Review:
Performance:
"Cabaret"
Review by John Frame (
Opening
night performance
Director: BT McNIcholl (Original production director: Sam Mendes)
Cabaret is based on the play by John Van Druten and on short stories “Berlin Stories” by author (and
gay man) Christopher Isherwood
Starring: Toby Allen (Emcee), Lisa McClune (Sally
Bowles), Ian Stenlake
(Cliff Bradshaw), Henri Szeps (Herr Schultz), Judy Connelli (Fraulein Schneider),
Musical Direction: Guy Simpson
I'm sure the significance
of Cabaret opening on the same day war started in
Cabaret was originally a stage show, but the Sam Mendes producton
is also quite different from Bob Fosse's film in several respects - but
especially (for us) in that the homosexual elements are both surprisingly up
front and frequent. There are also gay men and lesbians spread liberally
throughout the cast and crew.
I wasn't really convinced about any romance, let alone sex happening between
Sally Bowles and Clifford Bradshaw, but maybe the chemistry will change when
Ian Stenlake is performing opposite his real life
wife Rachael Beck in a few weeks. Lisa McCune tries very hard - but there's not
much time on stage for her character to really develop.
For me the winners of last
night's performance of Cabaret were:
- Toby Allen who gets lots of work to do as Emcee and fulfils every demand with
aplomb and finesse. He is certainly beefy, a universe away from the film
version’s Joel Grey – and his body makes a lot of promises I'm sure he can
keep.
- Judi Connelli who acts
beautifully and sings up a romantic storm.
- Henri Szeps who is faultless and
emotive, falling immediately into convincing character.
- Tyler Coppin who wins your
support early as the apparently amiable German, (“Welcome to
- the versatile orchestra / chorus who are truly
outstanding - whether dancing, acting or playing music.
There is hometown interest
as well in regard to Ian Stenlake (proudly claimed by
La Boite Theatre) and our widely acclaimed diva Judi Connelli.
When you’ve seen the film version umpteen times over the last 30 years, and
know every nuance it contains, it’s impossible not to use it as a benchmark. I
believe that the film is clearly more cohesive as a narrative – succeeding
through concentrating on just two characters and giving them real depth (via
great actors at their peak). However the stage show has the advantage of
large-as-life spectacle, a stirring combination of fine live performance and
musicianship, and excellent choreography. The set design also enables very
rapid transitions and allows us a subdued view of the orchestra in action – and
as the Emcee says “even the orchestra is beautiful!”
Cabaret closes with a
noteworthy anti-fascist statement (which was particularly appropriate to
today's political actions), and drew a very well deserved and extended standing
ovation.
Cabaret plays at QPAC for 6 weeks before heading to