Eddie Redmayne’s Emcee is a brilliantly twisted creation. [Jessie Buckley] epitomises interwar Berlin: broken and broke, dancing tipsily on the edge. Frecknall proves herself one of our most exciting directors, and she draws superb performances from all involved.
Read more

But fundamentally, it’s a great production of ‘Cabaret’ that’s good enough to triumph over the myriad distractions it throws in its own path.
Read more

With its starry cast and a director who has made her name rethinking classic plays, this Cabaret always promised to be the show of the season. It is that. It's also a show for our times.
Read more

“Every element of Frecknall’s production is a wow: the sumptuous pre-show entertainment...this production is, and will remain, an absolute knockout. With its combination of all-encompassing decadent beauty and thunderous moral force, there’s simply nothing else in town quite like it.”
Read more

Cabaret looks terrific, sounds pretty good and retains its powerful “live and let live” message. But Eddie Redmayne is not that great in it.
Read more

Redmayne is excellent. The best musical-theatre performance I have ever seen live is Buckley’s rendition of the title song. It’s a parable that still packs a punch.
Read more

This is it. This is the one. At the end of the year, Rebecca Frecknall’s production of Cabaret – starring Eddie Redmayne and Jessie Buckley – stands revealed as 2021’s kill-for-a-ticket theatrical triumph.
Read more

Every decision [Frecknall] makes here has clear, clever purpose. This Cabaret isn’t a radical reinterpretation, but its differences from previous productions plant themselves subtly at first, then ripple outward until they overwhelm.
Read more