why CABARET in Paris is so different | review of the musical revival at Lido 2 Paris
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- Опубліковано 15 лип 2024
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OHMYGOD HEY!
A few weeks ago I was tremendously lucky and got the chance to review the new English language staging of CABARET at the Lido 2 Paris in Paris, France.
This production features choreography from Fabian Aloise and stars Samuel Buttery as the Emcee with Lizzy Connolly as Sally Bowles, Oliver Dench as Cliff and Sally Ann Triplett as Fraulein Schneider.
Check out today's brand new review video for my thoughts on this revival...
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#theatre #cabaret #musical #paris - Розваги
Fascinating review. How great to get to see two productions so close together to compare. Also worth noting that that period of history has a quite different meaning to Paris than it does to London. The story probably resonates slightly differently, so I wonder if adding the modern day context may be that they want to present the story as much as an allegory as a very specific period of time in which Paris would eventually find itself involved.
I saw the Paris production because you mentioned that you had gone there to see it. I'm living in Spain and dashed off to Paris for a few days. I agree with you that Sally Ann Triplett was amazing and I think was the best performer on the stage. Charlie Martin also was incredible and brought great fun and depth to the production. While Sam Buttery's emcee is less influential to the plot in this production I found their performance more staid and stiff than I would have liked - never fully overflowing with the celebratory energy often needed in the role. I was moved by how the play ended with the cast drifting into the back of the stage, the emcee taking a last sip of cocktail before crashing the glass to the floor - the party had ended. Thank you for mentioning the production in an earlier video which gave me time to get to see it. And thank you for this excellent review which helped me to reflect back upon the performance.
Omg the shot bell needs a warning for headphone wearers 😅 my poor ears
I took on your challenge. I always watch UA-cam videos sped up but had to slow this one down so I wouldn't die! I was wondering if you'd possibly make a video about all the discourse on X over the Cabaret Tony Awards performance? It's all made me plan to go see it in the West End *shot beep*
Well done. I am loving your reviews.
This was a great bit of foreshadowing MickeyJo! Sally Ann Triplet now cast as Schneider on the West End, beginning June 3rd, 2024!
Isn't it exciting! She's going to be marvellous.
Ding sound effect way too loud! But very intriguing review as a whole!
really enjoy the videos, keep it up! ^_^
I find it very interesting the different ways each production handles the Emcee. For me, I don't particularly like versions where the Emcee is just a disinterested spectator/narrator. I don't think any production will beat the Sam Mendes one in terms of handling the Emcee: that version makes me genuinely care about the Emcee as an individual person, and allows him to function both as a symbolic narrator and an actual character in the world.
I haven't seen it, but I don't think I'm on board with the West End version explicitly turning the Emcee into a Nazi. I don't buy that someone who is the ringleader of this queer, underground club would be so easily accepted into the fascist mainstream, even if he wanted to be. I think I'd buy it more if there was some level of regret and conflict (ie. the Emcee feels he has to conform to save himself), but the reveal that "oh he was just evil the whole time" seems uninteresting. It also seems the West End version has moved away from depicting the Emcee as queer (the jokes he makes are different, he dances with two women during "Two Ladies"). And I just think that's a shame, because it feels somewhat regressive. I'd love to see a production that explores the Emcee being more on the nonbinary/trans spectrum and highlights the queerness of Cabaret even more.
The west end production removes the references to queerness in Wilkommen, which I find weird when any production does that because it doesn’t sound right when it’s just ‘the girls are beautiful, even the orchestra is beautiful’; whereas ‘the girls are beautiful, the boys are beautiful, even the orchestra is beautiful’ just scans better.
EmCee couldn’t be accepted as a nazi, they might let him live, although probably not, just accepting the people in the Kit Kat club had a right to live was against Nazi ideology.
@@MsJaytee1975 It sounds like we're in agreement, unless I'm missing the nuance of what you're saying. But yeah, that's why I find it weird that the WE production does seemingly have the Emcee gleefully becoming a fascist at the end. With Alan Cumming's Emcee, there are moments where he's trying to appease an increasingly fascist audience (like with the end of "If You Could See Her"), but he's ultimately unable to because he's so enmeshed in the "degenerate" queer culture that the Nazis would ultimately never accept him.
I find it interesting that Eddie Redmayne compares his Emcee to Herbert von Karajan. Karajan was a prestigious conductor who joined the Nazi party just for social stability. But, the thing is, Karajan was already a respected, middle-upper-class conductor. He was able to assimilate because he was already respectable. I don't feel that fits the Emcee at all.
From what I know from that time period, the 1930's were a time of big change when it comes to morals everywhere. Within' the new production (spoilers ahead), the cabaret changes throughout the show, by the sequences of "I Don't Care Much" and "Cabaret", the Emcee is completely dressed formally as is everyone from the Kit Kat Club, almost as if they have begun their process of "fitting in" or at least, obey the ground rules of the country.
As for the queerness... Although I do agree that the Emcee has become a queer symbol, I don't think it is essential that every production must follow that direction, given that to a certain point, Joel Grey's version of the role has so many Nazi undertones over it. In this version, even though it's the same text, it feels like they are focusing on Cliff's queerness more than ever, maybe it's the change of context or harder intent, but it definitely feels like the focus shifted from one character to another.
But I totally agree with your opinion, when viewing it from your point of view that changing some of the jokes sound regressive, but still, from what I took away from the West End production, the Emcee becomes a character as the story goes on, he stops being an analogical narrator and becomes a pawn in the narration itself.
Well, the actual owner of the Eldorado (the club the Kit Kat Club is based on) ended up handing the club over to Nazis (many of which he had worked with). He did end up having to flee the country tho, but that wasn't until after he had worked with Nazis earlier. History isn't black and white.
@@madison6084 Yeah, we agree. :)
Who was the Emcee when you went to see it in London? I saw the tour in Peterborough a few years ago and it was John Partridge, who I know as Rum Tum Tugger from the recorded version of Cats. Was there two ladies and tomorrow belongs to me? I found the latter so creepy and felt bad for clapping at the end!
I feel like 2 west end references were missed, after 6 and after 9
After 6 and after 10 and after 15!
So is the total 16 or 17 then? I lost count!
Great review Mickey Jo
@@sherimarvin5938 22!
Cute hat
Sally would never show her desperation, even if she was desperate.
I must’ve seen the Rufus Norris production, and I think my brain has locked on that as the right way to do the show (and yes there was a fair bit of nudity). I think it just understood things about marginalisation and who can show how they feel that the west end production doesn’t.
I don’t remember Sam Barks raging through the title song, I think she understood the assignment and pretended everything was fine.
Glad to hear Paris has remembered that the show is supposed to be sexy and sensual. Every time I see anything from the west end production, it looks completely sexless. That kind of misses the point.
The one thing I’d like to know though: is the Paris production in French?!