Cabaret: Reviews

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Salisbury Journal

By Stephen Giles

Cabaret is a complex snapshot of pre-war Berlin, decadence and exuberance offset by the rise of extremism. The society, formed before the events of this play, deloivered a mature and intelligent performance.

Cabaret focuses on some extraordinary and colourful characters. The Master of Ceremonies of the Kit Kat Klub, centre of the decadent circle, was played with skill and vitality by Christian Jull. Clifford Bradshaw was the idealistic American writer, besotted by cabaret star Sally Bowles. The tragedy of their relationship was well played by Jonathan Hudson, a welcome newcomer, and Sarah Cashmore.

The quality of the support is testament to the depth of talent in the society. The doomed relationship between Frau Schnider and the Jewish Herr Schultz was performed adeptly and sensitively by Sue Crouch and Geoff Heard.

The songs reflected the mood of the time, a mixture of sexual energy and a desperate search for a meaning promised by Nazism and summed up in Tomorrow Belongs To Me.

“Life is a Cabaret” sang by Sally Bowles as the show ended on a dimley lit stage in the shadow of the swastika.

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