Cabaret at the Grand Theatre: Dark, shocking and increasingly relevant

Though the show is set in 1930’s Berlin, that line - and many more - could easily be a Facebook post or a comment from a newspaper columnist, given its relevance to today.

Directed by National Theatre director Rufus Norris, the production is contemporary and stylish, though deeply recognisable as pre-war Germany. It’s shocking - there were moments that drew gasps from the audience - and not easily forgotten.

Perhaps this is because the material, Kander and Ebb’s version of Joe Masteroff’s book, is absolutely exploited to the fullest extent. It’s not the most subtle production, but we don’t live in subtle times. After all, what’s the point in alluding to far-right influence and hateful agendas when we don’t seem to be able to spot them on our own doorstep?

This version is as dark and sinister as the story deserves. It’s not simply a story set in pre-war Nazi Germany, it’s the story of pre-war Nazi Germany. It’s the story of everyday people, many of whom never imagined the dealings of the political world would have any kind of lasting impact on their life.

The casting is good. Experienced theatre star Partridge, fresh from a win on Celebrity MasterChef, manages to retain the humour of the character of Emcee while bringing an intensity that might not be seen in other performances. In full knowledge that he has the audience eating out of the palm of his hand, he exploits it masterfully - there were times when you could hear a pin drop.

Sally Bowles, played by Kara Lily Hayworth, features much less than you’d expect if you’ve seen the film. Hayworth’s unabashed, coquettish Bowles feels natural with Charles Hagerty’s green, bewildered Cliff Bradshaw, as the Brit moves in uninvited with the American, who has newly arrived in Berlin.

There’s a rawness in Anita Harris’s Fraulein Schneider that particularly comes through as she holds the stage in her final song What Would You Do?, a poignant reminder of the personal sacrifices people make in the spirit of self-preservation.

The choreography is the real star here though. The cast’s machine-like movement of the large metal frames that make up part of the set is slick and seamless and it’s clear that split-second timing and coordination is absolutely key. Some of the more gymnastic elements of the routines will have you holding your breath.

Edgy and athletic, individual and cohesive, the ensemble - featuring Leeds lass Mary Hodgkinson - bring absolutely everything they have to the stage. The brutalistic stripped-back sets - and even more stripped-back costumes - leave nowhere for the performers to hide.

Of course, it’s not child-friendly, though well-worth taking teenagers as their first foray into dark, grown-up musical theatre, if you can bear to sit next to them through some of the more raunchy moments. And grandma might complain that it’s “modern” but she’ll go home dreaming about the hedonistic muscular figures.

Though it’s still early, and the Grand has some extremely promising shows on the roster over the next few months, this production of Cabaret is likely to be considered a highlight of the year.

It finishes on Saturday but there are still tickets available - this is one that you’ll be glad you caught.