Presenting Cabaret within a fringe time slot will always be a challenge. The solution is not to cherry pick from film and stage version to end up with a messymix of favourite songs with bits of story. There is a lot of talent on stage, but they are not given the chance to shine. Using a highly orchestrated backing track limits their freedom. Many songs are now too slow for the actors and the excessive underscoringmeans they take a pot shot at when to come back in with the song: give them a clear cue or cut it. The complexity of orchestration jars with their conceit that everything happens within the Kit Kat Klub. A reprise of “Tomorrow belongs to me” with simple accordionis the freshest number in the show. Use that California talent – there are obviously musicians within the group: release them from the tyranny of recorded track. Sadly, giving actors the false security of microphones means that when mics fail, they are lost.This is not a large space, they should be able to project to fill it, but amplification lets them think they need less power and so they give less energy.
Generally the singing and acting is fine, though there are some insecure accents. The greatest strength is the ensemble, the creatures of the Kit Kat Klub.Their numbers are excellent with good visuals and choreography which recreates some of the iconic poses. When the lead players settle into their roles, they should be fine. Again it is the ensemble who lift the finale as Nazism extinguishes the decadence.
Derek Benfield