| ‘CABARET’ - review |
| Written by Sian Rafferty |
| Monday, 15 November 2010 11:34 |
 There is nothing in 21st Century society that could possibly ever come close to the mystique and temptation of early 20th Century Kabarett. With the horror and shock of the First World War, and the release and desolation which followed its conclusion, Das Kabarett became Berlin’s sensational cesspit for a bit of heady, light relief and company. Nothing: neither modern theatre nor film, local pubs nor strip clubs can ever fully recreate the magic in the air of those troubled times. ‘CABARET’ was not simply burlesque, but a centre for community, politics and in the end – a rag-tag family of sorts. This play comes from the book by Joe Masteroff (which is based on the play by John Van Druten and Christopher Isherwood) and drastically differs from the Liza Minnelli film of the same name. American journalist Cliff Bradshaw (Tyran Parke) is driven for continual sources of inspiration to the very wonton and indulgent centre of Europe at the time, Berlin. Here he quickly falls in with the Kit-Kat Klub, a local Cabaret which features British singer Sally Bowles (Amanda Billing), as a little girl lost and a long way from Momma. As Sally and Cliff grow closer and closer in a twisted sort of dependency disguised as a relationship, wider changes in the German political system at the time threaten to disrupt their perceived domestic bliss. A triumphant musical at heart, epic songs such as ‘Cabaret’, ‘Don’t Tell Momma’ and my personal favourite ‘The Money Song’, are performed with gusto and cheek by members of the Auckland Theatre Company.  As far as our impish master of ceremonies (both in the cast and as the Director of the production), Michael Hurst was born to play our host Emcee. Other seasoned performers such as Parke, busty Colleen Davis as Fraulein Kost, and sweet couple Paul Barrett and Lynda Milligan make up the bulk of the main characters. Billings as Bowles was passable, yet not quite overwhelming as the lead floozy. The most memorable sequence would have to be the impressive piss-take of the superior Aryan race by Kit-Kat Klub resident strongmen Mike Edward and Ebon Grayman (formally of the Cirque Du Soleil). This brief reprieve from the story is both a sneering social commentary as well as a testament to the sheer strength of these cast mates. Prepare to be dazzled by some serious muscle flexing...  Lady Gaga and the current resurgence of burlesque thanks to stars like Dita Von Teese have a lot to answer for when it comes to the difficulty of shocking audiences in these modern times. As a result and perhaps because of our current fascinations, the burlesque element of this production is heavily stressed. And, well, a wardrobe consisting of pasties and gold budgie smugglers is at least economical. Hurst has gone out of his way to in fact transport the audience from Auckland's bass-booming night club central to the middle of an authentic cabaret. And ending ATC’s year with a bang, 'Cabaret' is being shown in Salon Perdu on the waterfront. It plays in a specially constructed Spiegeltent, a refurbished marquee from the early Twentieth Century. With the actors scampering and gossiping throughout the audience, and the intimacy of the small circular stage, this truly does feel like a trip back to vintage continental Europe. So loosen your morals, embrace your inner flapper and head on down to this shining beacon of culture, found in the midst of the otherwise tragic circus known as the Auckland Viaduct. 'Cabaret' plays from October 28th to December 18th. Tickets to 'Cabaret' are available from Ticketek, 0800 Tickekek (842 538) or www.atc.co.nz.  THINGS YOU MOST NEED TO KNOW: If you have a heart condition or are easily shocked, be warned. This show goes out of its way to offend your every sensibility. But that is what makes it so brilliant. HEARTOMETER: 1 2 3 4 5 6 7 [ out of 10 ] YOU WILL LIKE, IF YOU LIKE: Saucy musicals like ‘Chicago’, ‘Moulin Rouge!’ and ‘Guys And Dolls’. WATCH: Liza Minnelli acting... well, kind of crazy as Bowles in the movie version. Notice how Sally is American... Minnelli couldn’t master the British accent.  |
