Cabaret!

I finally saw Cabaret on Broadway! I'm so happy I saw this production featuring Adam Lambert and Auli'i Cravalho. You may not know this, but I’ve been a fan of Adam since my early days of watching American Idol. He was an obsession of mine, and his powerhouse vocals, flawless performances of Queen songs, and glam rock aesthetic still amaze me. It’s shocking that he was the runner-up on season 8 back in 2009. I couldn't miss the opportunity to see him on Broadway! 

Cabaret is a musical with music by John Kander, lyrics by Fred Ebb, and a book by Joe Masteroff. It was based on the 1951 play “I Am a Camera” by John Van Druten, adapted from the novel “Goodbye to Berlin” by Christopher Isherwood. The musical premiered on Broadway in 1966, and the film adaptation, directed and choreographed by Bob Fosse, came out in 1972. My high school dance teacher emphasized Bob Fosse's work, which made me obsessed with Chicago.

Bob Fosse directed and choreographed the original production of Chicago on Broadway in 1975. He is well known for his distinctive dance style involving finger snapping, tilted bowler hats, fishnets, turned-in knees and toes, shoulder rolls, and the infamous jazz hands. Naturally, I’ve been curious about Cabaret for a long time, but I hadn’t seen it until now. I'm grateful for the 2024 revival on Broadway since the last time this show was in NYC was in 2014.

Cabaret is set in 1930s Berlin during the rise of the Nazi regime. The story follows a young American writer named Cliff Bradshaw, who moves to Berlin and becomes involved with a free-spirited singer named Sally Bowles. She performs at the Kit Kat Klub, a nightclub where much of the action unfolds. The musical delves into themes of love, politics, and personal freedom, contrasting Sally's carefree and hedonistic lifestyle with the growing political tensions in Germany.

The show boldly blends comedy, drama, and musical numbers while addressing the rise of fascism and the consequences of ignoring political change. The first act is more light-hearted, introducing us to the Emcee and the cabaret girls in a provocative fashion. It explores sexual freedom and hypocrisy while also delving into themes of gender and sexuality.

As the musical continues, it explores the darker aspects of human nature and society during significant upheaval, showing how quickly normalcy can vanish. It’s okay until it isn’t, which is a terrifying realization in the current political climate in the U.S. At the beginning of the production, you’re laughing and having fun with the cast, but then it quickly descends into darkness, leaving you emotional and horrified. I’ve never watched a show quite like this before.

The production, led by Adam Lambert and Auli'i Cravalho, left me speechless. Adam Lambert wholly owned the role of the Emcee. His voice was as powerful as ever, bringing a new level of charisma and edge to the character. He was funny, dark, and magnetic. I couldn't take my eyes off him, and even in those moments, he was set to the side of the stage - he was always in character. His interpretation of the Emcee was bold and fresh; it felt like he was making the role his own in the best possible way. I still have the iconic "Willkommen" stuck in my head.

Auli'i Cravalho was equally amazing as Sally Bowles. I was excited to see her in action as I only knew her as the voice of Moana and her role as Janice in the Mean Girls musical adaptation (that, sadly, no one likes). She perfectly balances Sally’s carefree, wild side with the vulnerability that emerges as the story unfolds. Her voice is stunning, especially during the song “Cabaret,” where she delivers it with so much emotion. You feel everything she’s going through, making her performance genuine and relatable.

The production itself is visually stunning. Everything from the set to the costumes truly brings 1930s Berlin to life. The makeup was incredible, and I was amazed at how many times Adam appeared on stage with a different face of makeup. How did he go from eccentric glam to black metal corpse paint to clown makeup throughout the three-hour production? I can’t imagine the backstage choreography required for this to succeed or the toll it takes on Adam's skin, especially on days when he performs two shows!

We weren’t allowed to take photos inside, as they covered our phone cameras with stickers. I was impressed with how the August Wilson Theatre has been transformed into The Kit Kat Klub. I love the look and atmosphere of the theatre. It was the first time I saw a Broadway show with a circular stage, which even rotates and has a rising platform, making The Kit Kat Klub feel more vibrant and edgy while enhancing the choreography.

Speaking of choreography, the kickline number at the beginning of Act Two was thrilling. I didn't know that RuPaul's Drag Race alum Marcia Marcia Marcia was in Cabaret too! She plays Victor and understudies the Emcee on select nights when Lambert isn’t performing. Her dancing is incredible! She's a fierce dancer, singer, and drag star. We love a multi-talented queen. The entire cabaret cast was outstanding, and our seats offered a perfect view of it all.

I chose seats in the middle of the second row of the balcony in Mezzanine 4. This balcony is located on the west side of the theatre, which is the newer, smaller side. While the cast seems to favor the east side (the traditional, larger theatre area) a little more, it wasn’t enough to detract from the experience. Given the circular stage, they do their best to engage with everyone in the audience. Surprisingly, our view was closer than anticipated when picking the tickets, so I was very happy with my selection. Also, we were shocked when Sally Bowles (Auli'i Cravalho) made her way through

Cabaret profoundly impacted me, especially as we witness a troubling rise in fascism in the US (which I cannot believe I’m typing this in 2025). I haven’t stopped thinking about Cabaret since I saw the show. This production serves as a stark warning about the dangers of apathy. While Sally seeks solace at the Cabaret, oppression looms outside its doors. We cannot afford to be apolitical; engaging in activism is essential for our safety and the well-being of our community. One moment, you may be enjoying life, and the next, you’re being hauled off to a concentration camp. Ignoring a growing threat and not participating in its opposition is a sure way to face dire consequences.

The show’s ability to immerse the audience is impressive, illustrating this exact point. You feel like you’re a character, drawn into the glitz and glamor, becoming one of the apathetic revelers, escaping troubles. However, 'Tomorrow Belongs To Me' reveals the ominous rise of the Nazis. As a viewer, you are taken aback, momentarily forgetting the events that are about to unfold. The shock of the moment captivates your attention, leaving you unprepared for what lies ahead. In the second act, beloved characters confront the consequences of their denial. Knowing history, we can foresee their brutal fate. These politically apathetic individuals, who believed life was merely a cabaret, will likely meet tragic ends. This serves as a lesson: politics profoundly impact our lives. While it may be too late for Sally Bowles, you can learn from her fate and remain aware.

A particularly tense moment in the production occurs when the Emcee sings “If You Could See Her." This satirical song, about a man in love with a gorilla, encourages the audience to look beyond surface judgments and prejudice. The line, "If you could see her through my eyes... she wouldn't look Jewish at all," references Nazi ideology that demonized Jewish people, highlighting the dangers of prejudice amid the rising anti-Semitic sentiment during the Nazis' ascent and how it was ignored or downplayed at this time.

When Adam reached this line in the song, one woman laughed loudly. He glanced at her with disdain and said, “Think about why it is that you laugh.” She was in his line of vision, too! I felt mortified for her. Like, girl, read the room! I’ve read that this isn’t the first time Adam has scolded the audience, so seemingly, this woman wasn’t the only one. The show illustrates this point: it’s amusing until it isn’t, highlighting the need to recognize that distinction.

Danny enjoyed Carabet, which makes me happy. When I asked if he knew Adam, he mistook him for Adam Levine, leaving me appalled. “The guy from Maroon 5?” I was like, how fucking dare you? My disdain for Maroon 5 is so real. However, Danny did redeem himself when he remembered Adam’s popular song “Whataya Want from Me” and how the & Juliet production sang this song in the show. It’s funny how everything is so connected.

Overall, seeing Cabaret with Adam Lambert and Auli'i Cravalho was a bucket list moment for me. Their unique interpretations made this version unforgettable. The show is bold, emotional, and incredibly fun. Even though their run has concluded, I would definitely recommend Cabaret!