Archive for Rob Marshall
Cabaret has opened in Studio 54, and while the decadent, pre-World War II, night club musical is enjoyed highly by all, most critics needed to pinch themselves to make sure they hadn’t traveled back in time to 1998. The Roundabout Theater Company production that won such praise the first time around is back and almost entirely unchanged — if you missed it in then, now is your chance to see what all the fuss is/was about! Alan Cumming returns to play the Emcee, a role for which he won a Tony in 1998, and his performance is every bit as delicious this go around. Other highlights include the awesome onstage band and the 360-degree design of the Kit Kat Klub setting. If you didn’t see this production over a decade ago, head to Studio 54. Even if you did see this production over a decade ago, head to Studio 54 — ten years is a long time and you could always use more Cabaret.
NEW YORK TIMES
“Hot diggity dachshund, it’s old home week on the campus at Weimar Berlin, otherwise known as the Kit Kat Klub. And if we take off our glasses and squint, we can pretend that life is just as divinely, dangerously decadent as it was when we were all 16 years younger. Why, here’s that adorably creepy M.C., a little softer around the jaw, maybe (aren’t we all?), but still such a cutup. Look at him pretending to have sex with the school slut. (Or one of them; there were so many.) And isn’t that Sally Bowles over there in the pink boa? Looking good, Sal; love the platinum bob. But why so uptight? Don’t forget what you always said: “Life is … .” Uh, what was it you said again? A little more than 16 years after it first opened, and only a decade after it closed, it feels as if the popular Roundabout Theater Company production of Cabaret never left Studio 54, where it reopened on Thursday night.”
TIME OUT NEW YORK
“Cabaret is on Broadway again: Willkommen home, you magnificent beast. Originally staged in 1966, then brought to a sordid cinematic life in Bob Fosse’s (heavily adapted) 1972 film, the Kander and Ebb classic was revived and reconfigured anew in Roundabout Theatre Company’s triumphant 1998 account. Now that version has returned with its original star: the supreme Alan Cumming as the Emcee of the Kit Kat Klub, a decadent nightclub in Berlin’s Weimar period. Why so soon? A better question might be: Why not? This Cabaret is a superb production of one of the great Broadway musicals of all time—an exhilarating, harrowing masterpiece.”
NBC NEW YORK
“Theatergoers walking into Studio 54 for the now-opened revival of Cabaret might be struck with a case of déjà vu. That’s because the Roundabout Theatre Company has produced an exact restaging of Sam Mendes and Rob Marshall’s 1998 Tony-winning production. From the Playbill cover design to the fringe on the lamps of the tables of the Kit Kat Klub, you’ll feel as if you’ve stepped into a time machine. That’s not necessarily a bad thing. There’s a reason the ‘98 revival was such a big hit, after all. Mendes and Marshall had reimagined John Kander and Fred Ebb’s classic musical, stripping away any glitz and glamor leftover from the 1972 film. Together with book writer Joe Masteroff, they gave us a dark, gritty take on Cabaret that amped up the asexual undertones in John Van Druten’s original play and Christopher Isherwood’s stories, forcing us to see the material in a whole new light.”
“Alan Cumming must have sold his soul to the devil to acquire his divinely debauched persona as the Emcee of the Kit Kat Klub in Cabaret. It seemed nuts, but proved shrewd of Sam Mendes and Rob Marshall to retool their dazzling 1998 revival of the Kander and Ebb masterpiece, fit Cumming with a new trenchcoat for his triumphant return, and bring the decadent netherworld of 1920s Berlin back to Studio 54, the revival’s ideal venue. Inspiration flagged, however, in casting Michelle Williams, so soft and vulnerable in My Week With Marilyn, as wild and reckless party girl Sally Bowles. Smoking is verboten at Studio 54. The wait staff is not as scantily clad as the louche boys and girls at the Kit Kat Klub. The patrons aren’t even doing lines on the tables. But other aspects of this infamous club’s setting — the glitzy design of the house, the cabaret seating and drinks service, and the superb audio system for the fantastic onstage band — contribute to the show’s illusion that going out clubbing can still mean living dangerously.”
“Barely sneaking in under the Tony Award nomination deadline this season is a dear old friend to Broadway, the decadent Cabaret. The only appropriate salutation is: willkommen. Not a revival so much as a revival of a revival, this Cabaret — again produced by the Roundabout Theatre Company — opened Thursday night, with only hours to spare before its eligibility expired. Whatever it’s called, it’s as thrilling as ever, a marvel of staging that hasn’t lost its punch. If it looks a lot like the version that ran from 1998-2004, that’s understandable: Alan Cumming is back in his Tony Award-winning role as Emcee and director Sam Mendes and co-director and choreographer Rob Marshall are again pulling the strings on this show about life in pre-World War II Berlin. Orchestrations and costumes — what little there are — also are the same.”
“Sometimes the melancholy metaphor that claims “You can’t go home again” comes to mind unexpectedly. I’m sorry to say it has too recently occurred to me. It happened at the Studio 54 revival of the 1998 Cabaret so beautifully engineered then by Sam Mendes, Rob Marshall and Cynthia Onrubia. That’s the one that introduced the extraordinary Alan Cumming (also currently Eli Gold on The Good Wife) to Broadway. Let me quickly specify that Cumming, repeating the role that brought him a Tony 16 years ago, is every juicy leer as good now as he was then in his role of the deliciously decadent compere at the Third Reich’s Kit Kat Klub in Berlin, where, we’re assured, life is beautiful and the girls are beautiful. A decade and a half later, he uses the intervening years to supply the slinky fellow with a hint of the weariness that descends after cajoling too many patrons to cheer up over too many cheerless nights.”
Tveit leaving N2N, Wicked Bway’s 20th longest running show, Nine and In the Heights news, cleaners strike possible
It’s official: Tveit is leaving Next to Normal, Massey stepping in
Kyle Dean Massey (Xanadu, Wicked, Altar Boyz), who played Gabe in the Tony-winning musical Next to Normal while Aaron Tveit took a leave of absenc, will assume the part of Gabe permanently beginning on Jan. 4. Tveit will play his final performance Jan. 3 at 7:30 PM.
Wicked sets yet another record – becoming Broadway’s 20th longest running show of all time
On Dec 15, Wicked played its 2,535th performance, surpassing Avenue Q‘s admirable run and becoming the 20th longest running show in Broadway’s history. And as the Thanksgiving weekend records showed, this musical is still more than holding its own on Broadway. Here’s hoping the wonderful show will continue running for years to come!
A digital soundtrack release and five Golden Globe nominations for Nine
The soundtrack for the Rob Marshall film version of Nine is now available for digital download on iTunes. Buzz about the movie is big – it was just nominated for five Golden Globes, including those for Best Motion Picture and Best Actor in a Motion Picture for Daniel Day-Lewis. The film opens to the general public on Christmas day.
Kenny Ortega will direct the In the Heights film; Lin-Manuel Miranda will star as Usnavy
Variety is reporting that Kenny Ortega, the man who helmed Newsies, High School Musical, This is It and Dirty Dancing, will direct Universal’s film version of In the Heights, starring Tony Award-winning songwriter Lin-Manuel Miranda in the role he originated on Broadway, Usnavy. The Tony-nominated librettist Quiara Alegria Hudes is adapting the screenplay. I don’t know about you, but I can’t wait for this film!!!
Broadway could have another strike in the works
According to the New York Times, members of the Service Employees International Union Local 32BJ — which includes porters, cleaners and bathroom attendants at over two-dozen Broadway theatres — unanimously gave its “union bargaining committee the authority to settle or strike.” Back in 2007, the stagehands union strike shut down Broadway for a full 18 days. A strike of even half that length in this economic landscape could mean the end for a number of struggling Broadway shows…