Cabaret. Matt Rawle meanwhile did well in playing a smart yet weary Clifford Bradshaw. Otherwise, the supporting romantic plot was the second best part of the production. Sian Phillips and Linal Haft displayed a tender relationship between the dignified Fraulein Schneider and tender-hearted Herr Schultz.
The world of Cabaret was minimalist in terms of sets. Rooms were basically comprised of some doorways and the occasional piece of furniture, and a number of songs were centered around one object. The stage was colored in black sheets of metal and brick in order to show the underworld of Berlin, which was strikingly being torn away by the increasing influence of the Nazis. The glamour of the Kit Kat Club came from the provocative costumes and light bulbs that adorned the wings of the stage, which combined with the singing and dancing was spectacular to watch.
I am surprised that I am saying that Will Young is the main reason why this production should be seen. The musical itself was great whilst the Cabaret songs and supporting characters created the best moments of the production. Michelle Ryan though was not as engaging in comparison to Will and I found that I preferred his scenes over hers. I would say that this production is worth seeing at a Low Full Price
Cabaret
(Tour - The Mayflower Theatre, Southampton)
After having a break during August, I return to reviewing with the revival tour of Cabaret. This is the first time I have seen this musical. I had only seen the film which I heard was dissimilar to the stage version. It was worrying though to see this musical being headed by two celebrities who are not entirely experienced in musical theatre.
American writer, Clifford Bradshaw (Matt Rawle), goes to stay in Berlin to find inspiration for his new novel. He meets a British singer at a cabaret called the Kit Kat Club, Sally Bowles (Michelle Ryan), and the pair begin to develop a relationship. Meanwhile Clifford's landlady, Fraulein Schneider (Sian Phillips), falls in love with a Jewish fruit-seller, Herr Schultz (Linal Haft), and the two announce their engagement. However their lives are beginning to be disrupted by the rise of the Nazi party to power. Meanwhile, the events of the musical are addressed by The Kit Kat Club's Master of Ceremonies, Emcee (Will Young), and dancers.
Having listened to several previous cast recordings, the songs in Cabaret throb with sensuous music and lyrics, and it is no different here. There was an odd moment when the song Don't tell Mama formed part of the background for a short period and the lyrics could be heard in the distance. Looking at photos from the last tour I got the feeling that the song has been cut down, which was a shame. The story itself was interesting to follow and the impending threat of the Nazi party provided a sinister side to the musical.
With a pop star starring in a well known role, one would think that this celebrity casting would not work. Surprisingly however it is Will Young as Emcee who carries the show. It is clear that he is having so much fun acting as the Kit Kat Club's odd-ball, manic, and unpredictable Master of Ceremonies that his performance was immensely enjoyable.
Michelle Ryan was lovely as Sally Bowles but she did not seem as edgy as the actresses that can be heard on the cast recordings. She acted as a playful and alluring Sally, though at times she did come off as too innocent which did not really fit the Sally who was living the pleasures of Cabaret. Matt Rawle meanwhile did well in playing a smart yet weary Clifford Bradshaw. Otherwise, the supporting romantic plot was the second best part of the production. Sian Phillips and Linal Haft displayed a tender relationship between the dignified Fraulein Schneider and tender-hearted Herr Schultz.
The world of Cabaret was minimalist in terms of sets. Rooms were basically comprised of some doorways and the occasional piece of furniture, and a number of songs were centered around one object. The stage was colored in black sheets of metal and brick in order to show the underworld of Berlin, which was strikingly being torn away by the increasing influence of the Nazis. The glamour of the Kit Kat Club came from the provocative costumes and light bulbs that adorned the wings of the stage, which combined with the singing and dancing was spectacular to watch.
I am surprised that I am saying that Will Young is the main reason why this production should be seen. The musical itself was great whilst the Cabaret songs and supporting characters created the best moments of the production. Michelle Ryan though was not as engaging in comparison to Will and I found that I preferred his scenes over hers. I would say that this production is worth seeing at a Low Full Price
Salisbury Journal - Source
CABARET needs two particularly strong performances to carry it off.
The roles of Sally Bowles and the Emcee are not for the fainthearted, not least because there is no escape from the comparison to Liza Minnelli and Joel Grey.
Rufus Norris’ revival of his multi award-winning 2006 production opened at the Mayflower this week at the start of a four-week tour before heading to the West End.
In the role of Sally Bowles is former EastEnders actress Michelle Ryan, while pop star Will Young plays Emcee.
Ryan has a strong singing voice and puts in a good performance, but doesn’t quite have the presence to make it brilliant. Will Young is a revelation, taking ownership of the stage from the moment the opening spotlight falls on him. You could almost hear the audience smile each time he appeared.
Stage stalwarts Sian Phillips and Linal Haft and Harriet Thorpe provide excellent support.
And Matt Rawle as Cliff Bradshaw deftly portrays the bright-eyed, eager American’s growing realisation of the horrors hiding just behind the scenery of Berlin’s 1931 Kit Kat Kabaret.
Along with Bradshaw, the audience is pulled into the desperate decadence of a city already on its knees and a people clinging to the hope that it could not get worse.
A powerful production
CABARET needs two particularly strong performances to carry it off.
The roles of Sally Bowles and the Emcee are not for the fainthearted, not least because there is no escape from the comparison to Liza Minnelli and Joel Grey.
Rufus Norris’ revival of his multi award-winning 2006 production opened at the Mayflower this week at the start of a four-week tour before heading to the West End.
In the role of Sally Bowles is former EastEnders actress Michelle Ryan, while pop star Will Young plays Emcee.
Ryan has a strong singing voice and puts in a good performance, but doesn’t quite have the presence to make it brilliant. Will Young is a revelation, taking ownership of the stage from the moment the opening spotlight falls on him. You could almost hear the audience smile each time he appeared.
Stage stalwarts Sian Phillips and Linal Haft and Harriet Thorpe provide excellent support.
And Matt Rawle as Cliff Bradshaw deftly portrays the bright-eyed, eager American’s growing realisation of the horrors hiding just behind the scenery of Berlin’s 1931 Kit Kat Kabaret.
Along with Bradshaw, the audience is pulled into the desperate decadence of a city already on its knees and a people clinging to the hope that it could not get worse.
A powerful production