Cabaret

(Version Française  : Cliquez ici)

Lyrics: Fred EBB

Music: John KANDER

book: Joe MASTEROFF

Director, scenograph associate, Light design associate: Robert CARSEN

Choreography: Fabian ALOISE

Music director : Bob BROAD with Benjamin PRAS and Dan TUREK

Scenograp associate, costumes design: Luis F. CARVALHO

Light design associate : Giuseppe DI LORIO

Video Design: Will DUKE

Director associates: Andreas ZIMMERMANN and Rory FAZAN

Choreography associate: Paris GREEN

Costumes design associates: Marion MOINET and Marion DUVINAGE

at Lido2Paris until 3 february 2023

What is striking, as soon as you enter the room, is that you are not at the Kit Kat Klub but at the Kit Klub Kat… No one among the creatives seems to have noticed this detail which allows you to see only the word « Klub » when the two side curtains are open. Add to that, three disco balls out of order when the place has just reopened. There is the bias of using the elements of the scenography of the show « Paris Merveilles ». This may show a lack of inventiveness, but why not, provided that the equipment has been maintained. The noise of the machinery and the repetitive scenery will be very noticeable during the performance.

Moreover, let us note a botched scenography where this trap door is used to excess with a undescriptible vacarm and the sets are awkwardly brought by an ensemble whose costume is changed to give the illusion that there is a reflection. But a costume should serve the play: an army of gorillas bringing in furniture is irrelevant and has no added value as it does not provide continuity or transition between two titles. However, it is this same ensemble that shines with talent on the vocals and acting and, of course, on the choreography. The choreography is, without doubt, one of the good points of this version. Even if we would have liked a moment of fan service with a tribute to Bob Fosse… It is still the ensemble that saves Sam BUTTERY’s interventions from being wrecked. An emcee who relies on a vaguely queer, totally gothic style. But creating an image borrowed from Marilyn Manson is not enough to mask the lack of talent and charisma.  On The money song/Sitting pretty, it will be, fortunately, the set, the costumes and the decor (the exception that proves the rule) that will make the difference and will overshadow, in spite of him but fortunately, this first role rarely in measure. She gives his best once and only once on I Don’t Care Much.

For the other main artists, Lizzy CONNELLY is marvellous as Sally. She gives excellent performances despite an orchestra that often covers her voice. It’s a bit of a shame on her thunderous track Cabaret: heartbreaking and brilliant. The sound is dull, without relief, which puts the troupe in difficulty. The ensemble and the band are often out of sync: when Emcee raises his arms on the cymbals, it is never at the right moment. This may be due to a single guide screen that is too far away from the musicians and/or an orchestra that is not sufficiently prepared.

Coming back to the main roles, we are totally seduced by the couple Sally Ann TRIPLETT and Gary MILNER who excel in all aspects. It’s right in acting, it’s inhabited in singing. Charlie MARTIN is also particularly convincing in her interpretation. Oliver DENCH, on the other hand, seems to be elsewhere and lacks naturalness.

As for the video design, one should rather speak of video editing, it is a question of archive images thrown together without nuance creating a palpable unease in the audience… As for the final number, which is very successful apart from this video, it illustrates what does not need to be illustrated. The audience of this kind of show is not stupid and does not need to be taken by the hand to make the links with our society. They will not be fooled by the timid applause they give at the end of each act.

It is also regrettable, even if it is a conscious choice to present Cabaret in its original version, the absence of Mein Herr, Maybe this Time and a shortened version of Wilkommen to the detriment of the not so brilliant soundtrack The Telephone Song.

After the fiasco of La Seine Musicale -until his departure- and then of the Théâtre Marigny, although having proposed beautiful programs, one wonders if Jean-Luc CHOPLIN was not placed at the Lido as a torpedo to allow the Accor group to open a hotel in these walls and those of the UGC Normandie…

This Cabaret presented at the Lido 2 Paris is so slow that it often becomes boring due to a long book and a slow staging.

If you have the opportunity, prefer a thousand times over Rebecca FRECKNALL’s incomparable version which is currently triumphing in London at the Playhouse Theatre with repeated extensions.

Photo credit : Julien BENHAMOU

Synopsis

Cabaret is the story of Clifford Bradshaw, a young American writer who, during a trip to Berlin in the early 1930s, falls in love with Sally Bowles. Sally Bowles, a showgirl at the Kit Kat Klub, tries to make the audience forget the troubled times ahead, but dreams of becoming a star.

Soon Clifford and Sally find their beliefs, desires and political context undermining their love affair. Come and see this musical in its original version for the first time in Paris at Lido2Paris!

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