Cabaret @ The Deen
Wed, 7 Mar 2001, 01:30 amWalter Plinge35 posts in thread
Cabaret @ The Deen
Wed, 7 Mar 2001, 01:30 amTonight I was at The Deen in Northbridge where Scarp staged Cabaret. Strange really as I don't go to musicals generally, but what was even stranger was that I was actually in the cast. But I have an excuse - Jamie Cant is the Director and I wanted to find out if what people say about him is true! Well, my opinion about Jamie is............ sorry, I'm just about to sneeze...... wait a minute..... Ahhhhhhh!..Ahhhhh! Ahhhtosssssaaaa!!!!! There, that's better,. Now, where was I? Oh yes, Jamie Cant. Now what was I going to say? I'm sure it will come back to me soon.
Anyway, Cabaret - go see it! Those all-singin' all-dancin' types are really very talented. I was in total awe of the performances. I won't single people out ,'coz the cast party is yet to come, and everyone (apart from the jerk with the fruit) is excellent.
And if you want even more value for the trivial amount of money you will pay to get in, after the show go and tell Jamie you thought the guy playing Schultz was very good - wait until he's got a drink to his mouth though (which will be difficult as he will also have to be not talking).
And for the sake of Meadows, Buttery et al, the perv factor is very high. God I love being backstage.
Ahhh! Now I remember. About Jamie Cant - what people say IS true!
Anyway, Cabaret - go see it! Those all-singin' all-dancin' types are really very talented. I was in total awe of the performances. I won't single people out ,'coz the cast party is yet to come, and everyone (apart from the jerk with the fruit) is excellent.
And if you want even more value for the trivial amount of money you will pay to get in, after the show go and tell Jamie you thought the guy playing Schultz was very good - wait until he's got a drink to his mouth though (which will be difficult as he will also have to be not talking).
And for the sake of Meadows, Buttery et al, the perv factor is very high. God I love being backstage.
Ahhh! Now I remember. About Jamie Cant - what people say IS true!
Cabaret - review
Thu, 8 Mar 2001, 11:39 amWalter Plinge
Jamie Cant's Cabaret!
The publicity blurb for this production suggested that "You haven't seen Cabaret until you have seen THIS Cabaret" A bold statement considering the recent productions I have already seen. The very commendable Playlovers version is still fresh in my mind. But I think the blurb is a bit misleading. This production of Cabaret isn't the same version of the production we know and love but something very, very different. The director has seen it necessary to add songs, characters, and sub-plots, in order to give the story of an American writer who falls in love with a cabaret girl a brand new twist. Or rather twists... I have no intention of spoiling the fun by analysing it all now. Let's all discuss it sometime next week when the production is down and there are a collection of postings from the purists strenuously objecting to what was done to their favourite musical.
Most of the performances are breathtaking. Nadia as Sally Bowles although a little emotionally flat on opening night (but perhaps this is intentional - I'm still thinking my way through it all) could belt out the songs in a way that earmarks her as a future 'great'. Luke Miller as Cliff provided an urbane foil to her and played the (implied) emotional 'disconnectedness' very intelligently. As to be expected the chorus routines are all musically regimented and visually appealing (if you happen to like that sort of thing...) And even here certain liberties have been taken!
What Scarp has achieved is a very flash and rounded production of the hit musical. What the director has done is loaded it with externally imposed politics. This doesn't take away from the guts of the piece but adds another dimension by attempting to draw comparisons between the Nazi politics of the 30's and the sexual politics of the 80's-90's. So the production actually works on several levels... which is quite unusual in community theatre.
Using the Aberdean Hotel dance area is both a blessing and a curse. It does give a 'cabaret in a cabaret' feel but it creates immense technical problems. I sympathised with the sound and lighting technicians who spent the whole performance struggling to land a fighter plane with one wing torn off. (The reference will make sense when you see the show!)
What Jamie Cant seems to have done is offered a lot of local actors a chance to perform in a significant piece of work. This 'Cabaret' is pitched well above the 'usual renditions' offered by umpteen over community theatre groups over the years (or is it months?). It was a full house the night I saw it but I hope it also attracts the widespread discussion that such a work deserves and does not just disappear into the list of just another 'Cabaret'...
Malcolm
The publicity blurb for this production suggested that "You haven't seen Cabaret until you have seen THIS Cabaret" A bold statement considering the recent productions I have already seen. The very commendable Playlovers version is still fresh in my mind. But I think the blurb is a bit misleading. This production of Cabaret isn't the same version of the production we know and love but something very, very different. The director has seen it necessary to add songs, characters, and sub-plots, in order to give the story of an American writer who falls in love with a cabaret girl a brand new twist. Or rather twists... I have no intention of spoiling the fun by analysing it all now. Let's all discuss it sometime next week when the production is down and there are a collection of postings from the purists strenuously objecting to what was done to their favourite musical.
Most of the performances are breathtaking. Nadia as Sally Bowles although a little emotionally flat on opening night (but perhaps this is intentional - I'm still thinking my way through it all) could belt out the songs in a way that earmarks her as a future 'great'. Luke Miller as Cliff provided an urbane foil to her and played the (implied) emotional 'disconnectedness' very intelligently. As to be expected the chorus routines are all musically regimented and visually appealing (if you happen to like that sort of thing...) And even here certain liberties have been taken!
What Scarp has achieved is a very flash and rounded production of the hit musical. What the director has done is loaded it with externally imposed politics. This doesn't take away from the guts of the piece but adds another dimension by attempting to draw comparisons between the Nazi politics of the 30's and the sexual politics of the 80's-90's. So the production actually works on several levels... which is quite unusual in community theatre.
Using the Aberdean Hotel dance area is both a blessing and a curse. It does give a 'cabaret in a cabaret' feel but it creates immense technical problems. I sympathised with the sound and lighting technicians who spent the whole performance struggling to land a fighter plane with one wing torn off. (The reference will make sense when you see the show!)
What Jamie Cant seems to have done is offered a lot of local actors a chance to perform in a significant piece of work. This 'Cabaret' is pitched well above the 'usual renditions' offered by umpteen over community theatre groups over the years (or is it months?). It was a full house the night I saw it but I hope it also attracts the widespread discussion that such a work deserves and does not just disappear into the list of just another 'Cabaret'...
Malcolm
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