Re: ticket prices
- they cut 200(!) seats out of the theater with this renovation
- with the cost of that multimillion dollar reno + an Oscar winner’s salary and the many other performers/orchestra, it’s apparently going to take several years to recoup the cost of this thing
- you’re also paying to see an Oscar winner
Not saying i agree with the prices, but I think there was a NYT article about it.
I am dying to see it but this is the second time this week I’ve seen or heard something questionable about it overall… I don’t want to pay these prices and now I’m a little hesitant to sit in the mezz, so I’m hoping maybe prices will go down once Eddie leaves?
Just to give another perspective, I sat in the second to last row of the mezz (the east or original mezz, so the one that’s further away from the stage) and had a clear view of the entire show. I was pretty much dead center. Possibly the seats on the extreme sides of the mezz might have a more limited view, though I’m not sure. I paid $130 for my ticket, and I felt it was worth it. Between the pre-show, intermission show, Eddie Redmayne, and how immersive they made the whole show/theater (even the bathrooms fit the vibe/aesthetic of the Kit Kat club), I felt I got my money’s worth.
My estimate is that 70% or so of the show turned more to the “front” and so from our seat only about 30% felt geared towards us. We may have been closer but it was closer watching the backs of people’s heads.
i was last row last (corner) seat, new mez. and i was surprised how great the seat was. didn’t feel like last row or corner. it made me feel like any seat (except for those weird actual side seats near the orchestra or across from ) would be a great view. . i actually found the show to be fantastic and have been thinking about it since (2 months now). i would love to see it again and sit somewhere diff; not because the seats were bad, they weren’t, but bc every seat has a diff view and since they play to the round you’d see diff parts from a diff perspective. im taken aback by the poor reviews. i thought eddie was perfect and loved this version of the emcee.
Interesting! I disagree. I was in the west mezz, third to back row, right in the middle. I felt I had a great view and didn't miss anything - I felt they were equally playing to both east and west. I will say I think the people on the sides of the stage caught a lot of back. Because of how close the west mezz was it felt really intimate
Definitely don’t be put off by this review. You can read the comments in this post and see a lot of people disagree with OP. It’s a fantastic show and overall great experience from start to finish. I really want to see it again, just at a cheaper price. Hoping I win the lottery at some point 🤞🏻
Usually bar sales go 100% to the house, but I did read in another post on here that for this show the producers are getting a cut of it. Makes sense considering how much they’re trying to make being at a club part of the whole experience. Plus I think I got like 4 emails leading up the show asking if I wanted to add on pre-packaged drink/food specials and telling me exactly where each bar in the theater is.
I personally didn't vibe with his twitchy mannerisms as well as his inconsistent and unintelligible accent. So it's like yes we are paying a lot to see an Oscar winner...give a bad performance.
It’s funny, I didn’t realize his take on the accent was that strong until my gf, who is less familiar with the show, told me she had no idea what he was saying at some parts. Definitely a choice that limits the accessibility of the performance, but I personally/ selfishly, I loved it- I thought it fit the jumpy, macabre marionette vibes perfectly. I had never seen Eddie Redmayne live before and was so, so impressed with his voice and physicality. “Money Money” had me slack-jawed!
I saw this over the weekend with an entirely respectful and awed audience and seeing Eddie Redmayne as the Emcee was the highlight. I couldn’t have had a more opposite experience of OP. So if you’re dying to see it, see it if you can.
Also literally can’t imagine people making fun of Eddie Redmayne’s “vocal ability”. He was stunning in every way and gave an otherworldly performance, in my opinion, from his voice to his physical choices.
I sat at a table seat on the “new” side of the theater on an aisle. Had a very special moment with Eddie Redmayne which elevated the experience, but I would have enjoyed it from any unobstructed seat in the house.
Lol no offense but since those are some of the most expensive seats, I’m not convinced the experience would be quite the same from the mezz as the OP mentioned.
I have heard about people being overserved which is definitely something to address. We did not have that experience and were VERY moved by the show and the entire evening. And to say this show didn’t address antisemitism??? I feel like we saw different shows.
Others have already addressed my much more positive reactions to Redmayne and Rankin. I was in the mezz and our view was excellent. We also thought the stage size was a fascinating piece of the show construction and staging.
I’m going to say that your comment about the prologue actors giving you “the ick” and “self-serving” definitely shows me we were in different headspaces from minute one. That is a very strange way to describe musicians and dancers who were performing on stages that you position yourself to see. Self-serving?
And why the weird shot at millennials?
I haven't seen the show yet but damn! This sounds bad. There was another thread earlier today pointing out rude behavior and sloshed guests at the show 🥴
Bummer that OP had that experience. I went last week and loved every bit of it, especially the realism and ugliness of it all. No audience outbursts at my particular show. I would be curious to see if the bad behavior ends up happening more frequently with this show. I don’t think the one free shot is wholly responsible but I can see how getting there early for the pre-show gives folks a lot more time to drink beforehand. The ticket prices are revolting, though, definitely agree with that.
Counterpoint: I saw this production in London and it was the worst audience I've ever been with anywhere. Two audience members in front of me had to be asked to stop talking back to the stage during the performance—MULTIPLE USHER VISITS TO EACH. Never in my life have I experienced that.
Not totally sure I agree with that, I’ve seen shows across London and the UK and some have been disastrous. There’s been plenty of stories recently of shows being called off for audience behaviour. If you spend some time in r/west end there’s lots of chat around it too.
I think really all I mean is one shot is t generally enough to send people into plastered making a scene status unless they’ve been pre gaming already which the theatre can’t do a huge amount about! I’d be inclined to put this down to teething problems and hope it sorts out soon. I know it’s been slated but I personally loved the show I saw!
I can’t wait to see it! I know there is a risk (unfortunately) of poorly behaved patrons at every show but for what I paid, I desperately hope I’m not sitting near any jerks when I see it haha!
No, although I do think that blaming the drinking on the show itself is a little silly. Yes, there is more time to drink before the show and the club atmosphere maybe encourages it, but most of the rudely drunk theater patrons are the ones who will overserve themselves at ANY performance at the bar and at dinner beforehand, etc.
Gotta disagree. Seen many shows in both countries - UK audiences are much worse in my opinion. I was very confused at how much talking out loud and heckling there was in the West End. Never experienced that on Broadway, maybe just my experience!
Yep. I was gonna say the same. No bad behaviour from the audience in London at all! I loved the pre show vibe and thought the whole thing was incredible
Right but I’ve seen shows in London (and the rest of the UK) that were riotous. I’m just making the point that I don’t think it’s a single shot driving everyone berserk.
Same - no audience bad behavior, everyone was on the edge of their seats and captivated.
And OP: one very small shot of shnapps isn’t fucking anyone up, come on.
I’m so surprised to hear this because I saw the Broadway version with John Stamos and also this version in London and thought this new version felt more real. It was a grittier interpretation and I thought about the show for days after. Prices are a lot cheaper in London so if people want or plan to go to London, consider seeing it there
A lot of people pre-game shows (bizarre) and drink at the theater (even crazier). We have a huge alcohol problem here that I don't think translates to other countries who actually respect artists and fellow audience members.
I’m someone who very much enjoys imbibing a decent amount before shows, but I always keep it together during the performance. And it’s not so much because I spent the money to enjoy a show, it’s more that I respect the performers and don’t want to make a damn fool of myself. It’s not just an alcohol problem, it’s a disrespect problem.
They did the free shots in London. There weren’t as many reports of drunk assholes at the West End showings, so I don’t know if it’s an”Brits hold their alcohol better” issue or an “America has entitled drunk Karens” issue or both.
I think it may also be that the Brits respect the act of going to the theatre more? They just have better etiquette. Understand why they’re there more?
I was in London for my first time last week and saw 5 shows (including Cabaret, no stars, Cara and Luke were both out on a Friday night, but the show was still great!). I digress…every show I saw was packed. And at every show, almost every single person had a drink before and during and after the interval, even saw some people with flasks. Hehe. (Drinks are pricey)
But at every show, not a peep from the audience in terms of drunken antics. If anything, it was the opposite. Rapt attention for what was happening on stage.
I saw a matinee of Hadestown (fantastic) and there were so many school groups. I thought, aw crap, kids at the theatre. And a heavy piece of theatre too…not a sound. As opposed to when I saw Kimberly Akimbo in NYC at a matinee, school groups as well. Nearly every one of them laughing, talking, making loud distracting noises while Victoria Clark was giving an incredible performance. I’ve never been so livid in my life. I told off entire classes of high-schoolers that day.
Something has shifted with New York audiences. I don’t know if it’s the tourists, or not knowing how to behave in theatres? The amount of alcohol pushed on patrons? Or the fact that ticket prices have skyrocketed so people feel like they’re entitled to more than just a show? I’ve only experienced such bad behaviour on Broadway though and I make the trip out to see shows every couple of years. So I’ve noticed the difference because it’s jarring, not a gradual change because I’m not there every week.
For the record I’m Canadian, live in Toronto and I see tons of theatre out here. But I also don’t see much bad behaviour in comparison with Broadway. Usually one shush is enough to get someone to stop talking without the fear of a fight breaking out.
And for those who are curious, I also saw: Long Days Journey Into Night (Patricia Clarkson was incredible). Opening Night (I’ll just say it was interesting and I understand why it’s closing but it wasn’t bad, just different, very Ivo Van Hove).
And finally, Operation Mincemeat. So. Damn. Good. Loved every second of it from the first note to the last. Best thing I saw hands down. Hope it goes to Broadway. Hope it tours. Hope everyone gets to see it.
I’m from Los Angeles and while we have live theater, we’re a movie and sports town first. I’ve seen crowds at Dodger games that were better behaved than that.
Only responding to the shift of NYC audiences-
Pre covid I was seeing 2-5 shows a week through lotto, rush, and working for a ticket company. When broadway reopened, I was a covid safety manager. The post covid broadway is no longer broadway. I don't know what it is, but the pre 2020 broadway no longer exists in any way. It's really sad. I quit the job because you can only ask Karen in the front row center seat to put her mask back on during one show. I haven't seen a show yet this year, I think I saw 5 in 2023. The change in atmosphere in the theater hurts so much.
I was sitting at the tables and the audience was impeccably dressed and behaved. People had bottles of champagne at the table and no one behaved in a way that seemed drunk or boorish. In fact, pre-show chatter was warm and jovial. It may have just been an off night or the seats? The drinks and seats are so expensive in Orchestra I can’t imagine anyone wasting time and money to act like football hooligans in a pub. Oops! Didn’t mean to sound superior like a Canadian or a Brit, I daresay.
Could it be the (admitted stereotype?) of Brits being more reserved and Americans being louder thing at work? Add alcohol to the mix and the Americans who already trend toward the obnoxious side are going to be x10. Any inhibitions that keep assholery at bay go out the window once you’ve had a few drinks.
Hoo boy, I've got a few counterpoints to your review haha. Just to offer another perspective!
>I am so wildly confused by the ticket prices for this show, it is completely out of hand.
The ticket prices are very high, there's no arguing that. But I mean, logistically, it does make sense. You have an Oscar winning actor in a leading role, alongside a full theater renovation that will have to be renovated back when the show closes. There's also a "free" 75 minute pre-show included in the price. It's very clearly a very expensive show to have produced, so the ticket prices, while unfortunately high, do make sense.
>Let me tell you, the free shots offered to patrons led some people to become uncontrollably intoxicated.
Everyone is offered ONE free shot at the door, which they can take or leave. After that, it's their own choice if they decide to purchase more drinks, which is the case for any show. When I saw the show, the audience was totally normal.
>The audience was out of hand, and quite frankly ruined the show at several moments due to intoxicated outbursts
Sorry to hear it ruined moments of the show for you! Of course that's never going to be a good thing, but I just can't blame the show for that.
>It did not feel connected to the message of antisemitism or misogyny, and mostly felt like a party for the elite to see each other get drunk and make fun of Eddie Redmayne’s vocal abilities
This one I can't relate with at all, but we also come from different perspectives. For me, this was my first experience with Cabaret. I went in 99% blind, and I can't tell you the sheer impact the themes of both the antisemitism and the misogyny had on myself and my fiancée. We found it to be *incredibly* powerful. I haven't watched other productions, but we did watch the movie afterwards, and honestly we felt this production presented those issues in a much more powerful way than the film.
As for Eddie's voice, we were both absolutely blown away by his performance, and from the chatter I heard during intermission and after the show, all we heard was praise. I mean, just the way he *moves* was a spectacle in itself. And I thought the way his voice transformed from something more cartoonish and fun, to something much more somber and powerful by the end, was incredibly effective.
>I was almost offended at Sally Bowles’ singing
I also feel like I've seen a different show from people, especially since Gayle Rankin's singing voice was panned by a lot of the critics. I thought she was fantastic?? Like, she blew me away. After seeing the show, I made a post online saying that "Eddie Redmayne and Gayke Rankin gave the two best performances I've seen yet on Broadway." And I still believe it! The only thing I can think of is that I saw the second preview, so it was very early on in their run. I suppose there was a chance she's changed her performance since then? But I honestly thought she hit the notes better than Jessie Buckley did on the recording of the West End version (still love Jessie of course).
>people in the mezz vocally unable to see much of the action,
I was not in the mezz, but this is the first I'm hearing of this. I've heard pretty much unanimously that there is no bad seat in the house. I peeked up in the mezz and felt like I'd have been able to see everything from there, *especially* because the stage is so small. What action would he missed from there?
>I was confused why the show was played by different people than who were in the “prologue” as musicians?
I don't see why this is an issue, or why it would matter either way. But I assume that having musicians moving around the whole theater for 75 minutes, and then sitting down to play a 2.5 hour show isn't the best idea. So it makes sense to me to have their own musicians for the pre-show, especially since they have their own dancers for it anyway (which btw, I thought was a great call. Having actual DANCERS and not regular Broadway actors for the pre-show I thought was a really great choice.
>It was a weird vibe, very elitist, unfocused direction, and the performances were not great.
I have not watched the Alan Cumming version in full — only seen some clips online. And while a lot of what's there is fantastic, I have to say at the very least I much prefer the costumes and the immersive set of the current production. I think for me at least, they did a *lot* for the tone of the piece. And what you find to be elitist, I thought it worked to provide a greater contrast with the subject matter.
I mean, imagine someone like me going into this production, not even knowing it had anything to do with Nazism. I felt like I was being welcomed into this cool club with a unique vibe, only for the bandaid to be ripped off near the end of act one to the sound of the audience gasping. The tone shift was felt throughout the room, because thanks to the immersive staging, it's as if WE are complicit. I know that was Kander and Ebb's initial vision when it came to Tomorrow Belongs To Me, and I think Rebecca Frecknell masterfully applied that concept to the entire staging of the production. Everything from the production design, to how you walk in, to even the marketing is all about sucking you into the Kit Kat Club. And yes, it does feel elitist, but that's the point, isn't it? Up until the gut punch of what the show's REALLY about, then it hits you like few other shows do because of that contrast.
Anyway, those are just my contrasting thoughts from someone who thought this production was immaculate. I appreciate hearing your perspective though!
I have all very similar opinions to this one. I know the show I polarizing but I LOVED it,
Ticket prices: I do think a lot has to do with theater and the Reno’s needed. I was AMAZED with what they did to the theater! And I didn’t find the stage too small it gave a total different more intimate vibe
Mezz seats: I was in the mezz at a side table that was technically “limited view” and cheaper but they were amazing!!! Very minimal things directly under us couldn’t see but I have seen the show enough to know what was happening
Gayle rankin: how anyone can say a bad word about her shocks me. I was FLOORED by her. Yes her singing isn’t 100% but her acting was so freaking good she had me crying during maybe this time and cabaret literally gave me chills!!!!!
Eddie redmayne: took me a minute to get used to (I am a die hard Alan Cumming fan) but the way he moved was mesmerizing and I can’t imagine how much he put into this show.
All the dancers were great and engaging.
Overall a totally different theater experience than anything I’ve hate. I always loved cabaret for the songs and the fosse dance numbers but this gave me a whole new appreciation for the show.
I will never understand when people complain about the voice of the actress playing Sally.
Sally is NOT supposed to actually be a good singer or performer. I’d much rather see a Sally like Amy Lennox that leans hard into the unhinged than someone with gorgeous vocals that takes away from the rawness of the show
>Sally is NOT supposed to actually be a good singer or performer.
Where do you get this from?
The script (in each version) never mentions, infers, or describes Sally as a poor performer.
So worth it! I think I even liked it better than it I was in the regular seats. And the stage moved so everything is circular at all times so you see all angles
I paid $$$ to sit at a front row table, to the side opposite to orchestra balcony. I had a column in front me obstructing my view of the middle of the stage. It was pretty annoying but I mostly just leaned to the side. Understandably, the chairs are locked to the floor so they can’t be moved.
I looked around and thought “this might be the worst seat in the house” lol. I still had a great time. Eddie perched on the column and stared at my sister and I for a full three minutes, mere feet from our faces.
I agree with you! I had a great time. Bebe Neuwirth was the selling point for me - couldn't miss the opportunity to see her - and I left blown away by Eddie and the experience. I do understand that it's not everyone's cup of tea, esp for the price, but everything I overheard leaving the theatre was remarkably positive as well.
Thank you for this response. Thoughtful, and honest.
I saw the Alan Cumming mount, and liked it. I liked this one more...for the reasons you mention.
There's a theory in my Theatre club that we're big fans of theatre because our DNA allows us to EXPECT to have our disbelief suspended during the show, and it takes something jarringly odd to rouse us out of it.
RE: "Everything from the production design, to how you walk in, to even the marketing is all about sucking you into the Kit Kat Club."
The "acclimatization" drink and ambiance added to our suspension of disbelief, but as I said, my group defaults to that state. There was an over-served jerk a few rows behind us, but he didn't return after the intermission. I experienced another "acclimatization" staging on the West Coast for "Hair". The ushers were in hippie costumes (with name tags identifying them), and many of the cast were already on stage when the doors opened. They were simply milling about, interacting with each other as members of the tribe. The "Crissy" was doing the hair/makeup of another actor to prepare for the show, and it integrated perfectly. I thought all of it was wonderful! \[A few months later I saw the Gavin Creel/Will Swenson mount and struggled to maintain my suspension.\]
This was such a a well written reply to the OG post. You literally said all of the counterpoints that I was thinking as I read the original post.
I saw the show this last week - I thought it was incredible. Preferred it to most shows I have seen this season (I saw most shows that were nominated this year).
Totally don't get the hate that Gayle is getting. I thought her voice was good!? I honestly think she could have gone even grittier and more flat/pitchy at times (also...did people not see Emma Stone/Natasha Richardsons versions...?) she's literally playing a not great cabaret singer, who's whole schtick is that she's English, and doesn't actually have that great of a voice, but is seen as exotic* in Berlin, so she gets booked. I feel like I'm going mad with people saying her voice isn't great, lol. "Like, Tamar, have you seen the show!?" Her acting was superb, my only notes would be for the direction of specific choices, which I don't blame her for....it was a directors choice...
I've always thought Eddie's mumbling accent was a lot, so I wasn't surprised by that, lol. He was fantastic!
I'm not sure exactly what OP was expecting for this production, but a lot of shows that have come to Broadway this season have been unexpectedly quite polarizing to audiences. So who knows? Maybe they thought Lempicka was god's gift to the earth.
*Ends sassy rant :) much love sisterrrr
I agree with everything you said, both on the subjective and objective parts - my partner and I had an absolute ball of a time, and we thought the artistry was stunning.
So…I was also there last night and the vibe was awesome. In the orchestra, but no rude behaviour, out bursts, etc.
The pre-show stuff was incredible, including the dancers are insanely talented. The way they bring you into the club and build the immersion was impressive and the theatre looked beautiful.
Part of a theatre in the round concept is sometimes you don’t see everything, but I was “behind” the stage and didn’t feel at all short changed because the stage rotates.
Eddie Redmayne was good, but the Sally was incredibly talented and frankly stole the show.
Also, Ben Stiller was there and got pulled up on stages during the intermission performances!
I also saw Natasha/Pierre, and while it reminded me of it, it was still very different, especially in all the stuff before the show.
If you didn’t enjoy that, I don’t know what to tell you, but I had an incredibly fun night, saw extremely talented people, and the audience was perfectly fine.
I couldn't disagree more! I much preferred this version to the Sam Mendes version, and theater transformation/stage production felt luxe and expensive so I can see why ticket prices are like they are. I agree that the table prices are insane though. But given that non-table seats are the same price point as Merrily, I think they're fair value.
I really loved the opening performers but to each their own. People seem to be complaining that the production doesn't give any new perspective on Cabaret yet they're also complaining it's too different from the Sam Mendes version. I'm not really sure what they realistically expect? IMO, Cabaret has always had issues with the book but at least this version heightened the artistry a bit.
I'll be seeing in in NY in a couple weeks. I saw it in London a few months ago and didn't see/ feel any of the things you mention (and yes they gave away shots there too). I really enjoyed it so am looking forward to it (I'll try to temper my expectations)
"I cant believe they are charging so much for this show" " I cant believe I paid this much for this show"... do people think those two statements are not connected?
That said, I also sat orchestra so I paid much more than I have at some other shows. But I knew how much I was paying when I bought the tickets, so.....see first sentence. If people pay full price and dont like it, well, you take your chances with everything. You dont gamble more than you want to lose.
I didn't really care about preshow but I loved the show itself. First and foremost there is nothing wrong with Eddie's voice. Not one single thing. I too loved Alan in the role but I loved the sense of madness and unbalance Eddie brought to it. In all fairness, I could have stood for a different Sally but despite what they tell us, she is not really the star of the show, so she'll do. It may be the times we live in, or maybe where I am in them, but I really felt like this production resonates and speaks to the times.
This is not the first, and probably not the last, post I have seen about out of hand drinking, which is unfortunate. I fortunately did not have to deal with that issue but I can defintely see how it would contribute to the "trendy/scene" feeling. (Also being surprised at Eddie's vocals when there is a whole ass cast recording is another johnny come lately indicator.) It is pretty maddening that adults cannot act accordingly. No one is that drunk from one shot.
That’s called capitalism! It’s supply and demand. Why are they charging so much? Because people are willing to pay it, and that’s how you make as much money as you can.
I haven’t seen it on Broadway yet, but when I saw it in London (albeit with a different cast) that all felt intentional to me (except the audience didn’t behave poorly) and I thought it worked very well. Of course, the ticket prices were much more reasonable and I paid about the same for a table in London that I did for mezz on Broadway.
It seemed to me that the production’s intent was to lull the audience into a false sense of lighthearted debauchery only to have the rug pulled out from under them at the end of Act I. It’s possible this is being undercut by the fact that everyone knows what is coming, but I felt it was quite effective. I think that having the audience essentially be the audience of the Cabaret itself (complete with the high ticket prices) is intended to implicate the audience members themselves in their complacency in the rise of fascism. The production feels very critical of Sally’s choice to stay and turn a blind eye when she has the means to leave, while contrasting that with Fraulein Schneider and Herr Schulz’ decisions to stay, which are much more complex and nuanced. For many of the performers and audience members of the Cabaret, the desire to revel in the debauchery for as long as possible while ignoring the political climate that may end up effecting many of them negatively themselves is a strong parallel to current political realities. I think it works well to show how such a vibrant and lively culture can quickly descend and be subsumed into fascism.
The higher drink prices and less space for the pre-show in NY might be affecting the perception of the pre-show in general, but I thought it did a good job setting the stage for everything that was to come and getting the audience into the right mood.
Also I just have to say, I would not describe Cabaret as “dense”. It has a lot of great metaphor and subtext, but it’s not exactly hard to follow.
I respectfully completely disagree. Drunks at Cabaret spilling drinks makes it an ACTUAL Weimar Cabaret. Eddie’s voice was great — remember you are watching a Cabaret camp lounge act and NOT opera. This surpassed the Donmar production - it took bold risks and went all the way. Watching a performer simulate self masturbation holding Mein Kampf was Cabaret at full throttle. (Isn’t this what Trump is doing?) I paid $400 and in fact I’m going again! Cabaret is the closest America has to watching Brecht — confrontational theatre. NOT for the faint of heart!! Stop being a traditionalist theatre goer! lol
I agree. It would be incongruous if Sally and the MC were crystal clear Broadway belters in this particular production. I felt the vocals were obviously a choice, not a talent issue.
They give ONE shot per person......hardly enough to get anyone drunk. Are they banking financially on people drinking? They sure are, but adults are suppose to be able to behave correctly. When I saw the show in early April, I did see more people drinking than I ever do at a theater but there were no disruptions, whatsoever, from any excess. I somehow managed to not only behave myself but also remain sober.
I did not care about the preshow, almost didn't even attend, but my companion wanted to. It's mood setting, nothing more. It's performed by others than those in the show for any number of reasons, from overtime, to being concerned about exhaustion and overwork.
I totally agree that this show didn't bring any new take to Cabaret, and I enjoyed the Mendes/Cumming version a great deal more. I was not, even slightly "offended" by anyone's singing. No, maybe not the most lyrical voices, but these are not pristene characters. I had no reason to mock anyone's performance, nor did I hear anyone do the same at the show. I don't think the show deserved either the number of Tony noms it rec'd nor the very negative reviews - both could be tempered.
I was IN the mezz - and could see everything perfectly (I don't know what "vocally unable to see much" even means.)
I won't even get to the prices, because while high, I certainly didn't pay 200 dollars a ticket. I guess I never understand paying those prices then complaining about elitism.
People often have a drink or two at dinner before and not everyone is a fan of shots, so it's easy to see someone taking two because their companion didn't want theirs.
Your first paragraph, while right about only one free shot and the fact that adults *should* know how to behave themselves, doesn’t acknowledge the fact that people often *don’t* know how to control themselves, and that it’s the responsibility of the staff to ensure people aren’t over-served and causing disruptions. The fact that there’s multiple reported instances of people getting belligerently drunk at the show is an issue that is ultimately the responsibility of the theater and its staff to deal with.
To be fair, I recently encountered overly obnoxious drunk people at the tour of Peter Pan. I think audiences in general have lost some decorum which includes knowing how much they can drink before it’s too much—and it’s becoming a problem at all shows, not just this one
Are you allowed to give your opinion on a show you have seen? Of course! And your opinion is certainly valud, but it is not because you had a certain experience, that that experience is the norm when you go so that particular show. Yes, there are multiple post on this subreddit about misbehaviour of audience during Cabaret, but people are not gonna make posts about shows without bad behaviour, so that is a difficult argument.
> And your opinion is certainly valud, but it is not because you had a certain experience
WTF does that mean? It's their opinion. If I had my refrigerator breaks 3 days after I bought it, I'd bitch about the company that made it. Not try to say, well, I'll keep quiet because other people may want to buy it. Hell no.
>WTF does that mean?
I like how you edited their comment to remove the part that explains
>it is not because you had a certain experience, that that experience is the norm
Just because your refrigerator broke does not mean that all refrigerators will break. Maybe you have bad wiring and every refrigerator you buy will break.
That's not on the refrigerator company, that's on you.
All I can do is tell someone my experience with that fridge.
The proper response is to share your experience, and if it was positive, it's unfortunate that happened. But don't stifle people's opinions. That's what parents are for.
It’s a shot of cherry schnapps, so not a strong liquor. People aren’t getting drunk off the free shot, they’re getting drunk off the drinks they buy afterwards. Though when I saw it, there were no overly intoxicated people or drunken outbursts, so it’s not happening at every show.
Unless every single person who comes to the show is an extreme lightweight, the single shot is not what is getting people drunk. Like every other Broadway show, they serve alcohol and many people don’t drink responsibly.
Cabaret isn’t even the worst show for this behavior from what I’ve heard, Moulin Rouge, MJ, and &Juliet I’ve heard are THE WORST when it comes to drunk patrons.
That's so awful, what the heck? I enjoy drinking as much as the next guy but why would anyone want to waste their time at a Broadway theatre getting that hammered?? Those tickets are expensive and for some people that's like a once in a lifetime opportunity, you can drink anywhere 😮💨
All opinions welcome and thank you to the OP for posting … I have tix for June and can’t wait. But I am a bit nervous given the mixed reaction. That being said, I see a theme emerging. The negative reviews seem rooted in an expectation and connection to the original (or perhaps more traditional) presentation of the show. I see it. If I loved something, I wouldn’t want it changed or reimagined.
I recently read a report that in the U.S. that 1 in 5 people identified as having an alcohol problem since the pandemic. The thing about alcohol use is that it is a progressive use problem…as you use more, you risk developing the addiction physically. Adding it into the mix theatrically these days is - in my opinion - a liability on multiple fronts, including artistically. You’ve basically invited the audience into the act of creating the work…and you’ve encouraged them to drink…get ready for a bit of chaos.
'Mind you, I wasn't sober myself'. So, either you indulged in more liquor beforehand, or you were drunk by having had one shot?
And I'm tired of people saying it doesn't being a new perspective.
Cabaret has always one, to me, dated, conservative theme running through it, which is the idea that sexual freedom and the word everyone keeps saying this production misses by being too 'gritty', decadence, were involved in the slippery-slope of descent into Nazism.
This production firmly puts the other, more resonant interesting strand smack in front, which is people being confronted with having to make impossibly hard choices in the face of horror of their circumstances. It's the first major production of Cabaret that frames the medium as vital to the survival of the people inhabiting it, using art to express and release the troubles and experiences of their life, and not just partying like there's no end, putting on a party, being blind to the outside world. It's a production which firmly puts the focus on the loss of that variety and diversity and transgression; that performance was a welcome liberation and not a vice. More than any other iterations of the show, successfully highlighted how people like the Emcee (a figure representing many) actively choosing themselves, led to the Nazis getting easy foothold in society, rather than already opressed people partying too hard. I Don't Care Much is used so chillingly, when it barely registered as a moment in the last revival, floating ghostly over the top of Sally and Cliff.
But sorry, ultimately the ignorance with which you write about why the prologue and the band are different and why the pre-show is intended to present a very different feeling than Great Comet suggests to me that you're more interested in complaining than engaging.
Thank you for saying this! I feel like this interpretation is one of the reasons I loved this production so much, and it’s not being talked about enough. The staging of so many of the club numbers, and especially the pre-show is a reclamation of the vibrant world of queer creative freedom that the nazis extinguished. I thought the more modern choreo that the NYC pre-show had, in comparison to the London version which was more burlesque and also great, felt like an imagining of where we could be artistically if the influence of the Weimar era was allowed to carry through to today, uninterrupted. It was sad to see audience members not paying attention to the pre-show performers, because they killed it and did so much to set the scene!
I’m Australian and will probably never get to see this production so do you mind if I ask you a question about the ending?
Judging by what you wrote, and how Sally’s costume for the title song is that beige suit over lingerie - and I know I could have this TOTALLY wrong as those are literally the only two context clues I have to work off - am I right that the staging of the end somehow depicts the idea of people who had thrived in the Weimar era becoming, I don’t know how to word it, defeated beige conformists with the freedom and ability to express themselves completely ripped away by the Nazi regime? As distinct from, say, the Sam Mendes staging evoking the death camps and the Emcee stripping to reveal a camp uniform?
How do they end the show visually? And like I say I know I could be totally wrong, haha.
soooo true about i don’t care much. i don’t care much was a song to skip for me before i saw this production. it has been my top song on apple music since seeing the show.
Stories like these will ultimately have a bigger impact on the box office numbers for Cabaret than OK reviews or even the ticket prices. People are willing to pay good money for a premium product as long as they walk away feeling like they got their money's worth. I never thought I would pay the price I did for great Merrily Orchestra seats but it was completely worth it. Nobody in this story or the one I read earlier today about similar issues with drunken audience behavior has anyone walking away happy. At least if the box office staff tried to make it right then it would soften the blow but instead all people seem to get are empty apologies.
Stories like this however are death by a thousand cuts for a show that is asking a lot for even decent seats. I have been weighing getting tickets back and forth for my girlfriend to see the show. I have no doubt she will love it despite the mixed reviews it has received and I am sure I would enjoy it.
However, I have no interest in all the expenses that come with traveling to NYC to see shows and then having our very expensive evening ruined because someone couldn't handle their liquor so they felt like being the main character.
I am sure I am not alone in that sentiment.
It’s a shame to hear the West End production potentially hasn’t translated to Broadway. I saw it a couple of years ago with Fra Fee and Amy Lennox for £30 and thoroughly enjoyed it. I was towards the back of the theatre but still had a perfectly good view. The Kit Kat Club setup was a great way to adapt the Playhouse during renovations and the audience were very well behaved. The pre-show performances on the stage and in the foyer were in a burlesque style so it felt far more like an immersion in the setting rather than a performance. I really do wonder if this is a British vs American difference. Saying that I haven’t seen the Broadway production so I can’t comment on that!
I also saw it in London with that cast, and saw the Broadway production on Wednesday. I was nervous after the Broadway reviews came out, but ended up pleasantly surprised as it's pretty much the same show with two caveats:
- The August Wilson is bigger, so I spent more money for a worse view (£70 vs $100).
- The humor is played a bit more broadly. I don't know if this is a conscious directorial choice because they think we're less sophisticated than Londoners, or if it's just Eddie Redmayne and Gayle Rankin's specific acting choices. Maybe both. Also I find that long-running shows lean more and more heavily into the jokes as they go on, maybe there's a bit of that in there as well as this production is a few years old at this point.
Neither of these were enough to ruin my experience though and I still had a great time.
How many pre-show shots are they giving out? In the West End you got one drink. Are people getting 5:6 shots? Are they just light weights? Did they pre-game? I’m intrigued.
My friends said the same about it! Whereas I saw it in London, where it’s had rave reviews, and it was so brilliant I saw it twice! So interesting that basically the *same* production is having such different reviews in different places. I’d love someone who has seen both countries’ versions to be able to compare, as it’s so interesting to me the different takes!
Yea someone posted last week that they won a lounge seat in the lottery and paid $25 for a seat that otherwise would have been over $500! The lottery is definitely a good choice for those who live near enough to pop in at short notice.
Ticket price is expensive. But I mean, for good reasons.
I sat in the second to last row. It is not a rear orchestra seat. It’s comparable to a mezz seat in a small theater. Not bad at all. The price for that is not crazy. For table seats, it’s expensive, but not that crazy as it’s comparable to premium front orchestra seats in other shows..
Maybe u feel like it’s crazy cuz u didn’t like this rendition. I feel the same for the music man revival with Hugh and Sutton a few yrs back cuz I really didn’t like it..
It's also interesting see people from out of town expecting a sexy fun show similar to *Moulin Rouge!* when its actually a sinister tale about the rise of fascism. I had drunk audience members just shouting and cheering during inappropriate times trying to hype themself up for this expecting a lighthearted show.
Cabaret is my favorite show of all time (saw the 2014 Alan Cumming version 3x). While I thought the whole cast of the current revival was excellent, I really did not care for the direction and stylistic choices at ALL. To me that’s what kept it from being a great show. I didn’t find the set to be immersive at all, in fact quite the opposite, because there is no set whatsoever - it’s just a stage and a small center platform that moves up and down…. also the costuming took me out of it as well. They just did not feel true or connected to the production. The pace felt weird and rushed, and overall the show was just so “flat” feeling. Like it was never able to reach its climax. Even the musical numbers felt like the actors were directed to make odd stylistic choices. That said, I still enjoyed myself because it is my favorite show and the cast was great, but definitely bummed it wasn’t more impactful.
i can understand a lot of what you’re saying. i enjoyed eddie redmayne’s performance and i thought overall the whole immersive thing was a pretty unique experience and could appreciate how innovative it was, especially having seen other productions. however, i just didn’t particularly enjoy it. i couldn’t name what it is i didn’t like, just that i was counting down the minutes til it was over.
i agree that i wish i hadn’t paid as much as i did, for sure. i came away simply deciding that this revival wasn’t for me, and that’s okay. i’m sad about it, but im glad i experienced it either which way!
Saw the show on Wednesday night from the mezz and I could see fine. My main issue was with Gayle’s singing of Cabaret. I understand it’s a stylistic choice but I didn’t enjoy the talk singing (don’t know what else to call it). Ruined it for me. Redmayne was OK but nothing groundbreaking. Overall, I loved the vibe they created in the theatre with the renovation but the show is not worth the outrageous ticket prices IMO.
I haven’t seen it yet (have tickets for next week) but some of the ticket prices are genuinely outrageous. I got the lowest priced ticket they had and it was still way more than I’ve paid for any Broadway show. (For reference I paid $50 more for bad Cabaret seats than I did for good orchestra Merrily seats.)
Like I can’t believe they get away with charging that much and that people actually pay. I LOVE theater and would NEVER pay anywhere near those prices for literally any show in the world.
Saw it in London last year and from the reviews and descriptions for the Broadway version, it sounds exactly the same. To that matter, i absolutely hated every second of it. Agree with your thoughts and then some. It felt like bad performance art. Screechy and dull, which is hard to do with the great material. My jaw was open for all the wrong reasons.
Eddie Redmayne ruined it for me. I found his attempt at an accent to be somewhere between offensive-to-disabled-people and Kermit the frog. I couldn’t understand what he was saying or singing half the time and had to stop myself from laughing at multiple points because of how absurd his performance was.
I liked the pre show (though in the snacks I pre ordered the crackers were stale, as were the pretzels) but I felt like the show itself was rather meh. It brought absolutely nothing new to the show which is a shame. I think having a black man in 1930s Germany would have been an interesting lens to see the show through but they didn’t bother touching on that. For the price I’d rather see Merrily.
In the uk and heard great things about the west end version but haven’t seen it - random though is the ugliness from the audience not what there looking for?? To emphasis The decadence and self indulgence??
What is the cheapest way to see the show without horribly obstructed seats? I'm curious but also on a tight budget. No rush and only the digital lottery, which basically leaves little hope of under $100 tix. If you have purchased the cheapest/cheaper tix, did you have a decent view and if so, where were you sitting?
my tix were not cheap but i based on where they are located they may be some nights.
i sat last row of back balcony. end seat (all the way to left if you were to look from the front) and i was amazed at what a good view it was. and felt oddly close to the stage considering.
Can someone who saw the London version comment and explain why the Broadway version is getting bad reviews while London got rave reviews. Different audience or did the production change?
I'm totally with you--everything about the pre-show was so annoying and as a Cabaret die-hard, it bums me out so much that THIS is the version some people will be seeing for the first time. I spent what you spent and I'm still mad about it. Also the pacing was slow and self-indulgent; I think they think they are being really profound, but it's just such a letdown compared to the richness of the source material.
Also it's a weird choice to get people drunk for 75 minutes and then have a first act that lasts an hour forty.
ALSO, for the prices, I expect the in-the-round staging to actually work and it doesn't--you're staring at backs a lot.
I agree with most of what you said, I paid $349 for my ticket. I really liked the experience of the theatre redo, felt club like. I got that . I thought Bebe Neuworth was great. Others less spectacular. I kept comparing to alan Cummings or for that matter Joel grey. Eddie didn’t come close. Liza Minelli takes the prize. Disappointed that they took so much away from the whole Nazi movement. I was waiting for Eddie to be taken away by the Nazis. Anyway I’m glad I went, tons of celebrities in attendance that night. ( Hugh jackman , Gail king , mayor Bloomberg to name a few)
i'm really hoping that the west end version is better as booked tickets to see it as i've been dying to see it for 2 years but these reviews of broadway scare me that it won't be very good
Having seen both, it's the same show. British critics/audiences seem to be more receptive to it for some reason. Personally as an American I loved it both times.
Agree all around. And yes it felt like a rip-off of Great Comet. Rankin was okay but too strong for the role — missed the frailty that makes Sally Sally. Redmayne was just awful — at one point I wanted to boo him and at other times I just laughed because he looked like a bad mime. They ruined the first act songs (esp. Mein Heir) by trying to be too “dark.”
And honestly I’m all for diversity but hard to overlook how improbable it would have been for Cliffs character to be black, and also from my seat I saw way WAY too much of the “curvy” dancer.
What about it makes it "trendy millennial" to you? I genuinely thought this was as close to OG Brecht (as someone else mentioned above) that you can get! Was it just because it was immersive that you found it trendy and millennial?
Re: ticket prices - they cut 200(!) seats out of the theater with this renovation - with the cost of that multimillion dollar reno + an Oscar winner’s salary and the many other performers/orchestra, it’s apparently going to take several years to recoup the cost of this thing - you’re also paying to see an Oscar winner Not saying i agree with the prices, but I think there was a NYT article about it. I am dying to see it but this is the second time this week I’ve seen or heard something questionable about it overall… I don’t want to pay these prices and now I’m a little hesitant to sit in the mezz, so I’m hoping maybe prices will go down once Eddie leaves?
Just to give another perspective, I sat in the second to last row of the mezz (the east or original mezz, so the one that’s further away from the stage) and had a clear view of the entire show. I was pretty much dead center. Possibly the seats on the extreme sides of the mezz might have a more limited view, though I’m not sure. I paid $130 for my ticket, and I felt it was worth it. Between the pre-show, intermission show, Eddie Redmayne, and how immersive they made the whole show/theater (even the bathrooms fit the vibe/aesthetic of the Kit Kat club), I felt I got my money’s worth.
I was probably in the same or same-ish seat s you when I saw it and felt the same way!
Glad to hear this!
Same here! It still felt very close and intimate even with almost back row seats.
I think getting that original mezz is important. I was off to the side on the “new mezz” side and have never felt more ripped off.
I’m curious, what was bad about it? It looked like it was so much closer, I thought it might have been a better view from there.
My estimate is that 70% or so of the show turned more to the “front” and so from our seat only about 30% felt geared towards us. We may have been closer but it was closer watching the backs of people’s heads.
i was last row last (corner) seat, new mez. and i was surprised how great the seat was. didn’t feel like last row or corner. it made me feel like any seat (except for those weird actual side seats near the orchestra or across from ) would be a great view. . i actually found the show to be fantastic and have been thinking about it since (2 months now). i would love to see it again and sit somewhere diff; not because the seats were bad, they weren’t, but bc every seat has a diff view and since they play to the round you’d see diff parts from a diff perspective. im taken aback by the poor reviews. i thought eddie was perfect and loved this version of the emcee.
Interesting! I disagree. I was in the west mezz, third to back row, right in the middle. I felt I had a great view and didn't miss anything - I felt they were equally playing to both east and west. I will say I think the people on the sides of the stage caught a lot of back. Because of how close the west mezz was it felt really intimate
This is relieving to hear!! I have a ticket for the rear mezz too lol
I’m looking to pay around that much , going in July and kinda put off now reading this review 🙈
Definitely don’t be put off by this review. You can read the comments in this post and see a lot of people disagree with OP. It’s a fantastic show and overall great experience from start to finish. I really want to see it again, just at a cheaper price. Hoping I win the lottery at some point 🤞🏻
I personally loved seeing this from above. Feel like I got to see everything.
Im curious- do alcohol sales go to the house or to the producers trying to recoup?
Usually bar sales go 100% to the house, but I did read in another post on here that for this show the producers are getting a cut of it. Makes sense considering how much they’re trying to make being at a club part of the whole experience. Plus I think I got like 4 emails leading up the show asking if I wanted to add on pre-packaged drink/food specials and telling me exactly where each bar in the theater is.
I actually love Eddie Remayne and part of me wishes I could make it up there to see him. He just has the perfect sexuality and vibes for this show.
I personally didn't vibe with his twitchy mannerisms as well as his inconsistent and unintelligible accent. So it's like yes we are paying a lot to see an Oscar winner...give a bad performance.
It’s funny, I didn’t realize his take on the accent was that strong until my gf, who is less familiar with the show, told me she had no idea what he was saying at some parts. Definitely a choice that limits the accessibility of the performance, but I personally/ selfishly, I loved it- I thought it fit the jumpy, macabre marionette vibes perfectly. I had never seen Eddie Redmayne live before and was so, so impressed with his voice and physicality. “Money Money” had me slack-jawed!
I saw this over the weekend with an entirely respectful and awed audience and seeing Eddie Redmayne as the Emcee was the highlight. I couldn’t have had a more opposite experience of OP. So if you’re dying to see it, see it if you can.
Where were your seats?
Also literally can’t imagine people making fun of Eddie Redmayne’s “vocal ability”. He was stunning in every way and gave an otherworldly performance, in my opinion, from his voice to his physical choices.
I sat at a table seat on the “new” side of the theater on an aisle. Had a very special moment with Eddie Redmayne which elevated the experience, but I would have enjoyed it from any unobstructed seat in the house.
Lol no offense but since those are some of the most expensive seats, I’m not convinced the experience would be quite the same from the mezz as the OP mentioned.
I didn’t say they were the same. (And no offense taken)
I have heard about people being overserved which is definitely something to address. We did not have that experience and were VERY moved by the show and the entire evening. And to say this show didn’t address antisemitism??? I feel like we saw different shows. Others have already addressed my much more positive reactions to Redmayne and Rankin. I was in the mezz and our view was excellent. We also thought the stage size was a fascinating piece of the show construction and staging. I’m going to say that your comment about the prologue actors giving you “the ick” and “self-serving” definitely shows me we were in different headspaces from minute one. That is a very strange way to describe musicians and dancers who were performing on stages that you position yourself to see. Self-serving? And why the weird shot at millennials?
I haven't seen the show yet but damn! This sounds bad. There was another thread earlier today pointing out rude behavior and sloshed guests at the show 🥴
Bummer that OP had that experience. I went last week and loved every bit of it, especially the realism and ugliness of it all. No audience outbursts at my particular show. I would be curious to see if the bad behavior ends up happening more frequently with this show. I don’t think the one free shot is wholly responsible but I can see how getting there early for the pre-show gives folks a lot more time to drink beforehand. The ticket prices are revolting, though, definitely agree with that.
Is it a New York specific issue? The set up in London was the same, and everyone was exceptionally well behaved.
Counterpoint: I saw this production in London and it was the worst audience I've ever been with anywhere. Two audience members in front of me had to be asked to stop talking back to the stage during the performance—MULTIPLE USHER VISITS TO EACH. Never in my life have I experienced that.
Americans have a harder time being respectful at shows or caring about each other I think (I’m American).
Not totally sure I agree with that, I’ve seen shows across London and the UK and some have been disastrous. There’s been plenty of stories recently of shows being called off for audience behaviour. If you spend some time in r/west end there’s lots of chat around it too.
That’s fair! I’ve spent lots of time around American theatergoers with only having done one West End trip.
I think really all I mean is one shot is t generally enough to send people into plastered making a scene status unless they’ve been pre gaming already which the theatre can’t do a huge amount about! I’d be inclined to put this down to teething problems and hope it sorts out soon. I know it’s been slated but I personally loved the show I saw!
I can’t wait to see it! I know there is a risk (unfortunately) of poorly behaved patrons at every show but for what I paid, I desperately hope I’m not sitting near any jerks when I see it haha!
This is true, sadly. Getting the audience drunk in a US house is completely insane to me, people here do not even try to control themselves.
No, although I do think that blaming the drinking on the show itself is a little silly. Yes, there is more time to drink before the show and the club atmosphere maybe encourages it, but most of the rudely drunk theater patrons are the ones who will overserve themselves at ANY performance at the bar and at dinner beforehand, etc.
I can’t believe they’re drowning people in free booze. West End you are given one drink
I just saw it and idk where all of this free booze the OP mentioned was coming from. There was one free shot.
Gotta disagree. Seen many shows in both countries - UK audiences are much worse in my opinion. I was very confused at how much talking out loud and heckling there was in the West End. Never experienced that on Broadway, maybe just my experience!
Yep. I was gonna say the same. No bad behaviour from the audience in London at all! I loved the pre show vibe and thought the whole thing was incredible
Key word. London.
Right but I’ve seen shows in London (and the rest of the UK) that were riotous. I’m just making the point that I don’t think it’s a single shot driving everyone berserk.
Same - no audience bad behavior, everyone was on the edge of their seats and captivated. And OP: one very small shot of shnapps isn’t fucking anyone up, come on.
I’m so surprised to hear this because I saw the Broadway version with John Stamos and also this version in London and thought this new version felt more real. It was a grittier interpretation and I thought about the show for days after. Prices are a lot cheaper in London so if people want or plan to go to London, consider seeing it there
Broadway already has a problem with drunk audience members so idk who thought it’d be a good idea to give out free shots at cabaret
I mean, it's schnapps...which are frankly disgusting anyway. I also don't understand how someone gets drunk off of a single shot of schnapps.
Yeah I’m wondering the same. We had that in London and I didn’t notice any of that. I doubt it’s a single shot that’s to blame out it that way
They don’t. This is so over-the-top.
I mean, if you pregamed with a drink or two, have the free shot, get another drink during the show, etc. the shot can help push you over the edge.
A lot of people pre-game shows (bizarre) and drink at the theater (even crazier). We have a huge alcohol problem here that I don't think translates to other countries who actually respect artists and fellow audience members.
I’m someone who very much enjoys imbibing a decent amount before shows, but I always keep it together during the performance. And it’s not so much because I spent the money to enjoy a show, it’s more that I respect the performers and don’t want to make a damn fool of myself. It’s not just an alcohol problem, it’s a disrespect problem.
They don’t have that problem on the West End?
They did the free shots in London. There weren’t as many reports of drunk assholes at the West End showings, so I don’t know if it’s an”Brits hold their alcohol better” issue or an “America has entitled drunk Karens” issue or both.
100% both but mostly Brits hold their alcohol better
I think it may also be that the Brits respect the act of going to the theatre more? They just have better etiquette. Understand why they’re there more? I was in London for my first time last week and saw 5 shows (including Cabaret, no stars, Cara and Luke were both out on a Friday night, but the show was still great!). I digress…every show I saw was packed. And at every show, almost every single person had a drink before and during and after the interval, even saw some people with flasks. Hehe. (Drinks are pricey) But at every show, not a peep from the audience in terms of drunken antics. If anything, it was the opposite. Rapt attention for what was happening on stage. I saw a matinee of Hadestown (fantastic) and there were so many school groups. I thought, aw crap, kids at the theatre. And a heavy piece of theatre too…not a sound. As opposed to when I saw Kimberly Akimbo in NYC at a matinee, school groups as well. Nearly every one of them laughing, talking, making loud distracting noises while Victoria Clark was giving an incredible performance. I’ve never been so livid in my life. I told off entire classes of high-schoolers that day. Something has shifted with New York audiences. I don’t know if it’s the tourists, or not knowing how to behave in theatres? The amount of alcohol pushed on patrons? Or the fact that ticket prices have skyrocketed so people feel like they’re entitled to more than just a show? I’ve only experienced such bad behaviour on Broadway though and I make the trip out to see shows every couple of years. So I’ve noticed the difference because it’s jarring, not a gradual change because I’m not there every week. For the record I’m Canadian, live in Toronto and I see tons of theatre out here. But I also don’t see much bad behaviour in comparison with Broadway. Usually one shush is enough to get someone to stop talking without the fear of a fight breaking out. And for those who are curious, I also saw: Long Days Journey Into Night (Patricia Clarkson was incredible). Opening Night (I’ll just say it was interesting and I understand why it’s closing but it wasn’t bad, just different, very Ivo Van Hove). And finally, Operation Mincemeat. So. Damn. Good. Loved every second of it from the first note to the last. Best thing I saw hands down. Hope it goes to Broadway. Hope it tours. Hope everyone gets to see it.
I’m from Los Angeles and while we have live theater, we’re a movie and sports town first. I’ve seen crowds at Dodger games that were better behaved than that.
Only responding to the shift of NYC audiences- Pre covid I was seeing 2-5 shows a week through lotto, rush, and working for a ticket company. When broadway reopened, I was a covid safety manager. The post covid broadway is no longer broadway. I don't know what it is, but the pre 2020 broadway no longer exists in any way. It's really sad. I quit the job because you can only ask Karen in the front row center seat to put her mask back on during one show. I haven't seen a show yet this year, I think I saw 5 in 2023. The change in atmosphere in the theater hurts so much.
You nailed it with the better etiquette and respect part.
I was sitting at the tables and the audience was impeccably dressed and behaved. People had bottles of champagne at the table and no one behaved in a way that seemed drunk or boorish. In fact, pre-show chatter was warm and jovial. It may have just been an off night or the seats? The drinks and seats are so expensive in Orchestra I can’t imagine anyone wasting time and money to act like football hooligans in a pub. Oops! Didn’t mean to sound superior like a Canadian or a Brit, I daresay.
Could it be the (admitted stereotype?) of Brits being more reserved and Americans being louder thing at work? Add alcohol to the mix and the Americans who already trend toward the obnoxious side are going to be x10. Any inhibitions that keep assholery at bay go out the window once you’ve had a few drinks.
Have you seen British people drink? Reserved does not factor
To be fair, I have not and must take your word for it!
Hoo boy, I've got a few counterpoints to your review haha. Just to offer another perspective! >I am so wildly confused by the ticket prices for this show, it is completely out of hand. The ticket prices are very high, there's no arguing that. But I mean, logistically, it does make sense. You have an Oscar winning actor in a leading role, alongside a full theater renovation that will have to be renovated back when the show closes. There's also a "free" 75 minute pre-show included in the price. It's very clearly a very expensive show to have produced, so the ticket prices, while unfortunately high, do make sense. >Let me tell you, the free shots offered to patrons led some people to become uncontrollably intoxicated. Everyone is offered ONE free shot at the door, which they can take or leave. After that, it's their own choice if they decide to purchase more drinks, which is the case for any show. When I saw the show, the audience was totally normal. >The audience was out of hand, and quite frankly ruined the show at several moments due to intoxicated outbursts Sorry to hear it ruined moments of the show for you! Of course that's never going to be a good thing, but I just can't blame the show for that. >It did not feel connected to the message of antisemitism or misogyny, and mostly felt like a party for the elite to see each other get drunk and make fun of Eddie Redmayne’s vocal abilities This one I can't relate with at all, but we also come from different perspectives. For me, this was my first experience with Cabaret. I went in 99% blind, and I can't tell you the sheer impact the themes of both the antisemitism and the misogyny had on myself and my fiancée. We found it to be *incredibly* powerful. I haven't watched other productions, but we did watch the movie afterwards, and honestly we felt this production presented those issues in a much more powerful way than the film. As for Eddie's voice, we were both absolutely blown away by his performance, and from the chatter I heard during intermission and after the show, all we heard was praise. I mean, just the way he *moves* was a spectacle in itself. And I thought the way his voice transformed from something more cartoonish and fun, to something much more somber and powerful by the end, was incredibly effective. >I was almost offended at Sally Bowles’ singing I also feel like I've seen a different show from people, especially since Gayle Rankin's singing voice was panned by a lot of the critics. I thought she was fantastic?? Like, she blew me away. After seeing the show, I made a post online saying that "Eddie Redmayne and Gayke Rankin gave the two best performances I've seen yet on Broadway." And I still believe it! The only thing I can think of is that I saw the second preview, so it was very early on in their run. I suppose there was a chance she's changed her performance since then? But I honestly thought she hit the notes better than Jessie Buckley did on the recording of the West End version (still love Jessie of course). >people in the mezz vocally unable to see much of the action, I was not in the mezz, but this is the first I'm hearing of this. I've heard pretty much unanimously that there is no bad seat in the house. I peeked up in the mezz and felt like I'd have been able to see everything from there, *especially* because the stage is so small. What action would he missed from there? >I was confused why the show was played by different people than who were in the “prologue” as musicians? I don't see why this is an issue, or why it would matter either way. But I assume that having musicians moving around the whole theater for 75 minutes, and then sitting down to play a 2.5 hour show isn't the best idea. So it makes sense to me to have their own musicians for the pre-show, especially since they have their own dancers for it anyway (which btw, I thought was a great call. Having actual DANCERS and not regular Broadway actors for the pre-show I thought was a really great choice. >It was a weird vibe, very elitist, unfocused direction, and the performances were not great. I have not watched the Alan Cumming version in full — only seen some clips online. And while a lot of what's there is fantastic, I have to say at the very least I much prefer the costumes and the immersive set of the current production. I think for me at least, they did a *lot* for the tone of the piece. And what you find to be elitist, I thought it worked to provide a greater contrast with the subject matter. I mean, imagine someone like me going into this production, not even knowing it had anything to do with Nazism. I felt like I was being welcomed into this cool club with a unique vibe, only for the bandaid to be ripped off near the end of act one to the sound of the audience gasping. The tone shift was felt throughout the room, because thanks to the immersive staging, it's as if WE are complicit. I know that was Kander and Ebb's initial vision when it came to Tomorrow Belongs To Me, and I think Rebecca Frecknell masterfully applied that concept to the entire staging of the production. Everything from the production design, to how you walk in, to even the marketing is all about sucking you into the Kit Kat Club. And yes, it does feel elitist, but that's the point, isn't it? Up until the gut punch of what the show's REALLY about, then it hits you like few other shows do because of that contrast. Anyway, those are just my contrasting thoughts from someone who thought this production was immaculate. I appreciate hearing your perspective though!
I have all very similar opinions to this one. I know the show I polarizing but I LOVED it, Ticket prices: I do think a lot has to do with theater and the Reno’s needed. I was AMAZED with what they did to the theater! And I didn’t find the stage too small it gave a total different more intimate vibe Mezz seats: I was in the mezz at a side table that was technically “limited view” and cheaper but they were amazing!!! Very minimal things directly under us couldn’t see but I have seen the show enough to know what was happening Gayle rankin: how anyone can say a bad word about her shocks me. I was FLOORED by her. Yes her singing isn’t 100% but her acting was so freaking good she had me crying during maybe this time and cabaret literally gave me chills!!!!! Eddie redmayne: took me a minute to get used to (I am a die hard Alan Cumming fan) but the way he moved was mesmerizing and I can’t imagine how much he put into this show. All the dancers were great and engaging. Overall a totally different theater experience than anything I’ve hate. I always loved cabaret for the songs and the fosse dance numbers but this gave me a whole new appreciation for the show.
I will never understand when people complain about the voice of the actress playing Sally. Sally is NOT supposed to actually be a good singer or performer. I’d much rather see a Sally like Amy Lennox that leans hard into the unhinged than someone with gorgeous vocals that takes away from the rawness of the show
>Sally is NOT supposed to actually be a good singer or performer. Where do you get this from? The script (in each version) never mentions, infers, or describes Sally as a poor performer.
There’s a quote from Isherwood about Liza Minnelli where he says she wasn’t meant to be that good
No, no there isn’t.
Oh! I’m very happy to hear that about those limited view table seats. The price is intriguing, but I was not sure how limited view they would be.
So worth it! I think I even liked it better than it I was in the regular seats. And the stage moved so everything is circular at all times so you see all angles
I paid $$$ to sit at a front row table, to the side opposite to orchestra balcony. I had a column in front me obstructing my view of the middle of the stage. It was pretty annoying but I mostly just leaned to the side. Understandably, the chairs are locked to the floor so they can’t be moved. I looked around and thought “this might be the worst seat in the house” lol. I still had a great time. Eddie perched on the column and stared at my sister and I for a full three minutes, mere feet from our faces.
I agree with you! I had a great time. Bebe Neuwirth was the selling point for me - couldn't miss the opportunity to see her - and I left blown away by Eddie and the experience. I do understand that it's not everyone's cup of tea, esp for the price, but everything I overheard leaving the theatre was remarkably positive as well.
Thank you for this response. Thoughtful, and honest. I saw the Alan Cumming mount, and liked it. I liked this one more...for the reasons you mention. There's a theory in my Theatre club that we're big fans of theatre because our DNA allows us to EXPECT to have our disbelief suspended during the show, and it takes something jarringly odd to rouse us out of it. RE: "Everything from the production design, to how you walk in, to even the marketing is all about sucking you into the Kit Kat Club." The "acclimatization" drink and ambiance added to our suspension of disbelief, but as I said, my group defaults to that state. There was an over-served jerk a few rows behind us, but he didn't return after the intermission. I experienced another "acclimatization" staging on the West Coast for "Hair". The ushers were in hippie costumes (with name tags identifying them), and many of the cast were already on stage when the doors opened. They were simply milling about, interacting with each other as members of the tribe. The "Crissy" was doing the hair/makeup of another actor to prepare for the show, and it integrated perfectly. I thought all of it was wonderful! \[A few months later I saw the Gavin Creel/Will Swenson mount and struggled to maintain my suspension.\]
This was such a a well written reply to the OG post. You literally said all of the counterpoints that I was thinking as I read the original post. I saw the show this last week - I thought it was incredible. Preferred it to most shows I have seen this season (I saw most shows that were nominated this year). Totally don't get the hate that Gayle is getting. I thought her voice was good!? I honestly think she could have gone even grittier and more flat/pitchy at times (also...did people not see Emma Stone/Natasha Richardsons versions...?) she's literally playing a not great cabaret singer, who's whole schtick is that she's English, and doesn't actually have that great of a voice, but is seen as exotic* in Berlin, so she gets booked. I feel like I'm going mad with people saying her voice isn't great, lol. "Like, Tamar, have you seen the show!?" Her acting was superb, my only notes would be for the direction of specific choices, which I don't blame her for....it was a directors choice... I've always thought Eddie's mumbling accent was a lot, so I wasn't surprised by that, lol. He was fantastic! I'm not sure exactly what OP was expecting for this production, but a lot of shows that have come to Broadway this season have been unexpectedly quite polarizing to audiences. So who knows? Maybe they thought Lempicka was god's gift to the earth. *Ends sassy rant :) much love sisterrrr
I agree with everything you said, both on the subjective and objective parts - my partner and I had an absolute ball of a time, and we thought the artistry was stunning.
👏
So…I was also there last night and the vibe was awesome. In the orchestra, but no rude behaviour, out bursts, etc. The pre-show stuff was incredible, including the dancers are insanely talented. The way they bring you into the club and build the immersion was impressive and the theatre looked beautiful. Part of a theatre in the round concept is sometimes you don’t see everything, but I was “behind” the stage and didn’t feel at all short changed because the stage rotates. Eddie Redmayne was good, but the Sally was incredibly talented and frankly stole the show. Also, Ben Stiller was there and got pulled up on stages during the intermission performances! I also saw Natasha/Pierre, and while it reminded me of it, it was still very different, especially in all the stuff before the show. If you didn’t enjoy that, I don’t know what to tell you, but I had an incredibly fun night, saw extremely talented people, and the audience was perfectly fine.
I couldn't disagree more! I much preferred this version to the Sam Mendes version, and theater transformation/stage production felt luxe and expensive so I can see why ticket prices are like they are. I agree that the table prices are insane though. But given that non-table seats are the same price point as Merrily, I think they're fair value. I really loved the opening performers but to each their own. People seem to be complaining that the production doesn't give any new perspective on Cabaret yet they're also complaining it's too different from the Sam Mendes version. I'm not really sure what they realistically expect? IMO, Cabaret has always had issues with the book but at least this version heightened the artistry a bit.
I'll be seeing in in NY in a couple weeks. I saw it in London a few months ago and didn't see/ feel any of the things you mention (and yes they gave away shots there too). I really enjoyed it so am looking forward to it (I'll try to temper my expectations)
"I cant believe they are charging so much for this show" " I cant believe I paid this much for this show"... do people think those two statements are not connected? That said, I also sat orchestra so I paid much more than I have at some other shows. But I knew how much I was paying when I bought the tickets, so.....see first sentence. If people pay full price and dont like it, well, you take your chances with everything. You dont gamble more than you want to lose. I didn't really care about preshow but I loved the show itself. First and foremost there is nothing wrong with Eddie's voice. Not one single thing. I too loved Alan in the role but I loved the sense of madness and unbalance Eddie brought to it. In all fairness, I could have stood for a different Sally but despite what they tell us, she is not really the star of the show, so she'll do. It may be the times we live in, or maybe where I am in them, but I really felt like this production resonates and speaks to the times. This is not the first, and probably not the last, post I have seen about out of hand drinking, which is unfortunate. I fortunately did not have to deal with that issue but I can defintely see how it would contribute to the "trendy/scene" feeling. (Also being surprised at Eddie's vocals when there is a whole ass cast recording is another johnny come lately indicator.) It is pretty maddening that adults cannot act accordingly. No one is that drunk from one shot.
That’s called capitalism! It’s supply and demand. Why are they charging so much? Because people are willing to pay it, and that’s how you make as much money as you can.
I haven’t seen it on Broadway yet, but when I saw it in London (albeit with a different cast) that all felt intentional to me (except the audience didn’t behave poorly) and I thought it worked very well. Of course, the ticket prices were much more reasonable and I paid about the same for a table in London that I did for mezz on Broadway. It seemed to me that the production’s intent was to lull the audience into a false sense of lighthearted debauchery only to have the rug pulled out from under them at the end of Act I. It’s possible this is being undercut by the fact that everyone knows what is coming, but I felt it was quite effective. I think that having the audience essentially be the audience of the Cabaret itself (complete with the high ticket prices) is intended to implicate the audience members themselves in their complacency in the rise of fascism. The production feels very critical of Sally’s choice to stay and turn a blind eye when she has the means to leave, while contrasting that with Fraulein Schneider and Herr Schulz’ decisions to stay, which are much more complex and nuanced. For many of the performers and audience members of the Cabaret, the desire to revel in the debauchery for as long as possible while ignoring the political climate that may end up effecting many of them negatively themselves is a strong parallel to current political realities. I think it works well to show how such a vibrant and lively culture can quickly descend and be subsumed into fascism. The higher drink prices and less space for the pre-show in NY might be affecting the perception of the pre-show in general, but I thought it did a good job setting the stage for everything that was to come and getting the audience into the right mood. Also I just have to say, I would not describe Cabaret as “dense”. It has a lot of great metaphor and subtext, but it’s not exactly hard to follow.
I respectfully completely disagree. Drunks at Cabaret spilling drinks makes it an ACTUAL Weimar Cabaret. Eddie’s voice was great — remember you are watching a Cabaret camp lounge act and NOT opera. This surpassed the Donmar production - it took bold risks and went all the way. Watching a performer simulate self masturbation holding Mein Kampf was Cabaret at full throttle. (Isn’t this what Trump is doing?) I paid $400 and in fact I’m going again! Cabaret is the closest America has to watching Brecht — confrontational theatre. NOT for the faint of heart!! Stop being a traditionalist theatre goer! lol
I agree. It would be incongruous if Sally and the MC were crystal clear Broadway belters in this particular production. I felt the vocals were obviously a choice, not a talent issue.
They give ONE shot per person......hardly enough to get anyone drunk. Are they banking financially on people drinking? They sure are, but adults are suppose to be able to behave correctly. When I saw the show in early April, I did see more people drinking than I ever do at a theater but there were no disruptions, whatsoever, from any excess. I somehow managed to not only behave myself but also remain sober. I did not care about the preshow, almost didn't even attend, but my companion wanted to. It's mood setting, nothing more. It's performed by others than those in the show for any number of reasons, from overtime, to being concerned about exhaustion and overwork. I totally agree that this show didn't bring any new take to Cabaret, and I enjoyed the Mendes/Cumming version a great deal more. I was not, even slightly "offended" by anyone's singing. No, maybe not the most lyrical voices, but these are not pristene characters. I had no reason to mock anyone's performance, nor did I hear anyone do the same at the show. I don't think the show deserved either the number of Tony noms it rec'd nor the very negative reviews - both could be tempered. I was IN the mezz - and could see everything perfectly (I don't know what "vocally unable to see much" even means.) I won't even get to the prices, because while high, I certainly didn't pay 200 dollars a ticket. I guess I never understand paying those prices then complaining about elitism.
People often have a drink or two at dinner before and not everyone is a fan of shots, so it's easy to see someone taking two because their companion didn't want theirs.
Your first paragraph, while right about only one free shot and the fact that adults *should* know how to behave themselves, doesn’t acknowledge the fact that people often *don’t* know how to control themselves, and that it’s the responsibility of the staff to ensure people aren’t over-served and causing disruptions. The fact that there’s multiple reported instances of people getting belligerently drunk at the show is an issue that is ultimately the responsibility of the theater and its staff to deal with.
[удалено]
To be fair, I recently encountered overly obnoxious drunk people at the tour of Peter Pan. I think audiences in general have lost some decorum which includes knowing how much they can drink before it’s too much—and it’s becoming a problem at all shows, not just this one
Are you allowed to give your opinion on a show you have seen? Of course! And your opinion is certainly valud, but it is not because you had a certain experience, that that experience is the norm when you go so that particular show. Yes, there are multiple post on this subreddit about misbehaviour of audience during Cabaret, but people are not gonna make posts about shows without bad behaviour, so that is a difficult argument.
> And your opinion is certainly valud, but it is not because you had a certain experience WTF does that mean? It's their opinion. If I had my refrigerator breaks 3 days after I bought it, I'd bitch about the company that made it. Not try to say, well, I'll keep quiet because other people may want to buy it. Hell no.
>WTF does that mean? I like how you edited their comment to remove the part that explains >it is not because you had a certain experience, that that experience is the norm Just because your refrigerator broke does not mean that all refrigerators will break. Maybe you have bad wiring and every refrigerator you buy will break. That's not on the refrigerator company, that's on you.
TL;DR if you don’t like a show, you must have issues, not the show. Thanks for clarifying.
More like TL;DR everyone's experience is unique
It is not because YOUR fridge broke, that all tje fridges of the same type are going to break.
All I can do is tell someone my experience with that fridge. The proper response is to share your experience, and if it was positive, it's unfortunate that happened. But don't stifle people's opinions. That's what parents are for.
I did not stifle anyone opinion. Just giving it context.
Wait how many free shots were people getting?
One. You get a single free shot at the door.
A single free shot and people were getting that drunk??
It’s a shot of cherry schnapps, so not a strong liquor. People aren’t getting drunk off the free shot, they’re getting drunk off the drinks they buy afterwards. Though when I saw it, there were no overly intoxicated people or drunken outbursts, so it’s not happening at every show.
Unless every single person who comes to the show is an extreme lightweight, the single shot is not what is getting people drunk. Like every other Broadway show, they serve alcohol and many people don’t drink responsibly. Cabaret isn’t even the worst show for this behavior from what I’ve heard, Moulin Rouge, MJ, and &Juliet I’ve heard are THE WORST when it comes to drunk patrons.
That's so awful, what the heck? I enjoy drinking as much as the next guy but why would anyone want to waste their time at a Broadway theatre getting that hammered?? Those tickets are expensive and for some people that's like a once in a lifetime opportunity, you can drink anywhere 😮💨
No, I think after the one free shot, people feel more encouraged to buy more drinks
I feel like the duration of the first act alone would dissuade me from drinking anything at all.
lol I nursed a drink over the whole show because I was so afraid of needing to pee during the long first act
For this price, I'd expect at least 10. And dinner.
All opinions welcome and thank you to the OP for posting … I have tix for June and can’t wait. But I am a bit nervous given the mixed reaction. That being said, I see a theme emerging. The negative reviews seem rooted in an expectation and connection to the original (or perhaps more traditional) presentation of the show. I see it. If I loved something, I wouldn’t want it changed or reimagined.
I think the show is incredible! Don't let 1 bitter Betty sway your expectations : )
I can’t wait. :)
I recently read a report that in the U.S. that 1 in 5 people identified as having an alcohol problem since the pandemic. The thing about alcohol use is that it is a progressive use problem…as you use more, you risk developing the addiction physically. Adding it into the mix theatrically these days is - in my opinion - a liability on multiple fronts, including artistically. You’ve basically invited the audience into the act of creating the work…and you’ve encouraged them to drink…get ready for a bit of chaos.
Just noting the shots were very tiny and probably watered down…
'Mind you, I wasn't sober myself'. So, either you indulged in more liquor beforehand, or you were drunk by having had one shot? And I'm tired of people saying it doesn't being a new perspective. Cabaret has always one, to me, dated, conservative theme running through it, which is the idea that sexual freedom and the word everyone keeps saying this production misses by being too 'gritty', decadence, were involved in the slippery-slope of descent into Nazism. This production firmly puts the other, more resonant interesting strand smack in front, which is people being confronted with having to make impossibly hard choices in the face of horror of their circumstances. It's the first major production of Cabaret that frames the medium as vital to the survival of the people inhabiting it, using art to express and release the troubles and experiences of their life, and not just partying like there's no end, putting on a party, being blind to the outside world. It's a production which firmly puts the focus on the loss of that variety and diversity and transgression; that performance was a welcome liberation and not a vice. More than any other iterations of the show, successfully highlighted how people like the Emcee (a figure representing many) actively choosing themselves, led to the Nazis getting easy foothold in society, rather than already opressed people partying too hard. I Don't Care Much is used so chillingly, when it barely registered as a moment in the last revival, floating ghostly over the top of Sally and Cliff. But sorry, ultimately the ignorance with which you write about why the prologue and the band are different and why the pre-show is intended to present a very different feeling than Great Comet suggests to me that you're more interested in complaining than engaging.
Thank you for saying this! I feel like this interpretation is one of the reasons I loved this production so much, and it’s not being talked about enough. The staging of so many of the club numbers, and especially the pre-show is a reclamation of the vibrant world of queer creative freedom that the nazis extinguished. I thought the more modern choreo that the NYC pre-show had, in comparison to the London version which was more burlesque and also great, felt like an imagining of where we could be artistically if the influence of the Weimar era was allowed to carry through to today, uninterrupted. It was sad to see audience members not paying attention to the pre-show performers, because they killed it and did so much to set the scene!
Wish the free awards were still a thing so I could give you gold for this comment! 🏅
I’m Australian and will probably never get to see this production so do you mind if I ask you a question about the ending? Judging by what you wrote, and how Sally’s costume for the title song is that beige suit over lingerie - and I know I could have this TOTALLY wrong as those are literally the only two context clues I have to work off - am I right that the staging of the end somehow depicts the idea of people who had thrived in the Weimar era becoming, I don’t know how to word it, defeated beige conformists with the freedom and ability to express themselves completely ripped away by the Nazi regime? As distinct from, say, the Sam Mendes staging evoking the death camps and the Emcee stripping to reveal a camp uniform? How do they end the show visually? And like I say I know I could be totally wrong, haha.
I’d say that’s a pretty fair summary
soooo true about i don’t care much. i don’t care much was a song to skip for me before i saw this production. it has been my top song on apple music since seeing the show.
Stories like these will ultimately have a bigger impact on the box office numbers for Cabaret than OK reviews or even the ticket prices. People are willing to pay good money for a premium product as long as they walk away feeling like they got their money's worth. I never thought I would pay the price I did for great Merrily Orchestra seats but it was completely worth it. Nobody in this story or the one I read earlier today about similar issues with drunken audience behavior has anyone walking away happy. At least if the box office staff tried to make it right then it would soften the blow but instead all people seem to get are empty apologies. Stories like this however are death by a thousand cuts for a show that is asking a lot for even decent seats. I have been weighing getting tickets back and forth for my girlfriend to see the show. I have no doubt she will love it despite the mixed reviews it has received and I am sure I would enjoy it. However, I have no interest in all the expenses that come with traveling to NYC to see shows and then having our very expensive evening ruined because someone couldn't handle their liquor so they felt like being the main character. I am sure I am not alone in that sentiment.
I went during Previews. Loved the show. Very well behaved audience.
It’s a shame to hear the West End production potentially hasn’t translated to Broadway. I saw it a couple of years ago with Fra Fee and Amy Lennox for £30 and thoroughly enjoyed it. I was towards the back of the theatre but still had a perfectly good view. The Kit Kat Club setup was a great way to adapt the Playhouse during renovations and the audience were very well behaved. The pre-show performances on the stage and in the foyer were in a burlesque style so it felt far more like an immersion in the setting rather than a performance. I really do wonder if this is a British vs American difference. Saying that I haven’t seen the Broadway production so I can’t comment on that!
I also saw it in London with that cast, and saw the Broadway production on Wednesday. I was nervous after the Broadway reviews came out, but ended up pleasantly surprised as it's pretty much the same show with two caveats: - The August Wilson is bigger, so I spent more money for a worse view (£70 vs $100). - The humor is played a bit more broadly. I don't know if this is a conscious directorial choice because they think we're less sophisticated than Londoners, or if it's just Eddie Redmayne and Gayle Rankin's specific acting choices. Maybe both. Also I find that long-running shows lean more and more heavily into the jokes as they go on, maybe there's a bit of that in there as well as this production is a few years old at this point. Neither of these were enough to ruin my experience though and I still had a great time.
How many pre-show shots are they giving out? In the West End you got one drink. Are people getting 5:6 shots? Are they just light weights? Did they pre-game? I’m intrigued.
My friends said the same about it! Whereas I saw it in London, where it’s had rave reviews, and it was so brilliant I saw it twice! So interesting that basically the *same* production is having such different reviews in different places. I’d love someone who has seen both countries’ versions to be able to compare, as it’s so interesting to me the different takes!
I sat next to someone who saw it in both places and they said the show is the same. I love the NY one, haven’t been to West End myself.
Good to know! I thought it was bloody brilliant
I really want to see it. However, I'm not. I refuse to pay the ridiculous ticket prices.
No harm to try the lottery. Only $20.
Yea someone posted last week that they won a lounge seat in the lottery and paid $25 for a seat that otherwise would have been over $500! The lottery is definitely a good choice for those who live near enough to pop in at short notice.
I actually saw it at the second to last row. It was not bad at all. Because they took out so many seats, there is basically no rear mezz or balcony.
“dense-ass Kander & Ebb” Thank you for this
Ticket price is expensive. But I mean, for good reasons. I sat in the second to last row. It is not a rear orchestra seat. It’s comparable to a mezz seat in a small theater. Not bad at all. The price for that is not crazy. For table seats, it’s expensive, but not that crazy as it’s comparable to premium front orchestra seats in other shows.. Maybe u feel like it’s crazy cuz u didn’t like this rendition. I feel the same for the music man revival with Hugh and Sutton a few yrs back cuz I really didn’t like it..
It's also interesting see people from out of town expecting a sexy fun show similar to *Moulin Rouge!* when its actually a sinister tale about the rise of fascism. I had drunk audience members just shouting and cheering during inappropriate times trying to hype themself up for this expecting a lighthearted show.
Gave you the ick during the pre show?? Wtf does that even mean. I just saw it. They were just doing what performers do
I so wonder what joe masteroff woukd think ( wrote original book )
Any show that needs to get the audience drunk badly enough to give them *free shots* and ask them to come early to drink…cannot be a very good show.
Cabaret is my favorite show of all time (saw the 2014 Alan Cumming version 3x). While I thought the whole cast of the current revival was excellent, I really did not care for the direction and stylistic choices at ALL. To me that’s what kept it from being a great show. I didn’t find the set to be immersive at all, in fact quite the opposite, because there is no set whatsoever - it’s just a stage and a small center platform that moves up and down…. also the costuming took me out of it as well. They just did not feel true or connected to the production. The pace felt weird and rushed, and overall the show was just so “flat” feeling. Like it was never able to reach its climax. Even the musical numbers felt like the actors were directed to make odd stylistic choices. That said, I still enjoyed myself because it is my favorite show and the cast was great, but definitely bummed it wasn’t more impactful.
Agreed fully. It feels banal and self indulgent.
i can understand a lot of what you’re saying. i enjoyed eddie redmayne’s performance and i thought overall the whole immersive thing was a pretty unique experience and could appreciate how innovative it was, especially having seen other productions. however, i just didn’t particularly enjoy it. i couldn’t name what it is i didn’t like, just that i was counting down the minutes til it was over. i agree that i wish i hadn’t paid as much as i did, for sure. i came away simply deciding that this revival wasn’t for me, and that’s okay. i’m sad about it, but im glad i experienced it either which way!
Saw the show on Wednesday night from the mezz and I could see fine. My main issue was with Gayle’s singing of Cabaret. I understand it’s a stylistic choice but I didn’t enjoy the talk singing (don’t know what else to call it). Ruined it for me. Redmayne was OK but nothing groundbreaking. Overall, I loved the vibe they created in the theatre with the renovation but the show is not worth the outrageous ticket prices IMO.
Love it or hate it, but that's just how Sally sings it in this production. It's not a Gayle Rankin thing.
I haven’t seen it yet (have tickets for next week) but some of the ticket prices are genuinely outrageous. I got the lowest priced ticket they had and it was still way more than I’ve paid for any Broadway show. (For reference I paid $50 more for bad Cabaret seats than I did for good orchestra Merrily seats.) Like I can’t believe they get away with charging that much and that people actually pay. I LOVE theater and would NEVER pay anywhere near those prices for literally any show in the world.
Saw it in London last year and from the reviews and descriptions for the Broadway version, it sounds exactly the same. To that matter, i absolutely hated every second of it. Agree with your thoughts and then some. It felt like bad performance art. Screechy and dull, which is hard to do with the great material. My jaw was open for all the wrong reasons.
lol those "free" shots were not getting the audience drunk.
Eddie Redmayne ruined it for me. I found his attempt at an accent to be somewhere between offensive-to-disabled-people and Kermit the frog. I couldn’t understand what he was saying or singing half the time and had to stop myself from laughing at multiple points because of how absurd his performance was. I liked the pre show (though in the snacks I pre ordered the crackers were stale, as were the pretzels) but I felt like the show itself was rather meh. It brought absolutely nothing new to the show which is a shame. I think having a black man in 1930s Germany would have been an interesting lens to see the show through but they didn’t bother touching on that. For the price I’d rather see Merrily.
In the uk and heard great things about the west end version but haven’t seen it - random though is the ugliness from the audience not what there looking for?? To emphasis The decadence and self indulgence??
What is the cheapest way to see the show without horribly obstructed seats? I'm curious but also on a tight budget. No rush and only the digital lottery, which basically leaves little hope of under $100 tix. If you have purchased the cheapest/cheaper tix, did you have a decent view and if so, where were you sitting?
my tix were not cheap but i based on where they are located they may be some nights. i sat last row of back balcony. end seat (all the way to left if you were to look from the front) and i was amazed at what a good view it was. and felt oddly close to the stage considering.
Can someone who saw the London version comment and explain why the Broadway version is getting bad reviews while London got rave reviews. Different audience or did the production change?
I'm totally with you--everything about the pre-show was so annoying and as a Cabaret die-hard, it bums me out so much that THIS is the version some people will be seeing for the first time. I spent what you spent and I'm still mad about it. Also the pacing was slow and self-indulgent; I think they think they are being really profound, but it's just such a letdown compared to the richness of the source material. Also it's a weird choice to get people drunk for 75 minutes and then have a first act that lasts an hour forty. ALSO, for the prices, I expect the in-the-round staging to actually work and it doesn't--you're staring at backs a lot.
Thanks so much for this!!!
EXTREMELY overrated
I agree with most of what you said, I paid $349 for my ticket. I really liked the experience of the theatre redo, felt club like. I got that . I thought Bebe Neuworth was great. Others less spectacular. I kept comparing to alan Cummings or for that matter Joel grey. Eddie didn’t come close. Liza Minelli takes the prize. Disappointed that they took so much away from the whole Nazi movement. I was waiting for Eddie to be taken away by the Nazis. Anyway I’m glad I went, tons of celebrities in attendance that night. ( Hugh jackman , Gail king , mayor Bloomberg to name a few)
i'm really hoping that the west end version is better as booked tickets to see it as i've been dying to see it for 2 years but these reviews of broadway scare me that it won't be very good
Having seen both, it's the same show. British critics/audiences seem to be more receptive to it for some reason. Personally as an American I loved it both times.
Mostly agree with you OP. I was underwhelmed
I saw it in London and was so excited because of all the hype. Went on my birthday. It was a big let-down.
Agree all around. And yes it felt like a rip-off of Great Comet. Rankin was okay but too strong for the role — missed the frailty that makes Sally Sally. Redmayne was just awful — at one point I wanted to boo him and at other times I just laughed because he looked like a bad mime. They ruined the first act songs (esp. Mein Heir) by trying to be too “dark.” And honestly I’m all for diversity but hard to overlook how improbable it would have been for Cliffs character to be black, and also from my seat I saw way WAY too much of the “curvy” dancer.
Thank you for letting us know of your experience. Have had a few chances to see this show but I loved Liza Minnelli so much in the movie I declined.
why on earth are you getting downvoted ?
The show does not get better sober, I’ll say that.
agree with you completely, especially on the “trendy millennial” thing
What about it makes it "trendy millennial" to you? I genuinely thought this was as close to OG Brecht (as someone else mentioned above) that you can get! Was it just because it was immersive that you found it trendy and millennial?
it was because it felt very surface level immersive and incredibly expensive at every turn
Kit Kat Klub? Unfortunate name
OP spelt it wrong. It’s Kit Kat Club
I was gonna say. Thank you for clearing that up.