"Cabaret" by Roundabout Theatre Company at Studio 54 on Broadway

Even though I recently saw a nearly perfect production of the brilliant classic musical Cabaret by Theater Latte Da (twice), I couldn't pass up the opportunity to see Alan Cumming reprise his role as the Emcee at Studio 54. And even though this is the fifth production I've seen in less than four years, there really is no limit to the number of times I will see Cabaret on stage (eight and counting - the most I've seen any musical on stage other than my favorite RENT). And it was, of course, one of those unforgettable theater experiences.

This is my fifth time writing about Cabaret on Cherry and Spoon, a record for this blog, so there's not much that I can say about it that I haven't already said. You can read my full thoughts on this genius musical here, but suffice it to say that Kander and Ebb's Cabaret is one of the best musicals ever written. Not only is it wildly entertaining with a fantastic score, but it actually means something. It's a timeless piece about the horrors of the Holocaust specifically, and genocide, intolerance, oppression, and hate in general, issues that are sadly as relevant today as they were in 1930s Berlin and 1960s America. That being said, I'll focus the rest of this blog post on the specifics of this legendary production (which officially opens on April 24 and is scheduled to run through August).

Alan Cumming's iconic Emcee

When you think about actors who've played the Emcee in Cabaret, two immediately come to mind - Joel Grey, who originated the role in the 1966 Broadway production and the 1972 movie, and Alan Cumming, who redefined it for a new generation in the 1993 London and 1998 Broadway Sam Mendes-directed productions. The Broadway revival ran for six years and became fodder for stunt casting, with some notable actors playing the role, but there's no one like the original. Alan has been playing this role for over twenty years, and it shows. He's so comfortable in his role, it oozes out of every pore. He just is, effortlessly, the Emcee, whether performing at center stage, walking through the audience and flirting with the crowd, or silently sitting on stage and observing. It's a beautiful thing to see a performer in a role with which he is so identified and in which he is so at home.

Other than Alan's incomparable performance, highlights of this production include:

• The look of Studio 54 is perfect, the entire first floor seating consists of cabaret tables with a red lamp on each that lights, dims, and darkens on cue. Ushers and waiters are dressed as if they're part of the show. The small bare stage has three doors at the back and spiral staircases leading up to the second level, where the band sits behind a large frame.
• The Kit Kat boys and girls double as orchestra members, and are as talented as they are gorgeous.
• Film actor Michelle Williams is a fine Sally Bowles, but she's a little too polished and precise next to Alan's organic ease of being. This being previews, she has time to loosen up into the role.
• One of our Broadway faves Danny Burstein (from South Pacific and Follies) is the best Herr Schultz I've seen, despite being too young and singing too pretty for the role. Linda Emond, who appeared at the Guthrie a few years ago in Tony Kushner's Intelligent Homosexual's Guide..., is also wonderful as Fraulein Schneider (although she's no Sally Wingert).

Since I missed him the first time around, I'm so grateful I was able to see Alan Cumming in this iconic role. Just one of the highlights of this incredible week of NYC theater.

"Follies" at the Marquis Theatre on Broadway

Bernadette Peters and Stephen Sondheim on Broadway.  That's all it took to get me to see Follies last weekend, a show that I previously knew nothing about.  Sometimes it's best to go into a show with no expectations.  I was blown away.  It's an absolutely stunning production.  From the set and costumes, to the huge veteran cast, to the gorgeous Sondheim music, it's an amazing musical theater experience.

Follies is set in 1971 and was first produced on Broadway that year.  It takes place in a theater about to be demolished and reunites the women who worked there in the 30s and 40s as "Follies girls."  The main characters are two erstwhile best friends, Sally (Bernadette Peters) and Phyllis (Jan Maxwell), and their husbands Buddy (Danny Berstein) and Ben (Ron Raines).  They comprise an awkward and complicated love quadrangle.  Buddy loves Sally but Sally loves Ben.  Ben only loves Sally until he has her, and then he wants Phyllis back.  As they reminisce about their past and their stories unfold, we also see the young versions of these four characters.  Their costumes are slightly faded, they're lit with a softer light, and even the sound of their voices is slightly echoing, like we're seeing visions from the past.  Sometimes the past and present action occur simultaneously.  The worlds overlap and we see the parallels between then and now.  It's really beautifully and effectively done.

The show opens with the orchestra playing the Prologue while beautifully dressed women walk slowly and elegantly across the stage, a run-down theater.  They're ghosts of the past, dressed in blacks and greys, with the elaborate headdresses of showgirls.  They continue to walk around or stand in the background as the present-day action goes on in front of them, and one or two even remain on stage during intermission.  There's a sad, wistful feeling about the show, and the costumes, set, lighting, and sound design all contribute to that feeling.

As I'm beginning to learn is typical in a Stephen Sondheim show, everyone in the large ensemble gets their moment to shine.  And they all just knock it out of the park - Mary Beth Peil slinking across the stage singing "Ah, Paris," Jayne Houdyshell singing the classic "Broadway Baby," Elaine Paige belting "I'm Still Here," and Terri White tapping up a storm in "Who's That Woman."  These women are all stars in their own right, but are in this show for one shining moment.  And the beautiful thing is that they're all over 50.  After seeing RENT starring a bunch of 20-year-olds (which is appropriate for the show) just the night before, it was nice to see mature, beautiful, talented, amazing women kicking it up on a Broadway stage.  That's a rare sight, and thrilling.

Follies celebrated its opening night just this week.  I fully expect and hope to see all four leads nominated come Tony time next spring.  They are all spectacular, especially the women, and each have their "folly" moment at the end of the show.  Danny Burstein (whom we loved in his Tony-nominated role in South Pacific a few years ago) does a funny vaudeville number ("The God-Why-Don't-You-Love-Me Blues") that is hiding deeper pain.  Jan Maxwell has a killer dance number with a bunch of dancing boys behind her.  Bernadette walks out onto an empty stage in a gorgeous purple dress and pours her heart out in song, as only she can do.  Finally, Ron Raines (one of those theater/soap crossover actors), comes out in a top hat and tails and leads the ensemble in a great song and dance number, until he falls apart at the mess he's made of his life.  It's not a happy ending, but it's a conclusion.  I felt like I had been on a journey with these people and shared a moment in their lives.

We waited at the stage door, but because it was a matinee before an evening performance, we didn't see any of the four leads.  But we did see young Buddy and the tap-dancing Terri White, who informed us that the cast was going into the studio in October to record the soundtrack.  I'll be watching for that.

Follies is on Broadway for a "limited engagement" after a run at the Kennedy Center in DC earlier this year.  I'm not sure how long the engagement will last, but it would be a crime for any musical theater lover who has the opportunity to see it, not to.  One could say that it would be folly to miss this show.