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[truly talented]

As Will is so incredible in this role I 've decided to make a thread with all the reviews from this tour so they can be linked in the pinned thread.


WIMBLEDOM SEPTEMBER 21st - 30th

The Sun
Benjy Potter at New Wimbledon Theatre, London:

FEW can come close to Liza Minnelli’s portrayal of Sally Bowles in hit film Cabaret — but last night Louise Redknapp gave it all she had.She didn’t miss a beat as she stepped into Liza’s shoes and cartwheeled around the stage while belting out the hits.
Her dancing was fantastic, no doubt helped by her training on Strictly, left, last year.
And while her singing was good, at times it lacked heart and soul.......Meanwhile, the former Eternal singer’s Strictly pal Will Young stole the show as the eccentric Master of Ceremonies of Berlin’s Kit Kat Klub.
The show is packed full of sex, naked flesh and enough gags to have you laughing all the way home. But it’s a Cabaret you’ll never want to leave.

Define Arts
Cabaret, New Wimbledon Theatre :
*****
The press night vibes at the New Wimbledon Theatre last night was noticeably electric pre-show. With Will Young reprising his West End performance as the Emcee, joined by current national sweetheart, Louise Redknapp as the troubled Sally Bowles; the theatre was packed with excited theatre goers and theatricals looking for a thrilling time.

Young's performance is arguably the best Emcee the U.K. has seen since Alan Cumming at the Donmar Warehouse in 1993. The painted face enhancing the manic facial expressions which come and go in the blink of an eye, the instantly dynamic rapport with his audience; we are taken from the extreme highs of "Two Ladies" (a brilliantly staged number, full of surprises!) to the awkwardly tense close of Act One, and by the end leaving us utterly devastated. Young's performance is a fine example of meticulous attention to detail combined with a passionate intensity; and watching him flitting from flirty and fun, terrifying and threatening to truly gut wrenching is a magical experience.

There is a fine performance too from Louise Redknapp; making her theatrical debut as Sally Bowles. The role is filled with emotional highs and lows, big vocal numbers and that's before you get to the dancing. Redknapp tackles all with gusto, proving able to belt out more than a simple pop song; and it's clear once she relaxes into the role a little more, her performance will continue to grow. Compared with almost all the young female performers who have moved from pop careers into musical theatre, her performance is most certainly one of the strongest debuts in recent years.

Strong supporting performances from Charles Hagerty as Bradshaw, who brought more heart to the role than I've seen previously through his strong, rich vocal performance, and the delightful duo of Susan Penhaligon (Fraulein Schneider) and Linal Haft (Herr Schultz) whose rendition of "It Couldn't Please Me More" restores your faith in romance.

The energetic, committed cast give their all throughout; with outstanding choreography by Javier De Frutos, brought to life seemingly effortlessly by a supremely talented ensemble, and insightful direction from Rufus Norris sprinkling just the right amount of fun and glitter amidst the tragic reality of the lives of the characters in their political landscape. One shouldn't say too much about the production's conclusion, only to commend Norris' decision to risk poignancy over pizazz. It pays off, in spades.
A splendid night out, which is full of moments to make you laugh, cry and most crucially as rarely these days, to make you think. No doubt Kenwright has another successful tour on his hands.

Sardines Magazine
Diana Eccleston, 22 September 2017:

The red carpet was out at New Wimbledon Theatre on Thursday for the launch of a new national tour of the musical Cabaret. It's been loved since its inception (not by me I'm afraid!) in the Sixties and a packed house was in attendance to roar their approval.

Once a member of girl group Eternal and the 2016 runner-up in Strictly Come Dancing, Louise Redknapp has been in the headlines of late due to her marriage troubles. Is she or isn't she splitting from footballer husband Jamie, that is the question many have been asking and maybe why so many have booked for the show.

But the question I wanted an answer to was: will she be any good in the iconic role of Sally Bowles, filled in the past by such big stars as Liza Minnelli, Judi Dench, Jane Horrocks, Natasha Richardson and Samantha Barks.

Answer: just OK. She certainly looks great and can sing. But Louise only ever really scratches the surface of a character who is ballsy on the outside (a raunchy dancer in the sleazy Kit Kat Club and apparently sleeps around) and a vulnerable woman in love on the inside. Her Maybe This Time could have been heart-breaking. It wasn't. And in her show numbers she is too restrained and wholesome. More sexy please Louise!

There's no saucy chair sequence for Mein Herr and some odd swivelling about of a set of stairs which she and the other dancers manage courageously.

Undoubted saviour of the piece is Will Young, funny, menacing, bitter, crazy as the club Emcee with his clownish white face, red lips and funny walk. His Money Song is delicious.

He won awards for the role when the show (also directed b Rufus Norris) was at the Savoy and well deserved they were too.

I have always been deeply disturbed by the depravity and bleakness of Cabaret, a snapshot of the dark underbelly of Berlin as the Nazis started their rise to power in the 1930s and before they stamped out the riotous anything-goes decadence portrayed at the Kit Kat Club. Jolly it certainly isn't.

The city and world are doomed, as are the relationships we see: Sally and her American novelist lover Cliff (an assured Charles Hagerty) plus old Fraulein Schneider, at whose house Cliff lodges, and her Jewish beau Herr Schultz, a greengrocer who sweetly courts her with bags of fresh fruit. Susan Penhaligon and Linal Haft are gently romantic.

The ensemble are very good and the onstage band terrific.
But tonight, tomorrow and every night belongs to Will Young's marvellous Emcee.

Time & Leisure
Friday 22 September 2017:

Will Young gave a captivating performance as Emcee on the opening night of Cabaret at New Wimbledon theatre.

The red carpet was out and the excitement tangible throughout the historic building as Bill Kenwright's production kicked off its UK tour.

Set in 1931 Berlin as the Nazis are rising to power, it focuses on the nightlife at the seedy Kit Kat Klub, and revolves around young American writer Cliff Bradshaw and his relationship with 32-year-old English cabaret performer Sally Bowles.

A sub-plot involves the doomed romance between German boarding house owner Fräulein Schneider and her elderly suitor Herr Schultz, a Jewish fruit vendor. Overseeing the action is Emcee, the Master of Ceremonies at the Kit Kat Klub - the club serving as a metaphor for ominous political developments in late Weimar Germany.

Will Young's (Emcee) rapport with the audience was established instantly and was captivating throughout, magically and effortlessly flitting at will from charming to comedic, crazed to sinister.

Alongside an energetic and sassy cast he provided plenty of frivolity and many laughs - the hilarious 'Two Ladies' was a real treat and full of the most unexpected surprises. The cleverly worked metaphoric dance routine with a gorilla for "If you could see her" displayed the wonderful detail Young has bought to the role and was both funny and thought provoking.

Louise Redknapp also gave a fantastic performance as Sally Bowles. Her talent for dance would of course not be in question given her appearance on Strictly, but her wonderfully accomplished and believable acting alongside her vocal abilities (well above that of her girlband origins) proved she is rightfully a headliner for her talent. Perhaps a little less girl-next-door and more raw sassyness becoming of the Kit Kat klub wouldn't go amiss, but otherwise an excellent opening performance met with rapturous applause.

A sweet performance of 'It Couldn't Please Me More' by Susan Penhaligon (Fraulein Schneider) and Linal Haft (Herr Schultz) added warmth and Charles Haggerty (Clifford Bradshaw) gave a strong, well rounded performance.

The hard-hitting and powerful delivery of the story's harrowing ending left the audience moved and, especially for those who didn't know the story, provided an unexpected and incredibly moving finale.

How wonderful it is to have the magnificent New Wimbledon Theatre on our doorstep.

The Live Review:
*****
Amongst all the storyline we are often brought back to the ‘Kit Kat Club’ of which our host and master of ceremonies is Will Young who in this case is named ‘Emcee’. Will Young had already played this role in a previous staging of the show some years ago and this understanding of the role and character has certainly helped. No stranger to acting, originally a pop star he brought the humour, a fine voice and a great ability to hold his German accent throughout! A starring and memorable performance.

London Theatre Reviews:
****
Bill Kenwright’s production, directed by Rufus Norris, is exciting, enthralling and poignant! Reprising well-known motifs, while taking the heart and soul of the show to a whole new level, it serves as a reminder of just how good this piece really is and why it’s won 13 Tony awards – including best musical for the original Broadway production!

As our delightful host and Emcee, Will Young is exceptional! From the moment he appears, his warm presence and cheeky grin place you in that highly contented state that results only from knowing that a much-loved character is in very safe hands! His childlike innocence, a direct contrast to the debauchery of the scene around him, sets the paradox for the show as a whole. Without a doubt, Young carries this show. He is effortless on stage and the level of depth that he creates within the character knows no bounds. The audience are in stitches when he adlibs and close to tears during his soliloquy.

Rewritethisstory.com:
***
After Germany's defeat in World War 1, the treaty of Versaille was set out to totally humiliate the nation; inflation rocketed and the economy flew into a downward spiral. This was eventually stabilised but people had seen themselves and those around them lose everything so the idea of 'seizing the day' was adopted and Berlin became a heaving Bohemian world where you lived to enjoy the here and now. This is when we are thrown into the world of Cabaret. It's 1930 New Years Eve, a young American writer, Clifford Bradshaw has just arrived in Berlin and is ready to see what the city has to offer.

The show is a full on combination of things with dance, drink and drugs taking the lead as people relished in the decadent, censorship free lifestyle. The set by Katrina Lindsay manages to be bright and dark at the same time. There are moments of intense glitz and glam with flashing lights and moving sets but also moments of dim, dark spaces which imply what's to come as the golden age passes. The rise of fascism is extremely prevalent in Rufus Norris' production especially during the chilling final scene of act 1 when the Emcee turns into a puppet master, holding overgrown children at the end of strings as he sings the Aryan folk song Tomorrow Belongs To Me.

As the Emcee, Will Young is outstanding, suitably wacky but all-knowing at once. His comedic timing is wonderful as he soars through the notes with a sinister hint always shining through. Young is certainly the star of this show and it's clear why he was asked back to be part of the tour and his balloon clad rendition of Money was the stand out performance of the production for me.

Louise Redknapp takes on the iconic role of Sally Bowles, the British showgirl who has lost her way. Unfortunately Redknapp's performance fell flat at times; instead of showing a crumbling, emotional girl she was decadent, bold and showed very minimal signs of her struggle. At times her voice was strong but fell flat on her big number, Maybe This Time. Sally Bowles was originally written to be a somewhat second rate performer which is why she has previously been cast as an actress who can sing and opposed to a singer who can act however, Louise kind of fell in between the two and I felt a little underwhelmed.

Charles Hagerty is strong as Clifford, developing his various relationships well. His voice is incredibly strong and his performance of Why Should I Wake Up? is a stand out moment. A large part of the action has to do with Clifford's landlady Fräulein Schneider (Susan Penhaligon) and her relationship with the local Jewish fruit seller (Linal Schultz) as their normal lives begin to be put in jeopardy. The pair are great together and their affection for one another is very sweet to see.

This show is worth seeing for Young's performance and for the bold imaginative design and choreography but it needs more oomph overall.

Deviouspop.com :
Cabaret is back in town! With a planned eleven-week run in motion, Will Young and Louise Redknapp are the top billing stars in the piece and it's a welcome return for Will who has played the Emcee role two or three times prior... and once you've seen it, you can see why.

Cabaret is an all singing, all dancing Theatrical spectacal with wonderful costumes and some of the most iconic songs in Musical Theatre, for example, 'Mein Heirr,' 'Maybe This Time' and title track 'Cabaret' among others and the plot sees Cliff Bradshaw arrive in Berlin. He is a young American writer coming to work on his new novel. He meets a gentleman, Ernst Ludwig, at the station... the gentleman offers Cliff work and recommends a boardinghouse... and soon the mayhem begins. Cliff bumps into a friend from London who asks him to meet him at The Kit Kat Klub, where he is introduced to Sally Bowles and their energetic relationship... Alongside this, Cliff's landlord Fräulein Schneider has a subplot of her romance with her elderly suitor Herr Schultzhas and the perils of him being a Jewish man in the beginnings of a Nazi world...

The great thing about Cabaret is how it's really dark and mystical and layered with such grotesque, sexual behaviour. It feels like the sexual nature of the show is used as a hybrid to mask the actual horror of what is happening... for example... Will Young's character sings this wonderful number 'Two Ladies' that sees him lying in bed with two women singing of a ménage à trois and throughout the track multiple people and props make an appearance during the track (for example, a giraffes head pops out at one time and had us absolutely gagged!)... The show has a really strong, homosexual theme running throughout it... Cliff's character is evidentially a bi-sexual character who kisses one of the dancers quite early on and Sally Bowles openly asks him about an affair between Cliff and the dancer in a London club... It seems they have quite a sordid relationship as they attend lots of wonderful parties and sleep with whoever they want, when they want. Will's character Emcee is sexual ambiguous and as he works as a narrator, his sexual preference isn't particularly relevant to the plot itself, but it's easy to pick out a homosexuality from him... especially with the ending scene when he becomes quite central to the plot of the show.

There is such a bitterness with the relationship of Fräulein Schneider and Herr Schultzhas... throughout the entire show, we root for them! We want them to be together and happy and when they do end up together, there's a silent cheer that happens in the audience and when Fräulein breaks up the marriage with Herr, it's incredibly heartbreaking because, we, as the audience do not understand how two people who should be together can't be together, however Fräulein delivers an incredibly powerful speech about how she's always been doing things for herself and will continue doing stuff for herself and the fact she's a single, elderly heiress... the feminist in us applauds her for putting herself first... but the hopeless romantic in us is disappointed they don't end up together.

So... Cabaret is an incredibly dark show. The undertones of Nazi Germany interpoled with the sexual nature of The Kit Kat Club are so finely placed, you can easily forget about the horrors of the world and live life like Sally Bowles' character... but sadly, the dramatic irony of the Nazi's rise to power becomes the closing scene and it ends of a pretty intense and horrifying scene. We certainly recommend checking the show out as it plays with all your emotions and Will is absolutely wonderful in the show. I mean everyone is... but Will was particularly wonderful.



This is #Cabaret 'in all it's glory' - @willyoung is 'a treat'.

Cabaret - review
September 24, 2017
****
New Wimbledon Theatre

Will Young stars as the eccentric Emcee in the new UK tour of Cabaret.

‘Cabaret’ is running at the New Wimbledon Theatre until 30th September before embarking on it’s UK tour

When Cabaret first premiered on Broadway in 1966, it was an instant success, running for almost 3 years. At that point however, it had nowhere near the iconic status it has in musical theatre today. After a 1972 film starring Liza Minnelli and a reincarnation by director Sam Mendes in 1993, the Cabaret on tour today is almost an entirely new show to the original.

Not only does every production seem to have a different line up of songs, mixing those of the film with the original musical, but Cabaret is unmistakeably now a show for a 21st century audience. It doesn't shy away from the subjects of drugs, sex and homosexuality. They are shoved right into the audience's face, not allowing us to shy away from them.

The harshness of the Nazi regime is striking, only clearly being mentioned at the end of the first act during 'Tomorrow Belongs to Me' as Emcee gets a Hitler moustache stuck on his upper lip and reveals the swastika emblazoned bottoms of his marionette controls. Building throughout the second half, the cruelty of the Nazis is shown ever clearer until the final tableau comes which made me feel like I'd had my guts torn out. To watch the performers of the Kit Kat club all standing there naked and vulnerable as the screen slowly comes down on the Nazi's regime.

Carrying the whole show is pop singer Will Young (Mrs Henderson Presents, The Vortex), as the Emcee of the Kit Kat club. Wearing shorts that are far too tight and suspenders, Young's portrayal of Emcee is completely different to the original, tuxedo wearing portrayal by Joel Grey. He's eccentric and child-like, a treat to watch. Susan Penhaligon (A Fine Romance, Emmerdale) and Linal Haft (Ripper Street, EastEnders) are delightful to watch as Frӓulein Schneider and Herr Schultz, filling the stage with joy and a gentle warmth in 'It Couldn't Please Me More'.

Newcomer to the show Louise Redknapp, who makes her theatrical debut as Sally Bowles, didn't overwhelm me with emotion at all in the show's most well known song, 'Maybe This Time'. However, by the end of the second half, she really came into the character in the titular song, 'Cabaret'. It isn't a performance worthy of any awards, but for a theatrical debut, Redknapp does a respectable job in a difficult role to get right.

Javier De Frutos's choreography is slick and reveals so much to the story, building the world of 1930s Berlin in front of our eyes. The thrusting and grinding, incorporated with sniffing along the hand sets up the wildness that it's vital that Cabaret shows to the audience, yet contrasts well with the restricted, jazz routines of the kit Kat Club. The choreography matches well with Rufus Norris's direction, developing on Sam Mendes's 1993 direction to make it ever more moving, leading to the final tableau at the end (which I won't spoil....).

Bill Kenwright's production showcases Cabaret in all it's glory and Will Young welcomes the audience, drawing them in from the beginning to the very end. In the words of Sally Bowles, 'Life is a cabaret, old chum, so come to the cabaret.' It's worth it.

Cabaret runs at the New Wimbledon Theatre until 30th September before continuing it's tour around the UK to Blackpool, The Malverns, Cardiff, Leeds, Milton Keynes, Salford, Edinburgh, Bromley, Dublin and Brighton.


https://thewestendaudience.wixsite.com/blog


At The Theatre
Cabaret – UK Tour
25 Sep 2017/Emma McGuire/
*** Musicals, UK Tour


Life is once again a cabaret as Rufus Norris’ 2012 West End production is revived for a new UK tour. Cabaret is a musical with music by John Kander, lyrics by Fred Ebb, and book by Joe Masteroff based on the play by John Van Druten and stories by Christopher Sherwood. It is set around the Kit Kat Cabaret Club in Berlin in the 1930s and follows the club’s star Sally Bowles. This No.1 UK tour production directed by Rufus Norris perfectly captures the contrast of the extravagant Berlin nightlife and the sinister rising of the Nazis to power. It’s a slick production full of grit and glamour.

Will Young reprises his Olivier nominated role as the Emcee. He is charismatic, eccentric and delivers flawless vocals. He provides two real highlights of the show, the first being the comical number ‘Two Ladies’ which contains some brilliant physical comedy and secondly the devastatingly dark ‘Tomorrow Belongs To Me’.

Taking on the iconic lead role of Sally Bowles was Louise Redknapp who unfortunately lacked the bold, dynamic spark necessary for the role. Disappointingly her performance did not match the standard of the rest of the cast. Charles Hagerty delivers a strong, confident and likeable performance as Clifford Bradshaw. Susan Penhaligon and Linal Haft as Fraulein Schneider and Herr Schultz are a wonderful pairing and their final scene is absolutely heartbreaking. However, in this exhilarating production the ensemble are the true stars of the show. Their individuality and fearlessness as performers creates an electric atmosphere which is incredibly exciting to watch.

The choreography by Javier De Frutas is sinister, intoxicating and at times shocking. De Frutas makes bold choices which reflect the political issues of the time. Kander and Ebb’s 1966 score is timeless, still proving to be incredibly bold and moving. Combined with Tim Whiting’s great musical direction and his brilliant band the instrumentals are really quite a treat for the ears.

Designer Katrina Lindsay has created a gritty world of fantasy that you can’t help but be drawn in to.

There were a few slip ups from the principal cast but that may have been down to press night nerves. It is a shame that a tour of this standard felt the need to cast a celebrity name as it’s leading lady as her theatrical inexperience was evident throughout the show.

The last 15 minutes of the production are sinister and uncomfortable to watch but brilliantly executed and worth the ticket price alone.The ability to contrast something so spectacular with something completely uncomfortable is what is brilliant about this show. These moments are what make it a great piece of theatre. The production is not without it’s faults but it is definitely worth catching while it is touring the UK.

Cabaret is playing at the New Wimbledon Theatre until Saturday 30th September, to buy tickets visit New Wimbledon Theatre.

http://thenewestablishment.co.uk/review ... t-uk-tour/

THE NEW ESTABLISHMENT

Cabaret is a well-known musical that I hadn’t been very familiar with until recently. I only watched the original film last month, so to be seeing this new touring production soon after, I was very much looking forward to it. A Kander and Ebb classic, Cabaret follows the life of performer Sally Bowles in 1930’s Berlin as the Nazi’s are rising to power. The context and exploration of this idea is used well throughout the show, leaving a powerful message and the idea that there are two sides to every story.

I was very entertained, thrilled and somewhat haunted – in a positive way – by what this version of the show had to offer. Will Young is exceptional as the Emcee. He has done it before and it shows. He knows how the character works and lifts the energy on-stage whenever he appears – numbers such as “Money” and “If You Could See Her” are performed with depth and spot-on irony, while “I Don’t Care Much” is hauntingly beautiful. One of my favourite moments was “Two Ladies” in which the Emcee and members of the Kit Kat Klub (a wildly fantastic ensemble) get up to various group sex activities. It’s a hilarious scene to watch and how they designed the bed to be able to fit everyone in (no pun intended) was genius.

I must admit I had quite a low expectation for Louise Redknapp as Sally Bowles and regretfully, it was rightfully placed. In the original film, Liza Minnelli’s portrayal of the character I found to be super intriguing and multi-dimensional. Where Redknapp falls short is her lack of depth, she has a very “I’m doing musicals now” attitude, but ironically, very little stage presence. It felt as though she had just memorised the script and was saying and singing the contents of the show without analysing what the character would be doing at this specific moment or in each specific situation. It’s very forced and misses the mark at several moments in the show, and during “Maybe this Time” she held back on some of the bigger notes and I just wanted more, and felt she could do it, but she just didn’t push herself. The moment I enjoyed the most was the title 11’o’clock number “Life is a Cabaret” but this was mainly due to the staging and Rufus Norris’ unique direction. I would love to see the show again with a theatre professional who would really be able to do the brilliant role justice.

The rest of the cast are great too – I enjoyed seeing Charles Hagerty (as Cliff Bradshaw) again, having seen him in West End’s The Bodyguard. It’s great to see that another American actor following the likes of the talented Chris Peluso and Joe Aaron Reid, has rightfully come into his own on the London stage as a leading man (a few years ago all these guys were Broadway understudies – not that there is anything wrong with that because understudies are the best, it’s just cool to see their career progression!).

The production may not have the biggest budget, following suit of most Bill Kenright-produced tours, but it didn’t damper my experience entirely. This is a show that doesn’t need a big spectacle to help, or in some cases hinder, the material. And the material does it – it shines through, stands the test of time and is still relevant and powerful. There are beautifully written segments of music that are haunting and striking, and performed with sheer perfection by this cast and the on-stage orchestra – which we see a lot of as they suspend over the action.

Overall, Cabaret is a fun, brilliant, boundary-pushing musical, although I feel this mixed-bag production is not the fullest representation of all that the show can achieve.

This post has been edited by truly talented: 4th October 2017, 05:29 PM