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    Paul Mescal Rides ‘A Streetcar Named Desire’ to Brooklyn

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    The award-winning production will begin performances in February as part of Brooklyn Academy of Music’s next season.Brooklyn Academy of Music next spring will present an Olivier Award-winning revival of “A Streetcar Named Desire” starring Paul Mescal, the Irish actor, in the role made famous by Marlon Brando.The production is the high point of the next season at BAM, which, like many nonprofit arts organizations, has been struggling to rebuild after a period of economic challenges and leadership change.“Streetcar,” one of Tennessee Williams’s Pulitzer Prize-winning plays, imagines a down-on-her-luck Southern woman’s disruptive visit to the New Orleans home of her sister and brother-in-law. It was first staged on Broadway in 1947, and this latest revival began at London’s Almeida Theater in 2022, and then transferred to the West End in 2023. Not only did the production win an Olivier, but so did Mescal and Anjana Vasan for their portrayals of Stanley and Stella Kowalski. Vasan will join Mescal in Brooklyn, as will Patsy Ferran, reprising her London performance as Blanche DuBois.The critic Matt Wolf, writing in The New York Times, called the London production “an electrifying ensemble production.”Mescal, an Oscar nominee for “Aftersun,” is also known for the series “Normal People” and the film “All of Us Strangers,” but he is likely to become much better known this month because he is starring in “Gladiator II.” “Streetcar” is his American theater debut.The production, directed by Rebecca Frecknall, will return to the West End from Feb. 3 to 22 at the Noël Coward Theater before transferring to BAM where it is scheduled to run from Feb. 28 to April 6. The producers of the West End production, led by ATG Entertainment, a large British theater company with a growing presence in New York, are credited as presenting partners at BAM.Among the other highlights of the BAM season is a production of “The Threepenny Opera” performed by the Berliner Ensemble under the direction of Barrie Kosky. Joshua Barone, reviewing the production in Berlin for The New York Times, called it “hauntingly enjoyable.”BAM will also present “Macbeth in Stride,” Whitney White’s reimagining of Lady Macbeth “as an indomitable Black female icon.” The production was at Washington’s Shakespeare Theater Company last year; in The Washington Post, Celia Wren called it “an ingenious meditation on ambition and the Bard.”Both of those shows will be in April; the opera is being presented with St. Ann’s Warehouse, and the play is a co-production with Shakespeare Theater Company and Philadelphia Theater Company, both of which staged it last fall, and Yale Repertory Theater, which is staging it next month.There will also be dance (including Alvin Ailey American Dance Theater, Batsheva Dance Company and the annual DanceAfrica event), music (including Max Richter), films and children’s programming. More

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      ‘Cabaret’ Review: Dancing, and Screaming, at the End of the World

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      Eddie Redmayne and Gayle Rankin star in a buzzy Broadway revival that rips the skin off the 1966 musical.Just east of its marquee, the August Wilson Theater abuts an alley you probably didn’t notice when last you were there, perhaps to see “Funny Girl,” its previous tenant. Why would you? Where the trash goes is not usually part of the Broadway experience.But it is for the latest revival of “Cabaret,” which opened at the Wilson on Sunday. Audience members are herded into that alley, past the garbage, down some halls, up some stairs and through a fringed curtain to a dimly lit lounge. (There’s a separate entrance for those with mobility issues.) Along the way, greeters offer free shots of cherry schnapps that taste, I’m reliably told, like cough syrup cut with paint thinner.Too often I thought the same of the show itself.But the show comes later. First, starting 75 minutes beforehand, you can experience the ambience of the various bars that constitute the so-called Kit Kat Club, branded in honor of the fictional Berlin cabaret where much of the musical takes place. Also meant to get you in the mood for a story set mostly in 1930, on the edge of economic and spiritual disaster, are some moody George Grosz-like paintings commissioned from Jonathan Lyndon Chase. (One is called “Dancing, Holiday Before Doom.”) The $9 thimbleful of potato chips is presumably a nod to the period’s hyperinflation.This all seemed like throat clearing to me, as did the complete reconfiguration of the auditorium itself, which is now arranged like a large supper club or a small stadium. (The scenic, costume and theater design are the jaw-dropping work of Tom Scutt.) The only relevant purpose I can see for this conceptual doodling, however well carried out, is to give the fifth Broadway incarnation of the 1966 show a distinctive profile. It certainly does that.The problem for me is that “Cabaret” has a distinctive profile already. The extreme one offered here frequently defaces it.Let me quickly add that Rebecca Frecknall’s production, first seen in London, has many fine and entertaining moments. Some feature its West End star Eddie Redmayne, as the macabre emcee of the Kit Kat Club (and quite likely your nightmares). Some come from its new New York cast, including Gayle Rankin (as the decadent would-be chanteuse Sally Bowles) and Bebe Neuwirth and Steven Skybell (dignified and wrenching as an older couple). Others arise from Frecknall’s staging itself, which is spectacular when in additive mode, illuminating the classic score by John Kander and Fred Ebb, and the amazingly sturdy book by Joe Masteroff.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Rebecca Frecknall Is Bringing ‘Cabaret’ Back to Broadway

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      When Rebecca Frecknall was a child, one of her favorite things to watch was a televised 1993 London revival of “Cabaret,” which her father had recorded on VHS tape. As the British theater director grew up, she hoped that one day she would stage a version of the musical, in which a writer falls in love with an exuberant and wayward cabaret performer in Weimar-era Germany.In early March, in a Midtown rehearsal room, Frecknall, 38, was preparing to do just that. Her “Cabaret,” which opens in previews at the August Wilson Theater on April 1, is a transfer from London’s West End, where it opened in 2021 to critical acclaim. The show won seven Olivier Awards, the British equivalent to the Tonys.“I always wanted to direct ‘Cabaret’,” Frecknall said later in an interview. “I just never thought I’d get the rights to it.” Her opportunity came when Eddie Redmayne — a producer on the show who played the Emcee in London, and will reprise the part on Broadway — asked her in 2019 to be part of a bid for a revival.At first it seemed like “a pipe dream,” Redmayne said, but after years of wrangling, they pulled it off. For the London show, the Playhouse Theater was reconfigured to reflect the musical’s debauched setting, transforming it into the Kit Kat Club, with cabaret tables and scantily clad dancers and musicians roaming the foyer and auditorium. The August Wilson Theater is getting a similar treatment, Frecknall said. To honor the playhouse’s namesake, the production designer Tom Scutt commissioned Black artists to paint murals in the reconfigured lobby, with theatergoers now entering via an alleyway off 52nd Street.Eddie Redmayne, who stars as the Emcee in “Cabaret,” during rehearsals for the show in New York this month.Amir Hamja/The New York TimesAto Blankson-Wood, left, and Henry Gottfried.Amir Hamja/The New York TimesShortly before the show opened in London, Frecknall’s father died. That recorded revival, directed by Sam Mendes, was one of his favorites, and Frecknall loved it so much that, as she grew up and studied theater, she chose never to see the show onstage.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Award-Winning ‘Cabaret’ Revival Plans Spring Broadway Bow

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      The production opened in London with Eddie Redmayne in a starring role; the New York cast has not yet been announced but he is expected to join it.Willkommen, bienvenue, Broadway!“Cabaret,” the ever-popular (and portentous) musical set in a Berlin nightclub on the eve of the Nazis’ rise to power, will return to Broadway in the spring in a new production that has already won raves in London.The producing team on Tuesday morning announced a plan to transfer the show to Broadway, and said it would open at the August Wilson Theater, where a revival of “Funny Girl” is scheduled to close Sept. 3.The “Cabaret” producers did not announce any other details, but it is widely expected that Eddie Redmayne, the film star who played the nightclub’s Master of Ceremonies when this revival opened in London, will reprise the role on Broadway. The show’s other big role, Sally Bowles, the nightclub’s star singer, was initially played in London by Jessie Buckley; that role has not yet been cast in New York.“Cabaret,” with music by John Kander, lyrics by Fred Ebb, and a book by Joe Masteroff, originally opened on Broadway in 1966, and that production, directed by Hal Prince and starring Joel Grey, won eight Tony Awards, including for best musical, and ran for three years. Grey went on to star in a 1972 film adaptation that won eight Academy Awards, including one for Grey and one for his co-star, Liza Minnelli.The musical was revived on Broadway in 1987, again with Prince directing and Grey as the Emcee. Then in 1998, a new production directed by Sam Mendes and starring Alan Cumming and Natasha Richardson, came to Broadway via the Roundabout Theater Company; that production closed in 2004 and then returned in 2014 for another year, opening with Michelle Williams opposite Cumming.This latest revival, directed by Rebecca Frecknall, opened in London in 2021, and won seven Olivier Awards, including one for best musical revival. Its run is continuing. The critic Matt Wolf, writing in The New York Times, called the production “nerve-shredding,” and said, “Frecknall pulls us into a hedonistic milieu, only to send us out nearly three hours later reminded of life’s horrors.”The lead producers are Ambassador Theater Group, a British company that owns and operates theaters around Europe and the United States and has become increasingly active in producing on Broadway, and Underbelly, a British company closely associated with the Edinburgh Festival Fringe.“Cabaret” will join multiple shows on Broadway this season that deal with antisemitism, among them “Just for Us,” a one-man show from the comedian Alex Edelman, which is now running, as well as “Harmony,” a musical by Barry Manilow and Bruce Sussman that is opening in the fall and “Prayer for the French Republic,” a play by Joshua Harmon, which is to open in the winter. Last season’s Tony-winning best play, “Leopoldstadt,” which closed earlier this month, and the winner of the Tony for best musical revival, “Parade,” which runs until Aug. 6, are also about antisemitism. More

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      ‘Romeo and Juliet’ Review: Toheeb Jimoh Shines

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      Toheeb Jimoh, Emmy-nominated for “Ted Lasso,” takes on Romeo in a riveting production from the British director Rebecca Frecknall.“Is love a tender thing?” Romeo asks early in the Shakespeare tragedy to which he and Juliet give their names. Not so much, according to the raw and riveting new production of “Romeo and Juliet” that opened Wednesday at the Almeida Theater here.It’s no surprise that the courtship between the noble Romeo — here played by the sweet-faced Toheeb Jimoh, from TV’s “Ted Lasso” — and the teenage Juliet will end in calamity. But this production from Rebecca Frecknall — the buzzy British director whose shows tend to scoop up Olivier awards — treats the often overly familiar play as if it were entirely fresh, and the result is astonishing.Filleting the text by nearly an hour so that it actually does equate to the Chorus’s promised “two hours’ traffic of our stage,” Frecknall brings to her first professional foray into Shakespeare the same pared-back, scalpel-sharp precision she has previously applied to Tennessee Williams and her still-running West End revival of “Cabaret,” which is rumored to be heading to New York next spring.Her “Romeo and Juliet,” performed without an intermission, begins with the cast clawing feverishly at a stage wall, onto which are projected crucial lines from the prologue. But as if in haste to get straight to the meat of the play, the wall soon collapses to reveal the citizenry of Verona mid-combat. Danger, you feel from the start, is the default mode of a contemporary-seeming milieu amid which Juliet is described by her father as “a stranger in the world.” That is perhaps because she hasn’t yet experienced life’s abrasions; such an awareness will come — and how — with time.“These violent delights have violent ends,” notes Friar Lawrence (the excellent Paul Higgins), in arguably the most prescient remark in the play. Barely have Romeo and Juliet been introduced before their existence seems threatened at every turn. At one point the Nurse (a booted Jo McInnes, herself a fine director) sits with her face in her hands, fearing the worst.Rebecca Frecknall, the play’s director, has a background in movement, and her “Romeo and Juliet” often feels halfway toward dance-theater.Marc BrennerElsewhere, Juliet’s father remarks to his daughter’s intended, Paris, that “we were born to die”— a comment that in this context has the force of prophecy. Jamie Ballard brings to Lord Capulet a roiling fury that seems to catch even his own wife off guard. What sort of father would deride his only child as “one too much?”Amid such a toxic family, you can well imagine Juliet wanting the quickest way out, and Frecknall makes us aware of how the play is alive to the passage of time. “Wednesday’s tomorrow,” the Friar says in passing, noting a remorseless speed that seems to take everyone by surprise. The Friar is equally alert to the danger inherent in such impetuosity: “They stumble that run fast,” he cautions as the lovers hurtle toward the abyss.Frecknall has a background in movement, and her “Romeo and Juliet” often feels halfway toward dance-theater, including generous borrowings from Prokofiev’s celebrated ballet score for this very play.A male ensemble, including key characters like Benvolio (Miles Barrow) and Jyuddah Jaymes’s feral Tybalt, moves in undulating rhythms, dropping to the floor of Chloe Lamford’s set and back up again. Jonathan Holby’s fight direction introduces a gun into the arsenal of knives that does away with Jack Riddiford’s charismatic Mercutio, here an insolent provocateur who has barely spoken the Queen Mab speech before he disappears. The rules governing this fearsome group of men render no one safe amid the comparably merciless glare of Lee Curran’s shifting bank of lights toward the rear of the stage.The fast-rising Jimoh, a 2022 Emmy nominee, brings to the stage the same ready likability familiar from his turn as Sam Obisanya in “Ted Lasso.” What astonishes here is the ease with which he emotionally opens himself up to Juliet, only to realize too late that the options available to this couple are running out. It’s fascinating, too, to see the balcony scene reconfigured so that Romeo is perched atop a ladder addressing Juliet center-stage, flipping the play’s iconic imagery.Jimoh brings the same ready likability to the stage that earned him an Emmy nomination last year for his role in the TV show “Ted Lasso.” Marc BrennerReferencing “this world-wearied flesh,” Jimoh’s Romeo sounds like an embryonic Hamlet. Hainsworth, for her part, played Hermia, a young lover with a similarly unforgiving father in the Bridge Theater’s “A Midsummer Night’s Dream” several years ago. Juliet is a far larger role, and the actress sometimes disappears so far inside her character’s grief that the language itself gets muddied, or lost. (Hainsworth will reunite with Frecknall in an adaptation of Federico García Lorca’s “The House of Bernarda Alba” for the National Theater in November.)But I’ve rarely heard an audience as attentive as the Almeida’s was when Hainsworth’s guttural sorrow gave way to a startlingly vivid suicide, from which several playgoers around me visibly recoiled.You may not be surprised to learn that Frecknall closes the play with Juliet’s despairing deed. Once you’ve restored death’s sting, all that’s left is silence.Romeo and JulietThrough July 29 at the Almeida Theater in London; https://almeida.co.uk/ More

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      Paul Mescal in a Streetcar Named Desire

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      In London, the Irish actor stars as Stanley Kowalski in a deeply empathic version of Tennessee Williams’s 1947 play, “A Streetcar Named Desire.”Paul Mescal’s fast-ascending screen career has taken a detour to the London stage, where he is playing Stanley Kowalski in “A Streetcar Named Desire.” This deeply empathic version of Tennessee Williams’s defining 1947 play is scheduled for a limited run at North London’s Almeida Theater through Feb. 4.That leaves audiences limited time to discover the sizable stage chops of Mescal, the heartthrob Irish actor who came to TV attention on Hulu’s “Normal People” in 2020 and has recently generated award-season buzz for the movie “Aftersun.” Barely a week has passed of late without his being mentioned for one or another major forthcoming film.The electricity he generates onscreen is fully evident in this latest “Streetcar” — a play frequently revived in London but rarely with the clarity and power brought to it here by Rebecca Frecknall, an associate director at the Almeida who won an Olivier Award last spring for an ongoing revival of the musical “Cabaret.”Mescal brings both swagger and sensitivity to the role, in the process stepping out of the long shadow cast over this part by its stage and screen originator, Marlon Brando. But he also exists amid a gifted company who lay bare the numerous contradictions of an infinitely rich play. Not intended as a mere star vehicle for its increasingly high-profile male lead, the visually stripped-back production is emotionally revelatory, too: Frecknall’s forensic skills allow us to look afresh at a motley gathering of people, Patsy Ferran’s tremulous Blanche DuBois chief among them, who seek understanding and compassion but just as frequently come to grief.Mescal, left, shares the stage with Anjana Vasan, who gives an outstanding performance as Stella.Marc BrennerStanley, of course, must fight his corner once he and his newly pregnant wife Stella (Anjana Vasan, outstanding) find their cramped New Orleans quarters taken over by Stella’s older sister, Blanche. Having lost the family ancestral home in Mississippi, Blanche shows up in Louisiana “hot, tired, and dirty” and on the run from a shaming and shameful past that she will clearly never escape.Purists may balk at Madeleine Girling’s raised platform set, which lacks the scenic divisions of the Kowalski household that the play repeatedly refers to. The impression instead is of an open, porous space where the actors not appearing at that particular moment often sit to one side, primed for action or for gladiatorial combat, even — something Mescal will soon be exploring onscreen.Visible well above the stage is a drummer, Tom Penn, who keeps ominous pulse with the roiling emotions of the play, as if to amplify yet further the damaged psyches on view. The rape scene ends with Blanche appearing abject in a pool of rain, as if the episode could somehow be washed away.The text’s paper lantern of legend is onstage, covering the naked light bulb that Blanche finds abhorrent. But the characters defy expectation, both in costume and physical type: Stella appears in various sweaters, incongruous with talk of the sweltering summer heat, while Ferran’s Blanche — dark-haired, large-eyed — is at some remove from the ethereal blondness often associated with this role. Nor does she make her entrance in the character’s signature white suit specified in the text. The result is a production, performed in the round, that adheres not so much to the letter of the play as to its bruised and bruising spirit. Much the same was true of Frecknall’s acclaimed 2018 revival for the Almeida, also starring Ferran, of Williams’s lesser-known “Summer and Smoke.” Frecknall takes her cue from the wounding lyricism of Williams’s writing, not his (copious) stage directions, though the inclusion of some slow-motion toward the end feels like a directorial intervention too far.I’ve rarely seen, for instance, the anger that coexists with Blanche’s fragility conveyed as clearly as it is here. She may speak in grandiose terms of her briefly beloved Mitch (an exceptionally touching Dwane Walcott) as her Rosenkavalier, but this Blanche, for all her delusions, seems to understand all too well the rum hand life has dealt her. (On that topic, the card game that ends the play has been cut.)Brought into the production late on when its original lead, Lydia Wilson, dropped out because of injury, the prismatic Ferran communicates the flighty neurotic in Blanche alongside someone nervy enough to tackle Stanley on his home turf.“I’ve got to keep hold of myself,” she says near the start, her equilibrium no less fragile than that of the brutish man-child Stanley, who cries like a baby for Stella well before his wife gives birth to their own. The bedroom is Blanche and Stanley’s battlefield, and both actors communicate the primal impulses that draw them together in a permanently disruptive date with destiny.Mescal, it seems, has his own dates pending with Hollywood, which may make such stage ventures harder for him to come by in the years ahead. (I smiled when Stanley dismisses Blanche’s “Hollywood glamour stuff,” something that the actor playing him surely knows about firsthand.)Whatever this fine actor’s future holds, his present is allied to an electrifying ensemble production of “Streetcar” that, by rights, won’t have its final stop here.A Streetcar Named DesireThrough Feb. 4 at the Almeida Theater in London; almeida.co.uk. More

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      ‘Cabaret,’ Starring Eddie Redmayne, Sweeps Olivier Awards

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      The musical won seven awards at Britain’s equivalent of the Tonys. A puppet-filled adaptation of “Life of Pi” and a “Back to the Future” musical also won big.LONDON — A revival of “Cabaret” that has been the talk of London’s theater world since opening in December, on Sunday swept the Olivier Awards, Britain’s equivalent of the Tonys.Starring Eddie Redmayne in his first London role in a decade, “Cabaret” collected seven awards during a ceremony at London’s Royal Albert Hall. Its haul included best musical revival, best actor in a musical (Redmayne), best actress in a musical for Jessie Buckley as Sally Bowles, and best director for Rebecca Frecknall.Britain’s newspaper reviewers sometimes struggled for superlatives to describe “Cabaret.” Nick Curtis, writing in The Evening Standard, summed it up with a simple: “Wow. Just wow.”Matt Wolf, reviewing the show for The New York Times, said that Frecknall had made a “remarkable entry into musical theater” after several lauded stage productions here, including of Chekhov’s “Three Sisters” and Tennessee Williams’s “Summer and Smoke.” “Frecknall pulls us into a hedonistic milieu, only to send us out nearly three hours later reminded of life’s horrors,” he added.The musical has gained as much attention for its staging as its performances, with audiences made to enter the Playhouse Theater through a side door, only to discover the building has been transformed to look like a 1920s Berlin nightclub. Ticketholders — some of whom criticized sky-high ticket prices — have to work their way through a labyrinth of corridors filled with dancers and drinks to get to their seats.Redmayne, center, as Master of Ceremonies with the company of “Cabaret.”Marc BrennerOf the actors in its original cast, Redmayne won particular plaudits. Arifa Akbar, writing in The Guardian, said he was “electric,” adding: “He gives an immense, physicalized performance, both muscular and delicate, from his curled limbs to his tautly expressive fingertips.”The other big winner on Sunday was “Life of Pi” at Wyndham’s Theater, Lolita Chakrabarti’s adaptation of Yann Martel’s novel about a zookeeper’s son who, after a shipping accident, is stuck on a lifeboat at sea with only animals for company. It took five awards including best new play and best actor for Hiran Abeysekera, as well as a crowd-pleasing best supporting actor award for the seven puppeteers who bring a 44-pound puppet tiger to life onstage. Hiran Abeysekera won best actor for “Life of Pi,” and a best supporting actor award went to the puppeteers who bring the tiger to life onstage.Jeff Spicer/Getty Images For SoltReviewers had often singled out those puppeteers for praise. Dominic Cavendish, writing in The Daily Telegraph, said they made the tiger exude “a watchful malevolence and innate magnificence,” as he “moves from brute prowling threat to personality in his own right.”Some other shows did manage to get prizes at the Oliviers. “Back to the Future: the Musical” at the Adelphi Theater, a show that has grabbed attention for its flying car as much as its songs, won best new musical, beating shows including “Get Up! Stand Up! The Bob Marley Musical” and the London debut of “Frozen.”The best comedy play went to “Pride and Prejudice* (*sort of)” at the Criterion Theater, a fast and loose retelling of Jane Austen’s novel, which closed in February citing a lack of audiences returning to the West End.The other notable winner was a revival of “Constellations” by the Donmar Warehouse at the Vaudeville Theater, which took awards for best revival and best actress in a play for Sheila Atim. That 70-minute, one-act play, about a couple falling in and out of love, was a hit last summer as British theater came back to life after multiple lockdowns. More

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      Review: First the Party, Then the Crash, in a ‘Cabaret’ Revival

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      A London production starring Eddie Redmayne pulls the audience into a hedonistic milieu. Then things get dark.LONDON — At first glance, it looks as if there’s a party happening at the Kit Kat Club, the refurbished London venue where a nerve-shredding revival of “Cabaret,” starring Eddie Redmayne, opened last weekend.Entering a side door of what was once the Playhouse Theater, you snake your way along corridors not usually open to the public and into a labyrinthine demimonde of dancers and drinks: a recreation of a seedy, Weimar-era Berlin nightclub. The auditorium has lost 200 seats in its transformation into an immersive, plushly appointed space, complete with lamp-lit tables down front for a preshow meal. In the show’s hefty playbill, the brilliant designer Tom Scutt says he has tried to bring a “queer irreverence” to the venue, which rewards close inspection of its details, like a splash of gold here and an art-nouveau flourish there.Yet the director, Rebecca Frecknall, is more interested in disturbing the audience than handing them a drink. Making a remarkable entry into musical theater after lauded productions of Chekhov and Tennessee Williams, Frecknall pulls us into a hedonistic milieu, only to send us out nearly three hours later reminded of life’s horrors.That’s as it should be given this 1966 musical by John Kander (music), Fred Ebb (lyrics) and Joe Masteroff (book) about “the end of the world,” to cite a final observation from Cliff (Omari Douglas), an American writer in 1930s Germany who is alone among the show’s principals in sensing the danger of the Nazis’ rise. Frecknall’s main accomplice in darkening the mood is her Oscar and Tony-winning leading man, Redmayne, returning to the London stage for the first time in a decade. And there’s further assistance from the Irish actress-singer Jessie Buckley, an unusually ferocious Sally Bowles.Redmayne’s Emcee brings his own distinctly shape-shifting, sinuous quality to a role that can be hard to refresh: Many still associate it with a pancake-faced Joel Grey, who originated the part onstage and won an Oscar in the 1972 Bob Fosse film. Limping or crouching his way about the circular stage, a twitchy Redmayne initially calls to mind a demented marionette, his mouth as misshapen as his psyche.He first emerges in a burst of light, his body contorted during the startling opening number, “Willkommen,” a party hat clinging to the side of his tilted head. “Life is beautiful,” he says, but something about the gravelly voice and glazed smile suggest otherwise. Appearing bare-chested soon after in the manic number “Two Ladies,” Redmayne’s Emcee is a devotee of debauchery whose true character is revealed in the antisemitic finish to “If You Could See Her,” when a nasty slur comes as the song’s brutal kicker.A dance number from “Cabaret.”Marc BrennerRedmayne’s lyric tenor lends itself well to “Tomorrow Belongs to Me,” the melodic Nazi anthem that sounds sweet enough until you grasp the lyrics. The song prefigures a moral decline that reaches a nadir in the Emcee’s second-act solo, “I Don’t Care Much.” With that number, cut from the original production but reinstated for various revivals, the Emcee’s assimilation into the Third Reich is complete.Frecknall shows that such transformations passed many onlookers by — or that they were reluctant to take action while there was still time. The affair between the landlady Fraulein Schneider (the superb Liza Sadovy, in richly expressive voice) and the Jewish grocer, Herr Schultz (a likable Elliot Levey), is especially telling on this front. Fraulein Schneider sings in the wrenching “What Would You Do?” that she is too old and tired to counter “the storm” she sees approaching; Herr Schultz, meanwhile, is convinced that German citizenship will save him. But when the Emcee raises a champagne flute to the couple, we hear the cacophonous glass-shattering of Kristallnacht.Sally Bowles exists in a self-deluded class of her own: an English expat in Berlin who is heralded as “the toast of Mayfair,” but in Buckley’s take sometimes seems a scared and angry child. She sings “Maybe This Time” directly to Cliff, her lyrics about winning delivered quietly as if Sally were admitting to herself that her life has been a failure. And though she gives off the air of a thumb-sucking Shirley Temple when she first appears with “Don’t Tell Mama,” she roars the title number at the show’s climax full of fury and pain. “The party’s over,” Cliff says: The festivities have become a farewell, and a world is about to crash.CabaretAt the Kit Kat Club in London for an open-ended run; theplayhousetheatre.co.uk. More