Willkommen, bienvenue, welcome to Cabaret
Cabaret - Schauspielhaus Kiel, 08th April, 2012
and some Räuber Hotzenplotz before in the afternoon
I had not intended to see Cabaret as I had seen so many different productions before but earlier this week plans I had for Easter Sunday evening fell through and a return in the third row in the otherwise sold out show appeared I changed my mind. I am actually glad I went at end, as, while certainly not the best production I have seen of that show, a fantastic day as I also got to see the wonderful Räuber Hotzenplotz in the afternoon which returned after its break this week and which was so much fun.
Robber Hotzenplotz - Torsten Hammann
Kasperl - Jan Radermacher
Seppel - Manuel Ettelt
Grandmother/Fairy - Annic-Barbara Fenske
Constable/Sorcerer - Timo Riegelsberger
Seeing my beloved Jan Radermacher back onstage who has now nearly totally recovered from his voice problems he had a few months ago (oh gosh, how he made me cry during his and Manuel's duet being touched by his performance) and the others really made my day and I got reminded why I loved the show so much (yes I know it is more a kids' show still well written) during its first run a few months ago.
With the cast so much on fire it was easy anyway. Especially the combination Manuel and Jan is just an utter treat - could the two do a two man show as the ones I saw over the last months? I can just picture it to be most entertaining.
Really looking forward to more shows in the next two months - just hope they manage to get better prosthetic adhesive some time as at this show Timo lost his sorcerer' beard after Markus Richter did a few times during the last run. The adlibbing from him and Jan though was hilariously priceless! ;-)
This show was just what I needed before I was off to Kiel.
It was my first time I was at this theatre. I have been to the opera before which I am not a fan of but this rather modern theatre (what comfy seats ;-) ) is lovely.
Cabaret is the annual musical production of the playhouse ensemble which I am not a fan of when straight actors do musicals as they too often do not deliver and in this production they could only convince me to some extent. Most of the press reviews were most positive but I do not know what they can compare it to but as said I have seen so many productions that I know what the capability of this show is.
Official cast listing on theatre website:
Sally Bowles - Jennifer BöhmRobber Hotzenplotz - Torsten Hammann
Kasperl - Jan Radermacher
Seppel - Manuel Ettelt
Grandmother/Fairy - Annic-Barbara Fenske
Constable/Sorcerer - Timo Riegelsberger
Seeing my beloved Jan Radermacher back onstage who has now nearly totally recovered from his voice problems he had a few months ago (oh gosh, how he made me cry during his and Manuel's duet being touched by his performance) and the others really made my day and I got reminded why I loved the show so much (yes I know it is more a kids' show still well written) during its first run a few months ago.
With the cast so much on fire it was easy anyway. Especially the combination Manuel and Jan is just an utter treat - could the two do a two man show as the ones I saw over the last months? I can just picture it to be most entertaining.
Really looking forward to more shows in the next two months - just hope they manage to get better prosthetic adhesive some time as at this show Timo lost his sorcerer' beard after Markus Richter did a few times during the last run. The adlibbing from him and Jan though was hilariously priceless! ;-)
This show was just what I needed before I was off to Kiel.
It was my first time I was at this theatre. I have been to the opera before which I am not a fan of but this rather modern theatre (what comfy seats ;-) ) is lovely.
Cabaret is the annual musical production of the playhouse ensemble which I am not a fan of when straight actors do musicals as they too often do not deliver and in this production they could only convince me to some extent. Most of the press reviews were most positive but I do not know what they can compare it to but as said I have seen so many productions that I know what the capability of this show is.
Official cast listing on theatre website:
The Emcee - Imanuel Humm
Clifford Bradshaw - Rudi Hindenburg
Ernst Ludwig - Marko Gebbert
Fräulein Schneider - Claudia Macht
Herr Schultz - Werner Klockow
Frau Kost - Eva Krautwig
Kit Kat Girl - Victoria Fleer
Kit Kat Girl - Maxine Kazis
Kit Kat Girl - Luisa Rhöse
Kit Kat Girl - Melanie My Rosas
Kit Kat Girl - Caroline Schwind
Kit Kat Girl - Lara de Toscano
Sailor - Morten Daugaard
Sailor - Andreas Gräbe
Sailor - Johannes Kiesler
Sailor - Ben Knop
Sailor - Marco Knorz
One of the guys though is apparently usually playing one Kit Kat club girls and I know that at least one of the girls Lara de Toscano (there were four girls plus the guy playing the Kit Kat girls) and one of the guys (Andreas Gräbe) were not there so I am not sure how the casting exactly works at this production.
When you enter the auditorium you feel directly inside a cabaret club with the set being rather open onstage, the small orchestra pit has been used to put a couple of tables there where people from the audience (but one table later used for show where Cliff was placed) sat being served drinks - funny it was as when I got there it was actually Marco dressed as a boy from the club serving the drinks as can be seen on one of the pictures below. God, how "shocked" I was/must have looked like but to see that big smile on this guy's face was straight away capturing me. The show title is spelt out by large letters across the stage with the middle letters B - A - R in the middle directly on the part of the stage used largely for the performances and the others fixed on the side with the band being above the stage. 20s/30s music is played (how many Comedian Harmonists songs did I hear??) and disco ball style lamps etc. giving the auditorium some night club atmosphere - so it is "Willkommen, bienvenue, welcome to the kit kat klub (and not Club(!) as some people tend to write - notice what the abbreviation would be?).
The Emcee appears from behind the B with a make up reminding of the joker in Batman and off we go. It's certainly a good start with him and especially the talented dancers onstage performing a slight ridiculous choreography that lacks occasionally the extravagance and sexual explicitness for me reminding more of an acrobat number in a Cirque du Soleil show but due the excellence of the dancers having great nuances that is well compensated.
Imanuel Humm as the Emcee certainly has stage presence and a capable voice with good comic timing to make the role believable most of the times though once in a while am wishing him being more diabolic and frivolous lacking also some campness and eroticism I so want to see and have in the past. The weight though seems clearly to be ona more impishly and dark naughty performance transitioning from carefree to harsh in parallel to the rise of the Nazi Party in the course of the show delivering his final welcoming speech at the end of the show rather frightening.
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| ©Olaf Struck |
In the next scene we then meet the American writer Cliff Bradshaw and the German Ernst Ludwig who both travel on a train to Berlin. The set, rather simple but effective, is largely hidden behind the three big letters CAB with the C hiding the train compartment (just the fruit shop isn't). Both are coming across as nice guys though with Ernst using Cliff to smuggle something it is clear that all is good but for the moment it just seems all is a happy place.
Rudi Hindenburg as Cliff stays the rather one dimensional nice guy during nearly the end of the show in this production which is a shame as other productions have explored the character more especially the whole issue about Cliff's sexuality is totally lost. There are a few teasing comments from Sally about this guy from the kit kat klub calling a few times and them having an affair but that is totally blocked off by Cliff. In past productions Cliff was variously straight, gay & bisexual, the last revivals though made him gay but in Germany usually that is not explored at all which I find a shame as this subtext highlights his status as an outsider. Unfortunately with this not part of his role there is not much else added to the character, he is mainly just NICE. I so wanted directing to give him more but that was not the case.
Rudi plays that though with a lot of heart, you believe him, whatever his sexuality is, that he cares for Sally however she treats him though though it is also believably played how he is torn about his emotional feelings and the responsibility he thinks he has (even if he cannot be sure about fatherhood) and when is wants to leave Berlin behind he can actually show off how to be eager, upset and disillusional.
Rudi Hindenburg as Cliff stays the rather one dimensional nice guy during nearly the end of the show in this production which is a shame as other productions have explored the character more especially the whole issue about Cliff's sexuality is totally lost. There are a few teasing comments from Sally about this guy from the kit kat klub calling a few times and them having an affair but that is totally blocked off by Cliff. In past productions Cliff was variously straight, gay & bisexual, the last revivals though made him gay but in Germany usually that is not explored at all which I find a shame as this subtext highlights his status as an outsider. Unfortunately with this not part of his role there is not much else added to the character, he is mainly just NICE. I so wanted directing to give him more but that was not the case.
Rudi plays that though with a lot of heart, you believe him, whatever his sexuality is, that he cares for Sally however she treats him though though it is also believably played how he is torn about his emotional feelings and the responsibility he thinks he has (even if he cannot be sure about fatherhood) and when is wants to leave Berlin behind he can actually show off how to be eager, upset and disillusional.
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| ©Olaf Struck |
Next is the boarding house Ernst suggested to Cliff for accommodation run by Fräulein Schneider, a woman past her prime who finds simple pleasure in her friendship to the local Jewish fruit-shop owner & tenant in her home Herr Schultz. Their relationship is then in act 1 further enhanced by the gift of a pineapple (we are in 1930 and not 2012 so it is something rather special and extravagant) from Herrn Schultz to Fräulein Schneider aand later by a simple, heartfelt marriage proposal by Herrn Schultz. Unfortunately due to especially some interference from Ernst Ludwig commenting on this relationship as Herr Schultz is Jewish it is called off in act 2.
Both Claudia Macht and Werner Klockow are most adorable. Certainly both not strongest singers but when you get passionate actors I can live with that. Werner Klockow's Herr Schultz is so proud, so charming, so (foolishly?)full of hope even when he is faces with attacks blaming kids but also fragile and self-conscious at the same time as when he is courting Fräulein Schneider. I thought it was such a shame that Herr Schultz' "Meeskite" was cut as it eplains some moments in act 2 and matches "If You Could See Her Through My Eyes". Claudia Macht who minces over the stage in her high heels creating laughs in the audience is of equal high standard lending the part a touch of real sadness and insecurity especially when she makes the decision that due to the prejudice sweeping Germany to call off the engagement.
Completing the main characters is Eva Krautwig as Fräulein Kost who is unfortunately as in most productions played as a stereotype who there just for laughs about sailors & sex. Yes, she is entertaining so I can enjoy her performance but Fräulein Kost is more as all about being a survivor. Left with nothing but herself she saw no other choice to sell herself to make a living. The only time when the character gets some more depth when she starts to sing the reprise of "Tomorrow Belongs to Me" at the end of act 1. (The part of Max has been reduced to pretty much just an extra which is not a bad decision.)
And then the show is back to the kit kat klub where Cliff celebrates NYE 1929/1930 and gets to meet Sally who moves in with him the following day and who turns out to be the biggest disappointment of the show for me.
Vocally adequate being trained in acting and singing apparently she could certainly hold a tune most of the time though clearly had problems with higher ranges but her Sally is just all over the place. Certainly a person can have different facets but she delivers such an inconsistent performance even in the briefest scenes. I was already put off by her during her first big Cabaret numbers “Don’t Tell Mama” – a loud laughter here and there, rolling eyes and a gesture here and there just not enough to perform this usually sexy enthusiastic Lolita style number and that she is in general unsexy as hell does not help either. Not sure whether this is due to lacking directing or her though with the kit kat girls around here often doing the same gestures and movements having more appeal in their little fingers for me it is clearly more her. “Mein Herr” the number after unfortunately showed the lacking vibrancy again but being more a desperate slag as during these ridiculous ads you might come across on cable TV. Ouch.
Where is the strong personality, the enthusiasm, the guts, the vulgar elegance and eloquence? For me she was mainly just loud with grotesque facial impressions even when it later in the show gets a bit more emotional, nothing wrong with outward expressions but these are so one dimensional . Yes Sally is IMHO rather naïve, fun and free-loving with a hot temper too often and not actually wanting to face the real life but to be such a farce? I do not think so and have never come across in any of the other seven productions I have seen. Especially the arguments later with Cliff seem just studied and not felt while her counterpart puts in so many emotions, directing clearly could have tried to tease out more passion here out of Jennifer’s performance.
Her “Maybe This Time” totally lacked that too. Yes nicely, but not more (Sally Bowles is an English so why is this song sung in English with what I assume Jennifer’s “normal” German accent, it made me CRINGE) sung with the odd squeaking but I want to FEEL through her face, her body just a glimpse of what she is actually singing but nothing not even nothingness.
I was also not impressed by the positioning of that song as it was sung after Fräulein Schneider returned the engagement gift and Cliff wants them to leave Berlin but she goes back to the kit kat klub performing that number (instead of the usual “I Don’t Care Much” by the Emcee which was put back in the last revivals) there as a Cabaret number singing “Maybe this time, I'll be lucky, Maybe this time, he'll stay, Maybe this time, For the first time, Love won't hurry away”. For me it was the only decent chance to give Sally some kind of honest emotions but it is totally wasted with putting it there. At least her “Cabaret” was done more adequate in a brittle, strained way up to the last verse of the song when she just started to scream the number which I did not believe – why would Sally, who showed so little emotions suddenly burst into screaming? Again, directing or her, I cannot judge, just that I was not impressed by what was delivered. “I Don’t Care Much” would have been a much better choice anyway as it serves perfectly the mood and the shallowness of the whole moment and of the kit kat klub. If you haven’t seen the show before maybe you are okay with such a performance but when you having seen the most incredible performers in that part you know what the role can be like.
Vocally adequate being trained in acting and singing apparently she could certainly hold a tune most of the time though clearly had problems with higher ranges but her Sally is just all over the place. Certainly a person can have different facets but she delivers such an inconsistent performance even in the briefest scenes. I was already put off by her during her first big Cabaret numbers “Don’t Tell Mama” – a loud laughter here and there, rolling eyes and a gesture here and there just not enough to perform this usually sexy enthusiastic Lolita style number and that she is in general unsexy as hell does not help either. Not sure whether this is due to lacking directing or her though with the kit kat girls around here often doing the same gestures and movements having more appeal in their little fingers for me it is clearly more her. “Mein Herr” the number after unfortunately showed the lacking vibrancy again but being more a desperate slag as during these ridiculous ads you might come across on cable TV. Ouch.
Where is the strong personality, the enthusiasm, the guts, the vulgar elegance and eloquence? For me she was mainly just loud with grotesque facial impressions even when it later in the show gets a bit more emotional, nothing wrong with outward expressions but these are so one dimensional . Yes Sally is IMHO rather naïve, fun and free-loving with a hot temper too often and not actually wanting to face the real life but to be such a farce? I do not think so and have never come across in any of the other seven productions I have seen. Especially the arguments later with Cliff seem just studied and not felt while her counterpart puts in so many emotions, directing clearly could have tried to tease out more passion here out of Jennifer’s performance.
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| ©Olaf Struck |
I was also not impressed by the positioning of that song as it was sung after Fräulein Schneider returned the engagement gift and Cliff wants them to leave Berlin but she goes back to the kit kat klub performing that number (instead of the usual “I Don’t Care Much” by the Emcee which was put back in the last revivals) there as a Cabaret number singing “Maybe this time, I'll be lucky, Maybe this time, he'll stay, Maybe this time, For the first time, Love won't hurry away”. For me it was the only decent chance to give Sally some kind of honest emotions but it is totally wasted with putting it there. At least her “Cabaret” was done more adequate in a brittle, strained way up to the last verse of the song when she just started to scream the number which I did not believe – why would Sally, who showed so little emotions suddenly burst into screaming? Again, directing or her, I cannot judge, just that I was not impressed by what was delivered. “I Don’t Care Much” would have been a much better choice anyway as it serves perfectly the mood and the shallowness of the whole moment and of the kit kat klub. If you haven’t seen the show before maybe you are okay with such a performance but when you having seen the most incredible performers in that part you know what the role can be like.
What is though amazing is the ensemble. Unlike the leads all (I think) trained musical performers, several fresh from drama school graduating in 2011. Dealing with the choreography and some often rather unflattering and so not 20s and 30s style costumes they show off so much passion and fun that you can just find them irresistible and delightful. I actually find it sad that such talent is wasted when thinking that one of the girls could have played Sally Bowles much more convincing showing their capabilities more in two minutes as in "Two Ladies". While I had not so many issues with the male casting still seeing wonderful talents as Marco and Morten Daugaard who at least was the solo singer of "Tomorrow Belongs to Me" with the other three joining in being underutilised was rather saddening me though happy that got to see some back onstage anyway knowing several talents not getting jobs in musicals but the casting being rather dodgy with in house opera and actor ensemble members.
The band conducted well by Ture Rückwardt (who was also the Max extra) and which was for whatever reason dressed as women (not even in a sexy way but just plain, while shiny, women's clothes had the right drive and which was never too loud or too quiet (a too common issue in local theatres) that it was certainly a treat listening to them.
Well overall a more or lessenjoyable evening despite some for me not understandable directing decisions as it is not the harsh, shocking and bizarre production it could be (and I have seen), especially with the material as the songs being of top notch quality, and a very poor Sally Bowles but with this incredible ensemble, a wonderful set and an impressive band the show is certainly worth a visit but not more than one.
Set prior to show:
