Should Eddie Redmayne and Jessie Buckley’s ‘Cabaret’ come to Broadway?
nypost.comwho was nominated as Best Supporting Actress for “The Lost Daughter” — and the aforementioned spittle incident went down at the new West End production of “Cabaret” in London.It wasn’t a loogie of outrage (although me being a critic, perhaps it was), but an outgrowth of the wild unpredictability of Sally Bowles, the troubled British singer who plies her trade at Berlin’s seedy Kit Kat Club.After Sally was introduced by Eddie Redmayne’s Emcee during “Willkommen,” Buckley ran up to my balcony seat and fluttered her salivated lips like a baby who didn’t want her carrot puree. “So that’s why I had to take a COVID test to be here,” I figured.The A-list show, which is up for 11 Olivier Awards on Sunday, tries to differentiate itself with that brand of breathing-down-your-neck intimacy and immersion.
And, at first, director Rebecca Frecknall’s trick works splendidly.We enter the theater through a side corridor bathed in green light, are handed a shot of schnapps (ew!) and watch subversive lobby acts from scantily clad dancers and musicians.The lascivious prologue brings to mind the off-Broadway run of “Natasha, Pierre & the Great Comet of 1812.” On Broadway — sources say the musical would like to come to the Hudson Theatre — the preshow antics would be a union nightmare.
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