Various reviews from the Nottingham run of Cabaret 10th-15th September 2012
Nottingham Confidential - Source
As if Cabaret the musical didn't have enough to offer already with its irresistible tale of 30s Germany's hedonistic excesses, two love stories, those forever-fantastic Kander and Ebb numbers, and the looming nightmarish political backdrop, this current revival adds even more jaw-dropping thrills, interpretations and shocks that keep coming and tumbling on and right out at you with its astoundingly imaginative staging and choreography and a superb cast, including Michelle Ryan, Will Young and Sian Phillips, who sizzle so hot, they threaten to catch fire at any moment.
You've seen her do cockney and bionic now watch her sing, dance and do posh, Michelle Ryan is funny, sweet and charming, has a very lovely voice and pulls off the sensationally inventive and acrobatic dance routines with great flair, cartwheeling and sweet-talking her way into aspiring novelist Clifford Bradshaw's affections and bedroom. Beautiful, with a perfect figure, confidentially, we'd liked to have seen more things done with her costume and a more defined unique look created for this girl who could so easily carry anything off.
The biggest revelation is an almighty Will Young, who explodes onto stage in all sorts of ways that you've never seen him before or could even imagine. It's the performance of a lifetime, he cavorts and preens and gyrates and thrashes around and teeters from unnerving to frolicsome to terrifying. Like a man demented and possessed, he beguiles and pouts and wails and rants- oh, and he can sing too. If you're not a Will Young fan he will win you over and wow you forever, if you are a fan you get to see him in leather hotpants, it's a win-win situation.
A surprisingly mostly middle aged and middle of the road audience didn't in fact seem that surprised at all by the full frontal (and rear) nudity, guy on guy snogging and drug taking, enthusiastically responding to the hugely entertaining, emotionally charged, sinister and dark edged fairground grotesque carnival atmosphere of this exceptional show.
From Sally Bowles' brilliantly intricate entrance Mein Herr, to the hilarious bottomless-bed setting of Two Ladies, the petrifying puppetry of Tomorrow Belongs To Me and the chillingly unforgettable finale, it's a musical theatre masterpiece, a spectacle of epic and awesome proportions, confidentially, whether you happen to be rich or not, we don't care where you get the money, just do whatever it takes and buy a ticket for this show (and get ready to get on your feet for the ovation at the end.)
As if Cabaret the musical didn't have enough to offer already with its irresistible tale of 30s Germany's hedonistic excesses, two love stories, those forever-fantastic Kander and Ebb numbers, and the looming nightmarish political backdrop, this current revival adds even more jaw-dropping thrills, interpretations and shocks that keep coming and tumbling on and right out at you with its astoundingly imaginative staging and choreography and a superb cast, including Michelle Ryan, Will Young and Sian Phillips, who sizzle so hot, they threaten to catch fire at any moment.
You've seen her do cockney and bionic now watch her sing, dance and do posh, Michelle Ryan is funny, sweet and charming, has a very lovely voice and pulls off the sensationally inventive and acrobatic dance routines with great flair, cartwheeling and sweet-talking her way into aspiring novelist Clifford Bradshaw's affections and bedroom. Beautiful, with a perfect figure, confidentially, we'd liked to have seen more things done with her costume and a more defined unique look created for this girl who could so easily carry anything off.
The biggest revelation is an almighty Will Young, who explodes onto stage in all sorts of ways that you've never seen him before or could even imagine. It's the performance of a lifetime, he cavorts and preens and gyrates and thrashes around and teeters from unnerving to frolicsome to terrifying. Like a man demented and possessed, he beguiles and pouts and wails and rants- oh, and he can sing too. If you're not a Will Young fan he will win you over and wow you forever, if you are a fan you get to see him in leather hotpants, it's a win-win situation.
A surprisingly mostly middle aged and middle of the road audience didn't in fact seem that surprised at all by the full frontal (and rear) nudity, guy on guy snogging and drug taking, enthusiastically responding to the hugely entertaining, emotionally charged, sinister and dark edged fairground grotesque carnival atmosphere of this exceptional show.
From Sally Bowles' brilliantly intricate entrance Mein Herr, to the hilarious bottomless-bed setting of Two Ladies, the petrifying puppetry of Tomorrow Belongs To Me and the chillingly unforgettable finale, it's a musical theatre masterpiece, a spectacle of epic and awesome proportions, confidentially, whether you happen to be rich or not, we don't care where you get the money, just do whatever it takes and buy a ticket for this show (and get ready to get on your feet for the ovation at the end.)
The Yorker - Source
A musical juxtaposing Naziism with love in and around a cabaret in 1931 Berlin is not for the faint-hearted, with flashes of both male and female nudity, a brutal beating up scene and Hitler all breaking up some tremendously catchy musical numbers. Put this mixture of the hilarious and poignant together with Will Young as the runaway star of the show, the emcee, and the whole audience was enraptured in a whirlwind of emotions.
Will Young was seemingly born to play the emcee, with his high, slick voice, animated facial expressions and stage presence; he pulled off everything that was needed from him in his first musical theatre role and more. It took little more than for him to make a sceptical or surprised face on stage for the audience to titter- even when it was supposed to be a serious moment (a criticism of the audience, not the show!) If I were to list my highlights of the night (and that of the majority of the audience, judging by the general reaction), it would be an inventory of the emcee’s songs: 'Two Ladies', 'The Money Song', 'If You Could See Her' and, of course, 'Wilkommen', the bookending song that is likely to be the tune everyone is humming at the end. Of course, another highlight is the surprise appearance of Young’s bottom at the very end of the show- though hard to be too excited about this at the time due to the heartrending scene on stage, everyone was rather gleeful about it as soon as the curtain came down!
However, Young wasn’t the only star on stage; Michelle Ryan, most famous for her role as Zoe Slater in Eastenders, also made her musical theatre debut as the female star of the show, Sally Bowles. Despite some cynicism over her worth on stage and as a singer in particular, she was definitely better than was generally expected, strongly holding her own during the title song 'Cabaret', belting it out without fear. Although the emphasised British accent and earnest gestures were sometimes slightly grating, she has made this a smooth and perhaps long lasting transition into the world of the stage. Her performance was especially impressive in light of the fact that the actor playing her leading man, Cliff Bradshaw, with whom she shares the vast majority of her scenes, was not the normal actor or even his understudy, but an outsider whose biography was inserted into each programme: Henry Luxemburg. Although displaying the only noticeable slip-ups of the night, he was still largely very smooth and cool, displaying empathy and a likeability factor, despite the fact he barely sings a line, unusual for a leading man in a musical.
It would be impossible to review this show without mentioning the flawless band, whose display to the audience at opportune nightclub moments was an ingenious design idea, and the lighting which constantly added mood and character to the scenes in a subtle but knowing way. The simple set of beds, doors and ladders is brought to life by the excellent ensemble and their mesmerising approach to the choreography. It is obvious that a lot of hard work has gone into this show to make it its best, and it has definitely been worthwhile for all involved.
This production is currently partway through a four week national tour that still has to stop at Nottingham, Norwich and Salford before a West End residency at the Savoy for several months. If you can tear yourself away from our beloved York, this is a must-see!
A musical juxtaposing Naziism with love in and around a cabaret in 1931 Berlin is not for the faint-hearted, with flashes of both male and female nudity, a brutal beating up scene and Hitler all breaking up some tremendously catchy musical numbers. Put this mixture of the hilarious and poignant together with Will Young as the runaway star of the show, the emcee, and the whole audience was enraptured in a whirlwind of emotions.
Will Young was seemingly born to play the emcee, with his high, slick voice, animated facial expressions and stage presence; he pulled off everything that was needed from him in his first musical theatre role and more. It took little more than for him to make a sceptical or surprised face on stage for the audience to titter- even when it was supposed to be a serious moment (a criticism of the audience, not the show!) If I were to list my highlights of the night (and that of the majority of the audience, judging by the general reaction), it would be an inventory of the emcee’s songs: 'Two Ladies', 'The Money Song', 'If You Could See Her' and, of course, 'Wilkommen', the bookending song that is likely to be the tune everyone is humming at the end. Of course, another highlight is the surprise appearance of Young’s bottom at the very end of the show- though hard to be too excited about this at the time due to the heartrending scene on stage, everyone was rather gleeful about it as soon as the curtain came down!
However, Young wasn’t the only star on stage; Michelle Ryan, most famous for her role as Zoe Slater in Eastenders, also made her musical theatre debut as the female star of the show, Sally Bowles. Despite some cynicism over her worth on stage and as a singer in particular, she was definitely better than was generally expected, strongly holding her own during the title song 'Cabaret', belting it out without fear. Although the emphasised British accent and earnest gestures were sometimes slightly grating, she has made this a smooth and perhaps long lasting transition into the world of the stage. Her performance was especially impressive in light of the fact that the actor playing her leading man, Cliff Bradshaw, with whom she shares the vast majority of her scenes, was not the normal actor or even his understudy, but an outsider whose biography was inserted into each programme: Henry Luxemburg. Although displaying the only noticeable slip-ups of the night, he was still largely very smooth and cool, displaying empathy and a likeability factor, despite the fact he barely sings a line, unusual for a leading man in a musical.
It would be impossible to review this show without mentioning the flawless band, whose display to the audience at opportune nightclub moments was an ingenious design idea, and the lighting which constantly added mood and character to the scenes in a subtle but knowing way. The simple set of beds, doors and ladders is brought to life by the excellent ensemble and their mesmerising approach to the choreography. It is obvious that a lot of hard work has gone into this show to make it its best, and it has definitely been worthwhile for all involved.
This production is currently partway through a four week national tour that still has to stop at Nottingham, Norwich and Salford before a West End residency at the Savoy for several months. If you can tear yourself away from our beloved York, this is a must-see!
This is Nottingham - Source
ANYONE turning up expecting to see Cabaret done Will Young-style will be in for a short sharp shock.
It's clear from this show that the lad doesn't just sing love songs for a living but is a consummate all-rounder, acting - indeed hamming it up - as the Emcee of the seedy Kit Kat Club.
He's loving it so much you could even believe Will Young was born to this role. He even seems completely at ease with his nude scene. And that's great news for a show that's touring four regional venues before embarking on its big West End run.
It's a mature performance from the man everyone wants to see, ten years on from his Pop Idol win.He's perfectly cast, white-faced and manic, resembling one of Hogarth's grotesques as his role brings a chilling reminder of the changes affecting Berlin and Germany in 1931.Will's clearly enjoying himself and deserves his share of the standing ovation at the final curtain.
His co-star Michelle Ryan has a silky strong singing voice but doesn't quite bring the gusto we'd hope for as Sally Bowles.She works neatly with Clifford Bradshaw (played by Henry Luxembourg) as we follow their developing relationship through the inter-war years as Nazism slowly rises in Berlin.
We're treated to a string of top-notch well-known numbers as both jump aboard the helter-skelter anything-goes lifestyle of the party set. Will's The Money Song, Michelle with Cabaret and some touching melodies as we begin to see how Sian Phillips' Fraulein Schneider might have a future with Jewish Herr Schultz (played by Linal Haft, who although he has a string of stage, TV and big screen credits, will be forever Maureen Lipman's son in the BT ads).
As we lose ourselves in the plot and mayhem of the debauched Kit Kat Club, it comes as something of a shock when Ernst Ludwig (Nicholas Tizzard) takes off his overcoat to reveal a swastika armband. And that's where the lives of both couples begin to unravel.
ANYONE turning up expecting to see Cabaret done Will Young-style will be in for a short sharp shock.
It's clear from this show that the lad doesn't just sing love songs for a living but is a consummate all-rounder, acting - indeed hamming it up - as the Emcee of the seedy Kit Kat Club.
He's loving it so much you could even believe Will Young was born to this role. He even seems completely at ease with his nude scene. And that's great news for a show that's touring four regional venues before embarking on its big West End run.
It's a mature performance from the man everyone wants to see, ten years on from his Pop Idol win.He's perfectly cast, white-faced and manic, resembling one of Hogarth's grotesques as his role brings a chilling reminder of the changes affecting Berlin and Germany in 1931.Will's clearly enjoying himself and deserves his share of the standing ovation at the final curtain.
His co-star Michelle Ryan has a silky strong singing voice but doesn't quite bring the gusto we'd hope for as Sally Bowles.She works neatly with Clifford Bradshaw (played by Henry Luxembourg) as we follow their developing relationship through the inter-war years as Nazism slowly rises in Berlin.
We're treated to a string of top-notch well-known numbers as both jump aboard the helter-skelter anything-goes lifestyle of the party set. Will's The Money Song, Michelle with Cabaret and some touching melodies as we begin to see how Sian Phillips' Fraulein Schneider might have a future with Jewish Herr Schultz (played by Linal Haft, who although he has a string of stage, TV and big screen credits, will be forever Maureen Lipman's son in the BT ads).
As we lose ourselves in the plot and mayhem of the debauched Kit Kat Club, it comes as something of a shock when Ernst Ludwig (Nicholas Tizzard) takes off his overcoat to reveal a swastika armband. And that's where the lives of both couples begin to unravel.