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    Emcee Squared: Joel Grey and Eddie Redmayne on ‘Cabaret’

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    Eddie Redmayne had never seen “Cabaret” when, as a 15-year-old student at Eton, he was first cast as the Emcee, the indecorous impresario of the bawdy Berlin nightclub where the musical is set. So Redmayne did what anyone wondering about the character would do: He watched the 1972 film, and studied Joel Grey’s performance.Redmayne, 42, has played the Emcee three more times — at the Edinburgh Festival Fringe following high school; in London’s West End, winning an Olivier Award in 2022; and now on Broadway, where he has just picked up a Tony nomination.“Cabaret,” set in 1929 and 1930, is about an American writer who has a relationship with a British singer working at the Kit Kat Club; the queerness of some of that nightclub’s habitués and the Jewishness of some of its neighbors become risk factors as the Nazis gain power.Redmayne had never met Grey, who originated the role on Broadway in 1966 and who went on to win both Tony and Academy Awards as the Emcee. So I asked them to lunch, to talk about a character both have played several times, and about a musical that has continued to move audiences.We met at Le Bernardin — Grey’s choice — and for two hours they shared stories, Redmayne reverential and thoughtful, Grey puckish and supportive. At times, when words seemed insufficient, Grey reached out to clasp Redmayne’s hand.Joel Grey won a Tony Award in 1967 for playing the Emcee in the original Broadway production of “Cabaret.”Bettmann/Getty ImagesWe 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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      ‘Cabaret’ Opening on Broadway: Eddie Redmayne, Angela Bassett and Baz Luhrmann

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      A party for the buzzy revival of the Broadway musical was held at a theater that has been transformed to look like a 1930s-era nightclub.“I’m so ready for this,” said the actress Bernadette Peters on Saturday afternoon as she stood on the red carpet outside the August Wilson Theater on 52nd Street, which had been styled to look like a Berlin nightclub in the 1930s.“It’s sort of like a Happening,” she added.Ms. Peters had turned up for a performance of one of the hottest — and some of the most expensive — tickets on Broadway this season: A revival of “Cabaret,” the 1966 John Kander and Fred Ebb musical, which celebrated its opening night with twin galas on Saturday and Sunday. The production, which is set in a Berlin nightclub on the eve of the Nazis’ rise to power, features Eddie Redmayne as the nightclub’s Master of Ceremonies and Gayle Rankin as its star singer, Sally Bowles.“For British actors, coming here to Broadway is the dream, so tonight is a pinch-me moment,” said Mr. Redmayne, who played the Master of Ceremonies during the show’s sold-out run in London in 2022, for which he won an Olivier Award — the British equivalent of a Tony Award — for best actor in a musical.A few dozen celebrities — Angela Bassett, Rachel Zegler and the director Baz Luhrmann among them — came to see Mr. Redmayne, who is also a producer of “Cabaret.”But this wasn’t the usual turn-up-five-minutes-before-the show drill: Unlike a typical Broadway show, “Cabaret” includes a preshow at every performance that begins 75 minutes before curtain.Angela BassettGayle Rankin in vintage Julien MacdonaldWe 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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      ‘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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      ‘The Good Nurse’ Review: Bad Medicine

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      This true-crime tale, starring Eddie Redmayne and Jessica Chastain, dramatizes the story of Charles Cullen, a nurse who was discovered to be a serial killer.Tobias Lindholm narrates a sequence from his film featuring Jessica Chastain and Eddie Redmayne.JoJo Whilden/Netflix No one knows how many patients Charles Cullen murdered in his career as a hospital nurse. Cullen confessed to 29 intentional deaths; some experts speculate the actual count may be as high as 400. Why poison the people entrusted to his care? Cullen, currently serving multiple life sentences at New Jersey State Prison, has yet to share his motives, and the “The Good Nurse,” a grim feel-bad drama by the director Tobias Lindholm (a co-writer of the feel-good Oscar winner “Another Round”) isn’t interested in scrounging up a guess. When the film’s Cullen, played by Eddie Redmayne, tries to explain himself, Lindholm muffles his voice with a police siren and wailing violins.Instead, Lindholm and the scriptwriter, Krysty Wilson-Cairns, set out to answer a more fundamental question: how did Cullen get away with it for 16 years across nine different hospitals? Were his employers too strapped for resources and personnel to notice — or were they so scared of lawsuits that they selfishly pushed out Cullen to become another community’s problem without so much as a single bad letter of reference, let alone a call to outside authorities?Jessica Chastain, right, with Eddie Redmayne in “The Good Nurse.”JoJo Whilden/Netflix The movie implies the latter. Lindholm and Wilson-Cairns, who were both raised in countries with nationalized health care, view the United States medical system as a business centered on having patients, not helping them. They’ve fictionalized the names of the hospitals, as well as the names of the dead, to give themselves leeway to reconstruct Cullen’s last place of work as a house of horrors shot in such dingy, dungeon-y grays by the cinematographer Jody Lee Lipes that Dr. Frankenstein would fit right in.Nearly every scene is an indignity: corpses left neglected in beds, loved ones grieving next to the sickly glow of a vending machine, managers haranguing their exhausted staff about the cost of coffee filters. Even the story’s heroine, a nurse named Amy Loughren (Jessica Chastain) who provides the only empathy in this miserable tale, is also one of its victims. The single mother of two is tirelessly devoted to her patients despite a heart condition that puts her at high risk for a stroke. Yet her own hospital won’t provide her with health insurance until she’s worked there for a year, a common plight for contract workers that Lindholm sees as a moral affront that falls somewhere between bitter irony and indentured servitude.There’s a touch of Gogol-esque satire in a subplot in which two investigating detectives (Nnamdi Asomugha and Noah Emmerich) are thwarted by hospital bureaucrats who downplay deaths as “unexplainable incidents,” in the words of a chillingly placid risk manager (Kim Dickens), and, when low on excuses, put the cops on hold with punishing Muzak. Similarly, while Redmayne mostly plays his murderer at a low hum, he allows himself one scene to unleash his big mime energy, theatrically gasping and twitching and letting his long fingers crawl over his face. The moment is reminiscent of Anthony Perkins at the end of “Psycho,” but “The Good Nurse” offers no assurances that its danger is safely locked away. In the judgment of the film, Cullen is just a side effect of an institutional cancer.The Good NurseRated R for language. Running time: 2 hours 1 minute. Watch on Netflix. More

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      ‘The Good Nurse’ | Anatomy of a Scene

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      Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera. More

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      ‘Fantastic Beasts: The Secrets of Dumbledore’ Review: The Plot Against Muggles

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      Mads Mikkelsen plays an evil wizard with political talent in the latest “Harry Potter” spinoff movie, which also stars Jude Law and Eddie Redmayne.Like so much children’s entertainment these days, “Fantastic Beasts: The Secrets of Dumbledore” is a political primer sprinkled in magic dust. In this third installment in the “Fantastic Beasts” franchise (itself a prequel series to the original “Harry Potter” stories), cuddly critters have mostly been swapped out for darker creatures: Here, scorpionesque freaks guard a prison where activists are tortured (or worse). A chunk of the story is set in 1930s Berlin. The deadly stakes are crystal-ball clear. An alternate subtitle could be “Totalitarianism for Tykes.”It’s a pointed movie from tip to barbed tail. Instead of building the plot around a tedious pursuit peppered with cutesy digital monsters — a misstep in the first two “Fantastic Beasts” films — the returning director David Yates and the screenwriters, J.K. Rowling and Steve Kloves, center “Secrets of Dumbledore” on an election. Grindelwald, the wizard supremacist last seen attempting to incite a global war, hopes to convince the magical world to back his campaign platform to subjugate nonmagical humans. (The role was last played by Johnny Depp; Mads Mikkelsen takes over the role here, and Grindelwald’s threads sound more probable when delivered with Mikkelsen’s bloodless chill.) Rowling’s readers know to refer to nonmagical people as Muggles. To Grindelwald, they’re “animals,” though he concedes they make a good cup of tea.The focus is on the tragic entanglements of Albus Dumbledore (Jude Law), who once romanced the hate-inciting Grindelwald and still wears an old blood-oath necklace that strangles him for thinking mean thoughts about his former love. On top of being pained by his bad taste in men, Dumbledore must make amends with his grouchy brother (Richard Coyle) and tormented nephew (Ezra Miller), a murky figure so visibly miserable that flies buzz around his hands.With Dumbledore grappling with a family full of grievances, the story barely has any room for Newt Scamander (Eddie Redmayne), the fluttery animal caregiver who tends to the fantastic beasts of the title. Redmayne’s character justifies his existence in the plot by coming into possession of a Qilin (pronounced chillin), a rare, fawn-like creature that holds unusual sway in electoral races — it’s a kind of mammalian dowsing rod that has the power to identify a person’s purity of heart and ability to be a leader. The series seems to be shifting its spotlight away from its supposed lead and his love interest from the previous movies, Tina (Katherine Waterston), who pretty much is only featured in one scene. “She’s very busy,” Newt explains. It feels like a wink to the franchise’s apparent struggle to hold onto actors. Later, in an act of popcorn-movie prestidigitation, all memory of yet another character is erased. No one seems to care.Still, this is the most absorbing and well-paced film in the trilogy to date, despite its nearly two-and-a-half-hour running time — de rigueur for modern spectacles that want to convince audiences they’re getting enough bang for their buck. “Secrets of Dumbledore” gestures toward themes of frailty, thwarted intentions and forgiveness. Even the color scheme underscores that this tale exists in shades of gray. It is odd how recent fantasy films seem to be made primarily for adults — it’s hard to imagine kiddos waiting in line for butter beer at a Harry Potter theme park being enthralled by an explainer of how toxic candidates rise to prominence. (A brief detour to Hogwarts serves as a startling reminder that these movies used to rely on actors under 30.) Yet, there’s a lovely visual that should unite audiences of all ages: a teleportation device made from a swirl of floating book pages. The image is a reminder that fiction is not just a history lesson, but a means of escape.Fantastic Beasts: The Secrets of DumbledoreRated PG-13 for some fantasy violence, particularly toward magic animals. Running time: 2 hours 22 minutes. In theaters. 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