| re: Cheered in London; Jeered on Broadway | |
| Last Edit: Delvino 11:20 am EDT 04/22/24 | |
| Posted by: Delvino 11:13 am EDT 04/22/24 | |
| In reply to: Cheered in London; Jeered on Broadway - Zelgo 10:42 am EDT 04/22/24 | |
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| It's difficult to make a sweeping generalization, but a friend and I discussed Cabaret Fatigue. The show's power has always been its immediacy, its ability to collapse time, revisit the horrific past through a unique sliver of a prism. But are there significant discoveries left for most audiences? With the film's imagery in the culture, the Emcee's visage and sneer iconic commentary, and the last iteration only 2015? Has it become a brand now that needs "updating" with outre fetishistic trappings, immersion, cocktails with names derived from songs, elitist prices? I'm biased. I saw the original staging at 16, the first national when it played DC. As Joel Grey has stated, and I paraphrase, the original Prince production trusted the show itself: text, lyrics, recreated authenticity, to do the heavy lifting, historically and emotionally, integrated world building the result. All of that is now a mere foundation, underpinnings atop which new levels of adornment (some say invention, others, particularly this morning, excess) can stretch the piece into an entertainment that provides opportunity for directorial signature. I'm not arguing against whatever brilliance is at work in the import. But it may be a harder piece of musical theater to freshen in a compelling way. It never needed pre-shows and structural adjustments to facilities, just a company that told its story with passion. Still, revivals are always welcome, since for many, this new iteration will be a first; Cabaret may reach people in mysterious new ways. If it doesn't fascinate everyone, that may have been the mistake in turning the West End staging into an unmissable event. All that said, this morning of head scratching over reviews, my bet is: it will likely still be a box office phenom. |
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