Cabaret

If Sydney were Berlin in 1929 then Kings Cross would be the place you’d watch a smoky, seedy and raunchy cabaret.  This makes the 100 seat Hayes Theatre the perfect venue to enjoy an intimate look at this musical, much like Sweet Charity which opened the theatre company. Some lucky members of the audience were even squeezed onto a table right next to the beautifully crafted set - sitting alongside members of the cast who were watching the action.

The Weimar Republic heralded an extraordinary period of expression which was born out of the ashes of World War One and the hyper-inflation which followed. The rising threat of Nazism casts a shadow over the artists, which resonates today as parts of the world veer towards extremism and intolerance.

Cabaret is now celebrating its 50^thbirthday and productions must compete with not only past theatrical seasons, but the iconic movie with the ground breaking choreography of Bob Fosse and timeless performance of Liza Minelli as Sally Bowles.

There were many aspects of this production that were as satisfying as any past production.  Let’s start with the ‘Kit Kat Klub’ band.  Thank you for letting us see the musicians a few times, as hard as that is – with them shoe horned up the back. Let the first person I name from this production be Ellie Shearer on the trombone. Her big fat juicy crackling notes penetrated your bones.

Another stand out feature was the crisp choreography by Kelly Abbey. A particularly cute ensemble was a kissing dance when a couple’s lips remained locked during a routine.

In the chair as the master of ceremonies was Paul Capsis. He seems to have been born to play this role and his intensity and humour were at times electrifying. Looking absolutely like he walked out of a movie set as the all American boy was Jason Kos as Clifford Bradshaw. Whilst Chelsea Gibb’s accent wasn’t exactly what you might have expected in the lead role of Sally Bowles, she absolutely smashed the part’s shining moment when she sings Life is a Cabaret.

The ensemble and minor principals also shone. Kate Fitzpatrick was triumphant in her return to the stage as Fraulein Schneider.

By the time the media were let in to see this production it had already been running for three weeks – which was reflected in the sharp as a tack performance that it a must see for musical theatre lovers.

David Spicer

Photographer: John McRae