The idea of the “reboot” has gotten pretty popular lately. The idea is to take a tired, old story and breath new life into it by “re-imagining” the story in a new setting. Batman Begins and Battlestar Galactica are probably two of the best examples. But, can the idea work on stage?
Enter the latest incarnation of Cabaret; not so much of a reboot as a remix. See, the problem with attempting a “new” interpretation of Cabaret is that the show has been around for so long, performed so many times, by so many struggling theatre companies and Pop Idol contestants that, well, there’s really nowhere else to go. It’s a bit like when some d-list songtress sings the “Star Spangled Banner” at a baseball game. It’s boring to sing it traditionally, but it’s a horrible cliche to insert gratuitous key and octave changes which only serve to show off how self-deluded you are about your own vocal range.
The other problem with “reinventing” Cabaret is that there is already an ultimate version of the show out there: Bob Fosse’s 1972 film version starring Liza Minnelli. True, the film takes liberties with the stage script, but isn’t a mark of the film’s influence that songs written specifically for the film (like “Money, Money”) have weaseled their way on stage? And isn’t it odd that even in a British production, Sally Bowles is portrayed as an American (not as a Brit as the part was originally written before it was changed for Liza in the film version). In fact, the film (and especially Liza’s Oscar-winning performance) loom so large over any production of Cabaret that trying something different will probably only serve to let down the audience.
The audience I saw it with in London wasn’t let down. All the actors hit their marks; the singers all hit their notes. It was enjoyable, sure. Almost as fun as watching the movie. Almost… which isn’t saying much for the supposed “electricity” of live theatre.
Nevertheless, having said all that, I do give them credit for trying. However, despite the provocative posters and ads, most of the changes are superficial: replace the fishnet stockings with leather harnesses, replace some of the sexy girls with hunky guys… in effect, replace the Cabaret Bob Fosse with the All That Jazz Bob Fosse. But, when all is said and done, it’s still Fosse, and it’s still Liza. And, that’s just the way it is.
