Roundabout Theatre Company’s 2014 production of Cabaretwas formulated differently than other Broadway revivals. Instead of providing a new interpretation of Cabaretor remaining completely faithful to the original production, the 2014 production was a revival of a previous revival. More specifically, it returned the 1998 Broadway revival to the stage. Many members of the 1998 production team and cast returned with the show. Most significantly, Rob Marshall returned to choreograph and direct alongside Sam Mendes. A large amount of their design team returned with them, providing consistency between the two productions. Alan Cumming also reprised his role as the Emcee, which earned him a Tony Award in 1998 (Sawyers).

Due to the carryover of the production team between the 1998 and 2014 revivals, the scenery was largely consistent between the two productions. Both productions used Studio 54 as their performance space, which was transformed from a theatre into a cabaret with the intention of immersing the audience in the role of Kit Kat Klub patrons. The seats were exchanged for 93 decorated tables with matching chairs and menus were given out, offering food and drinks to the audience (Green). The cocktails were even named after songs and phrases from the musical, including “The Toast of Mayfair” and “Don’t Tell Mama” (Sawyers). Apart from the audience, the scenery was also designed similarly between the 1998 and 2014 revivals. Both stages featured dark-colored spiral staircases that were utilized in the choreography of the musical. Furthermore, both productions set the orchestra onstage, placed inside a tilted frame formed from bright lights (Sawyers 164).

The portrayal of Alan Cumming’s sexualized Emcee remained consistent between the two productions as well. Even his makeup and main costume, a bare chest and suspenders reaching below his belt, stayed constant. Alan Cumming continued his tradition of dancing with an audience member during the entr’acte in the 2014 production as well (Sawyers 164). The final moment of the 1998 production also remained largely unchanged for the 2014 revival, when the Emcee reveals himself to be wearing the uniform of a concentration camp prisoner. The Emcee, while the most consistent character between the productions, was not alone in his similarities. Sally Bowles maintained her use of cocaine and Cliff Bradshaw continued to explore his bisexuality. The ensemble also continued to perform in nude-colored costumes with dead-eyed stares.

While audience and critical response to the 2014 Broadway revival of Cabaret was largely positive, some critics took issue with Michelle Williams’ portrayal of Sally Bowles. Ben Brantley, a reviewer from the New York Times, complained that Williams “has chosen to tamp down any evidence of spontaneous sensuality,” but had no complaint regarding her singing and dancing abilities – after all, Sally is not intended to be talented at either (Brantley). Brantley’s complaints were not unique to his review. In regard to Williams’s stiffness and perceived innocence in the role, Marilyn Stasio of Varietywrote that “it’s obvious that this ladylike thesp isn’t comfortable in the skin of this impulsive, irresponsible and utterly irresistible girl” (Stasio). Despite her criticism of Williams, Stasio, like most other reviewers, praised the fragility and desperation that Williams depicted in Sally’s ending scenes. Though complaining that she gives away the final beats from the beginning, Ben Brantley praised her performance in the title number, stating “she has the shouty power and shell-shocked stare of someone who’s seen the future and knows that it’s terrifying” (Brantley). Some reviewers went further and praised Williams for her entire portrayal of Sally Bowles. For example, Emma Brockes from The Guardianpraised Williams for being “gauche, touching, unsure of herself in a way that seems as true to the idea of Sally Bowles as more robust approaches,” despite seeing her as a supporting role to Alan Cumming’s extravagant Emcee (Brockes).

Critics were nearly unanimous in praising Alan Cumming’s portrayal of the Emcee. After gaining popularity in the role in the 1998, it is unsurprising that critics reacted so positively to his return. Brockes praised his performance as “one of the great stage performances of all time” (Brockes). Stasio complimented Cumming’s dangerous and sexually charged performance as well, stating “he’s so very, very good at being so very, very bad…” (Stasio). Jesse Green of Vulturewas one of the rare exceptions to this near universal praise. Green critiqued Cumming’s over-the-top performance for not “[articulating] a deeper understanding of his character,” but praised his rendition of “I Don’t Care Much” for its simplicity (Green). Despite some critiques, Cummings enjoyed widespread praise and popularity throughout the run of the revival.

While most reviewers mainly discussed the cast of Cabaret, they also had noteworthy praises for the technical aspects of the production. Green complimented William Ivey Long’s flashy costume design for its “tawdry stabs at glamour,” as well as Robert Brill’s scenery and theatre design (Green). Stasio applauded Brian Ronan’s sound system and Peggy Eisenhauer and Mike Baldassari’s intimate lighting design that made “the chorus dancers look as if they’d be up for hire after the show” (Stasio). David Rooney of The Hollywood Reporter, also praised the lighting design for “[making] clear distinctions between the smoky sleaze of the nightclub and the scenes outside, [and] blurring the lines as those worlds overlap” (Rooney). As the 2014 revival of Cabaretreceived such favorable audience and critical response, it is unsurprising that its limited run was expanded from 24 to 36 weeks as Sierra Miller and Emma Stone took their turns in the spotlight as Sally Bowles.

Brantley, Ben. “Old Chums Return, Where Club Is Home.” The New York Times, 24 Apr. 2014, https://www.nytimes.com/2014/04/25/theater/cabaret-opens-with-alan-cumming-and-michelle-williams.html.

Brockes, Emma. “CabaretReview – Alan Cumming Is Saucy and Menacing in a Sly Revival.” The Guardian, 24 Apr. 2014, https://www.theguardian.com/stage/2014/apr/25/cabaret-review-alan-cumming-sam-mendes-revival.

“Cabaret.”Playbill, http://www.playbill.com/production/cabaret-studio-54-vault-0000014038.

Green, Jesse. “Theater Review: Michelle Williams and Alan Cumming Come (Back) to the Cabaret.” Vulture, 24 Apr. 2014, https://www.vulture.com/2014/04/theater-review-cabaret.html.

Rooney, David. “'Cabaret': Theater Review.” The Hollywood Reporter, 24 Apr. 2014, https://www.hollywoodreporter.com/review/michelle-williams-alan-cumming-cabaret-698741?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed:+thr/news+(The+Hollywood+Reporter+-+Top+Stories).

Sawyers, June Skinner. Cabaret FAQ. Applause Theatre & Cinema Books, 2017.

Stasio, Marilyn. “Broadway Review: 'Cabaret' Starring Michelle Williams and Alan Cumming.” Variety, 24 Apr. 2014, https://variety.com/2014/legit/reviews/broadway-review-cabaret-starring-michelle-williams-and-alan-cumming-1201163155/.