The only thing World War II, Adam Lambert, and Disney’s Moana have in common: Broadway’s Cabaret at the Kit Kat Club. The definition of immersive art, Cabaret’s run is a once-in-a-lifetime experience. Currently, it stars the captivating Adam Lambert as the Club’s Master of Ceremonies and the powerful Auli’i Cravalho as cabaret singer Sally Bowles in both of their Broadway debuts.
No more is the August Wilson Theatre, where the show is held. Rather, it presently stands as the alluring Kit Kat Club, the sordid home of the Emcee and Sally. The performance starts immediately as viewers step foot inside. With dancers, performers, and a few bars, there are three floors for audience members to explore and gain the full Club experience before the show. When it’s finally time to take a seat, the Club leads to the in-the-round stage, where performers continue to entertain until the actual show begins. Once it does, it’s impossible to look away.
Lambert & Cravalho’s Performances
“Willkommen, bienvenue, welcome!” Lambert croons the opening line from “Wilkommen,” the show’s first number. Lambert easily slips into the role of the Emcee; it’s hard to remember that he doesn’t actually speak German. He moves across the stage fluidly and with such a commanding presence, something that he undoubtedly has perfected as the acting frontman of Queen. His comedy lands perfectly, and his vocal prowess on more challenging songs such as “I Don’t Care Much” leaves the audience with chills. Lambert also displays expertise acting both provocatively and gravely, a juxtaposition required of any version of the Emcee.
Cravalho and Lambert match each other’s capabilities effortlessly, leaving an iconic duo at the forefront of the show. Cravalho draws the audience in with her sultriness and even demands attention in her more hard-hitting scenes. While Cravalho wows the entire length of the show, the pinnacle of her performance lies in the titular song, “Cabaret.” A semi-self-aware song exemplifying the nuances of being in the cabaret, “Cabaret” requires uninhibited control of one’s own body. Cravalho executes this flawlessly, making for an unforgettable end to an already memorable show. Between her talent and stage presence, it will be no surprise if this is the start of a lasting Broadway career.
Simple, Yet Stunning
As if to amplify the performances, Cabaret‘s set design is as minimal as they come. There are no elaborate set changes with moving pieces or even an excess of props. While some people have critiqued the show as being lacking, it is instead captivating. Scenes flow seamlessly from one to the other. Audience members are forced to use their imaginations to fill in the blanks; the show capitalizes on the idea of presenting a facade. Cabaret‘s depth goes beyond set design, making this artistic choice excellent.
Modern Day Relevance
Perhaps the most captivating aspect of Cabaret, and only second to its performers, is its current societal relevancy. The musical, set in 1930, follows Sally and American writer Clifford Bradshaw as they navigate the emergence of the Nazi party in Germany. As the plot unravels, Cabaret becomes a story about negligence and indulging in distractions for the sake of blissful ignorance.
The show plays into modern politics in a number of ways, as the adage “ignorance is bliss” still rings true. Politics aside, the notion of involving oneself in another’s personal life and relationships is additionally at the forefront of Cabaret. Though the musical focuses on antisemitism due to its period context, the same concept can be applied to similar issues today regarding LGBTQ+ individuals, people of color, still the Jewish community, and more. By highlighting the historical plight of one minority group, the struggles that others presently face can be brought to light.
An Immersive Experience
With an in-the-round stage orientation, the audience can’t avoid involvement in the show as the seating melds viewer and performer. Photos aren’t even allowed in the theater. This forces the viewer to be present in every single moment, not focusing on a screen. This causes the entirety of the show to feel more authentic and personable, as everybody is a part of the story. In this way, however, the audience is also made to feel somewhat complicit in the show’s turn of events. It’s almost as if they are responsible for not helping or warning a character. Everybody knows what is more than likely going to happen to the Jewish character. The inability to warn them leaves the audience with a guilty ick, one that follows them out of the theater.
Overall…
In short, Cabaret is what theater is supposed to be: the buzz that comes home with you, the subtle warning of the real world outside. Lambert, Cravalho, and the entire Broadway cast are the perfect caveats of this, making this revival an absolute must-see.
