![]() These two veterans are touching as star-crossed lovers fearful in later life of what’s happening around them. ![]() The addition of Linda Emond as the landlady Fraulein Schneider and Danny Burstein as her Jewish suitor Herr Schultz are strokes of casting genius. 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. (Alas, Bill Heck, as her ambivalent, bisexual lover, sometimes lacks his co-star’s nuances.)Ĭumming 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. 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. It’s a role made famous in the 1972 film version by Liza Minnelli and in the last Broadway revival by Natasha Richardson. 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. The score, by composer John Kander and lyricist Fred Ebb, is as stirring as ever. 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.
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