Willkommen. Bienvenue. Welcome to the Kit Kat Club. Home to an intimate and electrifying new production of Cabaret. Experience this groundbreaking musical like never before.
The denizens of the Kit Kat Club have created a decadent sanctuary inside Broadway’s August Wilson Theatre, where artists and performers, misfits and outsiders rule the night. Step inside their world. This is Berlin. Relax. Loosen up. Be yourself.
London’s hottest ticket arrives on Broadway this Spring with Academy® and Tony Award® winner Eddie Redmayne reprising his Olivier Award-winning performance as the Emcee, and introducing Gayle Rankin as the Toast of Mayfair, Sally Bowles.
"Loved the nightclub atmosphere, thrilled to see Eddie and Bebe—their performances were superb! The first ten minutes was the best part. A few head scratches were the Emcee’s clothing, a rotating stage throughout (in 1931?) removed the “stage” quite necessary when depicting a cabaret, an unseen band and I’m always disappointed when there is a preachy moment pandering to the audience for applause; the people that need preaching aren’t buying these tickets. Lastly, of the many times I’ve seen Cabaret, this one more closely resembles my old high school’s performance. "
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Cheryl P from Thompson on Aug 1, 2024
"The performers were great. The scenic design and costuming were excellent.
However, the whole thing was doing too much. Which you might think is obviously the point of the show, right? The sparkling escape of the Cabaret versus the gritty reality of life. But just because you have Broadway level money, doesn’t mean you have to flex it the WHOLE time. The point of Cabaret is the story of it and the lesson to be learned, one that is becoming increasingly applicable in today’s political environment. The artistic direction distracted from the gut punch the final scene should be."
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Broadway.com Customer on Jul 13, 2024
"History has the propensity to repeat itself. Unless we heed the warnings.
Kudos to the crew who transformed the August Wilson Theatre into The Kit Kat Club in 1943 Berlin. The set is hauntingly beautiful. And there is nothing like theatre in the round to achieve a global audience impact. If you see this show, definitely get there one hour early to take in the dancing, Klezmer-like music, and entertainment that precedes this show. It is not an easy task to ace a Broadway re-make, but this show succeeds in doing so on so many levels. Again, this subject matter is not for the faint hearted as this show unearths current sentiments of White Supremacy on the cusp of America’s efforts to preserve the Rule of Law and to salvage our Democracy.
Gayle Rankin: You Rock. Omg. When this gifted actor took the spotlight to belt out “When I go, I am going like Elsie” and “Life is a Cabaret,” my body was literally covered in goosebumps. It was a quintessential moment in theatre history as is when Herr Schultz, when wished “Mazel Tov” in leaving town after his girlfriend (BeBe Neuwirth) refused to marry him because he was a Jew, said: “We all need Mazel right now.” His comment took the breath away of everyone in that audience.
While we did not get the opportunity to see Eddie Redmayne in his lead role as Emcee, we didn’t really miss him. Stand-by David Merino aced the part and deserves accolades for his talents on the stage.
This production is clearly NOT simply a remake of the Joel Grey and Liza Minelli hit of years gone by. This is a testament and testimony to the potential impact of current events on the rest of our lives. This is a show that remains current, fresh, and, unfortunately, painfully relevant in 2024. It’s fabulous. It’s riveting. It’s moving. And, as it should, it invokes a sense of fear and trepidation as we move closer to the November election.
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Broadway.com Customer on Jul 8, 2024
"The stage is round, so it all depends on where you sit. The emcee especially always faces one side of the audience. He spoke to that side like they were the only ones watching. We were sitting on the opposite side, so we spent 75% of the time staring at the backs of their heads. It felt very one sided, literally, and we didn’t feel a connection to the characters because we rarely saw their faces. Extremely disappointing. "
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Broadway.com Customer on Oct 27, 2024
"First off, the scenic design is brilliant.Eddie Redmayne’s performance is also brilliant and memorable; he’s leaving.
The show has always had a dark underbelly. This time, from the decor of the theatre entrance itself, to the pre-show, to the costumes and choreography, everything seemed aimed at being over-the-top shocking and German expressionistic. No subtlety.
The character of Sally Bowles may be a 2nd rate talent and a loser, but her audiences wouldn't come to see her if she seemed that depressed and angry, not to mention out of costume, while performing on stage at the Kit Kat Club. The despair and gloom were meant to be left outside the club, as the Emcee says in his opening song. Here, there is no escape. I’m not sorry I saw it, but I was glad when it was over."
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Broadway.com Customer on Aug 25, 2024
"There is something snake-y and slithery about the dancing but unsensual and unpersonable about the dancers in this Cabaret. Eddie Redmane's character is not as cynical-seeming as Joel Gray's version but somehow not as seductive either. The newest version of Sally Bowles is not particularly likable or vulnerable, And the only warm and fuzzy part of the play comes from an older couple who inhabit the hotel where the American visitor lives with Sally Bowles. This old couple was completely left out of the earlier production so far as I remember. They provide the only real human warmth in this play. The redo of the theater to allow the theater-in-the-round presentation is terrific and interesting, but does not compensate for the distaste I felt for most of the characters. This rendition could not come at a better time politically speaking, but seemed too didactic to have the impact I would have wished. After writing these impressions, I guess I really didn't like it much at all. "
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Broadway.com Customer on Jul 24, 2024
"We arrived excited to Cabaret. Upon arrival we were told Adam Lambert has decided right before the show to take a leave of absence. We were assured David his understood was fantastic. Although he did above average the rest of the cast seemed to be mailing it in. The most underwhelming dancing I have ever scene. A loud production that was completely lacking of any sensual or emotional characters. We had a table at the front bought cocktails and a bottle of champagne. It wasn’t enough to dull the senses of the apathy that was on stage. We walked out at intermission. "
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Broadway.com Customer on Oct 5, 2024
"We felt that cabaret ‘24 was loud, over done and just ‘too much’.
We didn’t care for the lead characters.
Sorry, we went in ready to be fully entertained but we’re very disappointed.
We left at intermission. "
