Theatre review: Cabaret

PREVIEW DISCLAIMER: This is another one with a long preview period, and the official reviews aren't out yet.

Rebecca Frecknall had a career-defining hit with Summer and Smoke, which she's capitalised on creatively with her ongoing associate role at the Almeida; now she makes a bold play to capitalise on it commercially as well, staking her claim as a name we could be seeing in the West End for some time: A reimagined production of Kander & Ebb's dark but enduring musical Cabaret, with not only a big-name cast but also a reconfigured Playhouse Theatre that tries to give the feeling of entering the eponymous Kit Kat Club in 1920s Berlin. With staggered entry times, the audience enters the theatre's basement and is guided around the dingy corridors, passing showgirls doing their makeup until eventually ending up at front of house to find their seats*. Once inside Tom Scutt's traverse design has replaced the Stalls seats with tables surrounding a raised revolve.

Theatre review: The Rink

Does Southwark Playhouse have an ultimate goal of staging Starlight Express some day? They seem to have cornered the market in shows involving roller-skates (who knew that was even a market to be cornered?) and after Xanadu and punkplay comes Kander and Ebb’s 1984 musical The Rink. It takes a while for anyone to actually get their skates on though, as the rink in question is one that’s seen better days and has fallen into disrepair. Anna (Caroline O’Connor) inherited it from her father-in-law, and for many years it was a main attraction of the boardwalk in an East Coast town. With the economy closing most of the businesses on the boardwalk, Anna has sold off the rink to developers who plan to knock it down. The demolition crew are already there helping her clear everything out, but so is someone she didn’t expect: Her daughter Angel (Gemma Sutton) is co-owner of the rink, and Anna forged her signature to make the sale.

Theatre review: The Scottsboro Boys

One of the last Kander and Ebb musicals gets its UK premiere at the Young Vic, with Broadway legend Susan Stroman reprising her role as director and choreographer (and bringing some of the original cast with her.) The people behind a much-loved musical charting the rise of the Nazis aren't afraid of a difficult subject and so The Scottsboro Boys unearths an unpleasant chapter in America's checkered civil rights history. Nine young black men passing through Scottsboro, Alabama on the train, end up spending much of the 1930s behind bars when, seemingly out of nowhere, they find themselves accused of the rape of two white women. Pressure from the North and funds from the Communist party result in countless retrials but the total lack of evidence, and even one of their accusers confessing that her testimony was made up, don't stop jury after jury finding them guilty.

Theatre review: Steel Pier

Another lesser-known Kander and Ebb musical gets revived, this time at  the Union. It's now the turn of the 1997 Broadway flop Steel Pier, and in one of those weird bits of theatrical synchronicity it's the second show in as many months about 1930s dance marathons. This is a somewhat less nightmarish vision of the Depression-era endurance phenomenon than Dead On Her Feet but it still features a group of desperate young people dancing to the tune of a ruthless promoter who's probably out to rip them off anyway. Former stunt pilot Bill Kelly (Jay Rincon) turns up at Atlantic City's Steel Pier for a dance marathon run by Mick Hamilton (Ian Knauer.) He meets ageing starlet Rita Racine (Sarah Galbraith) whose dance partner hasn't shown up, and convinces her to team up with him instead. But Bill doesn't know that Rita is secretly married to Mick, and is essentially a ringer whose husband will rig things to make sure she wins.

Re-review: Cabaret

In a busy year for Kander & Ebb revivals this was always going to be the main event (especially with Chicago finally giving up the ghost.) Rufus Norris revisits his 2007 production of Cabaret, which returns to London with all its grotesquery intact, plus a couple of star names in the leads. With it being just over a month since I saw I Am A Camera, it's easy to spot some of the major changes Joe Masteroff made to John Van Druten's play and Christopher Isherwood's original stories - most notably the conflation of Isherwood's character with that of Clive Mortimer, so now the outsider's view of Berlin is provided by Clifford Bradshaw, an impoverished, bisexual American wannabe writer. There's also a gentler, more emotional storyline to the subplot where landlady Fräulein Schneider makes concessions to the rising Nazis for an easy life, as well as the creation of a new lead character as we see some of the Kit Kat Klub where Sally sings, and its enigmatic Emcee.

Theatre review: Curtains

Kander and Ebb's Curtains is a fairly obscure musical by the standards of the songwriters of Cabaret and Chicago (they obviously liked one-word titles that start with "C.") It got a Broadway run in 2007 but no West End transfer, so Robert McWhir's production at the Landor, the pub theatre with a particular focus on musicals, is its UK professional premiere. A play-within-a-play, it follows the Boston run of "Robbin' Hood," a musical with hopes of making it to Broadway, but troubled not only by the unfinished songs but also by the terrible performance of the lead actress, a Hollywood starlet unable to hit her notes or remember her lines. When she suddenly drops dead at the curtain call, one problem at least is solved; but the policeman investigating insists on keeping the cast locked in the theatre until the murder is solved - and until the troublesome big number can be rewritten.