Studio 54, (4/24/2014 - 3/29/2015)

First Preview: Mar 21, 2014
Opening Date: Apr 24, 2014
Closing Date: Mar 29, 2015
Total Previews: 35
Total Performances: 388

Category: Musical, Drama, Revival, Broadway
Setting: Berlin, Germany. 1929-1930.

Opening Night Production Staff

Theatre Owned / Operated by Roundabout Theatre Company (Todd Haimes: Artistic Director; Harold Wolpert: Managing Director; Julia C. Levy: Executive Director; Sydney Beers, General Manager)

Produced by Roundabout Theatre Company (Todd Haimes: Artistic Director; Harold Wolpert: Managing Director; Julia C. Levy: Executive Director; Sydney Beers, General Manager)

Inspired by the 1993 production of CABARET at The Donmar Warehouse (Sam Mendes, Artistic Director); The Donmar Warehouse production was directed by Sam Mendes

Book by Joe Masteroff; Music by John Kander; Lyrics by Fred Ebb; Based on the play by John Van Druten; Based on the stories by Christopher Isherwood; Musical Director: Patrick Vaccariello; Vocal arrangements by Patrick Vaccariello; Music orchestrated by Michael Gibson; Dance and Incidental Music arranged by David Krane

Directed by Sam Mendes; Co - Director: Rob Marshall; Choreographed by Rob Marshall; Associate Director: B.T. McNicholl; Associate Choreographer/Choreography Re-created By Cynthia Onrubia

Set and Club Design by Robert Brill; Costume Design by William Ivey Long; Lighting Design by Peggy Eisenhauer and Mike Baldassari; Sound Design by Brian Ronan; Hair and Wig Design by Paul Huntley; Make-Up Design by Angelina Avallone; Associate Scenic Design: Steven C. Kemp; Associate Costume Design: David Kaley; Associate Lighting Design: Kristina Kloss; Associate Sound Design: Keith Caggiano; Associate Make-Up Design: Robert Amodeo

Executive Producer: Sydney Beers; Roundabout Associate Managing Director: Greg Backstrom; Company Manager: Roseanna M. Sharrow

Technical Supervisor: Steve Beers; Production Stage Manager: Arthur Gaffin; Stage Manager: Lee Micklin

Original Musical Coordinator: John Monaco; Associate Conductor: Maggie Torre; Kit Kat Band - Piano: Patrick Vaccariello; Kit Kat Band - Drums: Eric Poland; Kit Kat Band - Bass: Billy Sloat; Kit Kat Band - Trumpet: Garrett Schmidt; Kit Kat Band - Trumpet/Euphonium: Stacey Sipowicz; Kit Kat Band - Trombone: Dylan Paul; Kit Kat Band - Clarinet/Soprano Sax/Alto Sax: Benjamin Eakeley; Kit Kat Band - Clarinet/Tenor Sax: Jessica Pariseau and Kristin Olness; Kit Kat Band - Alto & Tenor Sax: Evan D. Siegel; Kit Kat Band - Alto Sax: Kaleigh Cronin; Kit Kat Band - Cello: Will Carlyon; Kit Kat Band - Violin/Piano: Andrea Goss; Kit Kat Band - Violin/Clarinet: Leeds Hill; Violin/French Horn/Trumpet: Jane Pfitsch; Kit Kat Band - Violin/Viola: Kelly Paredes; Kit Kat Band - Accordion: Gayle Rankin; Kit Kat Band - Banjo/Bassoon: Caleb Damschroder; Kit Kat Band - Banjo: Aaron Krohn; Copyist: Annie Kaye and Doug Houston

Roundabout Adams Associate Artistic Director: Scott Ellis; Roundabout Director of Development: Lynne Gugenheim Gregory; Roundabout Director of Marketing & Audience Development: Tom O'Connor; Press Representative: Polk & Co.; Interactive Marketing: Situation Interactive; Advertising: SPOTCo, Inc.; Casting: Jim Carnahan, C.S.A. and Jillian Cimini, C.S.A.; Dialect Coach: Deborah Hecht; Photographer: Joan Marcus; Founding Director: Gene Feist; Assistant Dance Captain: Stacey Sipowicz

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Opening Night Cast

Alan CummingEmcee
(Mar 21, 2014 - Mar 29, 2015)
Michelle Williams
Broadway debut
Sally Bowles
(Mar 21, 2014 - Nov 09, 2014)
Danny BursteinHerr Schultz
(Mar 21, 2014 - Mar 29, 2015)
Linda EmondFraulein Schneider
(Mar 21, 2014 - Mar 29, 2015)
Alex BowenBoy Soprano
Recorded voice only
Kaleigh CroninLulu
Kit Kat Girl
Benjamin EakeleyHerman
Kit Kat Boy
Customs Official
Andrea GossFrenchie
Kit Kat Girl
Bill HeckClifford Bradshaw
Leeds HillBobby
Kit Kat Boy
Aaron KrohnErnst Ludwig
Kristin OlnessHelga
Kit Kat Girl
Jessica PariseauTexas
Kit Kat Girl
Dylan PaulVictor
Kit Kat Boy
Jane PfitschRosie
Kit Kat Girl
Gayle RankinFraulein Kost
(Mar 21, 2014 - Dec 21, 2014)
Kit Kat Girl
(Mar 21, 2014 - Dec 21, 2014)
Evan D. SiegelHans
Kit Kat Boy

Swings: Will Carlyon, Caleb Damschroder, Kelly Paredes and Stacey Sipowicz

Standby: Philip Hoffman (Herr Schultz) and Kristie Dale Sanders (Fraulein Schneider)

Understudies: Kaleigh Cronin (Fraulein Kost), Benjamin Eakeley (Clifford Bradshaw, Ernst Ludwig), Andrea Goss (Sally Bowles) and Leeds Hill (Emcee)

Awards and Nominations

Tony Award®

 2014 Best Performance by an Actor in a Featured Role in a Musical [nominee] 

Danny Burstein

 2014 Best Performance by an Actress in a Featured Role in a Musical [nominee] 

Linda Emond

Drama Desk Award

 2014 Outstanding Featured Actor in a Musical [nominee] 

Danny Burstein


music by John Kander; lyrics by Fred Ebb

ACT 1 Sung By
WillkommenEmcee and Kit Kat Klub
So WhatFraulein Schneider
Don't Tell MamaSally and Kit Kat Girls
Mein HerrSally and Kit Kat Girls
Perfectly MarvelousSally and Cliff
Two LadiesEmcee, Lulu (Kit Kat Girl) and Bobby (Kit Kat Boy)
It Couldn't Please Me MoreFraulein Schneider and Herr Schultz
Tomorrow Belongs to MeEmcee
Maybe This TimeSally
MoneyEmcee and Kit Kat Girls
MarriedHerr Schultz, Fraulein Schneider and Fritzie (Kit Kat Girl)
Tomorrow BelongsFraulein Kost, Ernst, Ludwig and Company
ACT 2 Sung By
Kick LineThe Kit Kat Klub
Married (Reprise) Herr Schultz
If You Could See HerEmcee and Gorilla
What Would You Do?Fraulein Schneider
I Don't Care MuchEmcee


AP: "Revival of 'Cabaret' Revival Still Shocks"

Barely sneaking in under the Tony Award nomination deadline this season is a dear old friend to Broadway, the decadent "Cabaret." The only appropriate salutation is: willkommen.

Not a revival so much as a revival of a revival, this "Cabaret" — again produced by the Roundabout Theatre Company — opened Thursday night, with only hours to spare before its eligibility expired. Whatever it's called, it's as thrilling as ever, a marvel of staging that hasn't lost its punch.

If it looks a lot like the version that ran from 1998-2004, that's understandable: Alan Cumming is back in his Tony Award-winning role as Emcee and director Sam Mendes and co-director and choreographer Rob Marshall are again pulling the strings on this show about life in pre-World War II Berlin. Orchestrations and costumes — what little there are — also are the same.

Even its old home at Studio 54 has reverted to set designer Robert Brill's clever use of tiny nightclub tables on the theater's main floor, a nod to the original revival's stab at immersive theater. The score, by composer John Kander and lyricist Fred Ebb, is as stirring as ever.

One big change is the woman in the bob: Michelle Williams makes her Broadway debut as Sally Bowles and she does an excellent job, playing both scared and daffy superbly and singing with real heart. It's a role made famous in the 1972 film version by Liza Minnelli and in the last Broadway revival by Natasha Richardson.

Williams starts out a little tentatively but soon roars into the role and her version of the title song has a wrenching, dead-eyed quality that hauntingly undercuts its light lyrics. (Alas, Bill Heck, as her ambivalent, bisexual lover, sometimes lacks his co-star's nuances.)

Cumming is as lascivious as ever — more playful than Joel Grey-scary in the film version — and once more bares his backside, tattooed with a red swastika, to the audience. But he has some competition as the best sex-obsessed, German transvestite singer onstage this year: He and Neil Patrick Harris, starring nearby in "Hedwig and the Angry Inch," would make an interesting double bill.

The addition of Linda Emond as the landlady Fraulein Schneider and Danny Burstein as her Jewish suitor Herr Schultz are strokes of casting genius. These two veterans are touching as star-crossed lovers fearful in later life of what's happening around them. Aaron Krohn as the seemingly friendly Ernst radiates dread brilliantly, while Gayle Rankin as Fraulein Kost is funny until she's lethal, turning on a dime.

But the real star is the way the show has been put together so cleverly, from the way the Nazi presence insinuates its way slowly into the musical to the intimidating staging of "Tomorrow Belongs to Me" and the funny-until-horrific "If You Could See Her," featuring the Emcee and a gorilla. Mendes and Marshall can also be blissfully fun just with pineapples.

The transformation of the orchestra seats into the nightclub Kit Kat Klub includes cocktail waitresses and a bar menu. If you want to be naughty, sip a Mein Herr cocktail (beer and honey liquor) or be even naughtier and munch on a Bavarian pretzel. Every detail has been thought out here. Even the lights on the small tables are synched with the action.

The talented band on a second level — and outfitted as scantily as the ensemble — makes full use of the staircases and catwalks, and the dancing is spirited and sexy while being performed by men and women who often seem as numb as ragdolls with vacant eyes.

So, yes, not much is new here. But great things don't always need them. If you're wondering whether to go, why not take the advice of Sally? "What good is sitting alone in your room?" she sings. "Come hear the music play."


New York Daily News: "Cabaret"

Great musical dramas like “Cabaret” — entertaining, tuneful and illuminating — are all too rare.

Though Michelle Williams is credible but not memorable in her Broadway debut as songstress Sally Bowles, her performance can’t mar the Roundabout’s redo (re-revival?) of its Tony-winning 1998 take at Studio 54.

It’s an impressive production especially if you didn’t see the show during its earlier six-year run. If you did, be prepared for deja vu.

Still, it’s no hardship hearing John Kander and Fred Ebb’s excellent score that’s packed with ear candy of every flavor — wistful “Maybe This Time,” cheeky “Don’t Tell Mama” or snark-infested “Money,” to name a few.

Joe Masteroff’s book based on Christopher Isherwood stories is tight and just as multitextured. The book has bite, humor, romance and room for serious reflection.

This down-and-dirty visceral production directed by Sam Mendes and Rob Marshall, who also choreographs, situates the audience at cafe tables in the middle of the seedy Kit Kat Klub in Berlin at the dawn of Hitler’s rise.

The conceit blurs the lines between the ragtag performances at the Klub and the real-life show that is going on amid the rise of the Third Reich, as seen through the eyes of American novelist Cliff (Bill Heck), who falls for unpredictable and at times unsavory Sally.

Their burgeoning and bumpy relationship is mirrored by that of Cliff’s landlady (Linda Emond, who raises the stakes in every scene she’s in) and the good-hearted Jewish fruit seller (a menschy Danny Burstein).

Neither romance has a chance due to politics or personal issues or both. But as these characters see their lives and loves ruined, the show goes on at the Kit Kat Klub like nothing’s happening. We watch the grimy and grinning dancers — who double as musicians and play small roles — go through their motions. The point of wrapping audiences into the show is obvious — and potent. As before, the oily emcee looms especially large. Alan Cumming won a Tony for the role 16 years ago. Beaming with creepy charisma, the sly Cumming is better than ever conjuring an androgynous bottom feeder whose smile hides something much darker and grimmer.

In the tricky role that won Liza Minnelli an Oscar and Natasha Richardson a Tony, a platinum-blond Williams assumes an English accent and an almost jolly and girlish demeanor flecked with desperation.

She comes off so feathery that Sally could fly away — except for her full-tilt go at the title song. Besides that final scene, Williams comes off paler and wispier than desired.

Maybe next time.

New York Daily News

Replacement/Transfer Info

The following people are credited as replacements or additions if they were not credited on opening night.

Studio 54

(4/24/2014 - 3/29/2015)
Associate Hair and Wig Design: Giovanna Calabretta, Carrie Rohm.

Substitute Stage Manager: Jeff Brancato.

Kit Kat Band Jeremy Miloszewicz; Kit Kat Band Katrina Yaukey; Kit Kat Band Hani Furstenberg(Dec 22, 2014 - ?).


Hani Furstenberg
Fraulein Kost (Dec 22, 2014 - ?)
Kit Kat Girl
(Dec 22, 2014 - ?)
Sienna Miller
Sally Bowles (Feb 17, 2015 - Mar 29, 2015)
Stacey Sipowicz
Kit Kat Girl
Emma Stone
Broadway debut
Sally Bowles (Nov 11, 2014 - Feb 15, 2015)

Swings: Katrina Yaukey.

Understudies: Kaleigh Cronin (Sally Bowles), Caleb Damschroder (Emcee), Dylan Paul (Clifford Bradshaw, Ernst Ludwig), Evan D. Siegel (Max), Stacey Sipowicz (Fraulein Kost, Gorilla).

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