Willkommen To The Kit Kat Club - The Enduring Appeal Of 'Cabaret'

Written by Daz Gale

What makes a show a long-running success? Relying on first-time viewings throughout the run will be a big part, of course, but it's those shows that lend themselves well to repeat viewing that really stick out. One such example of this is Cabaret at the Kit Kat Club. Last night, I made my 10th visit to this production in the 4 years since it opened experiencing my 7th cast out of the 12 they’ve had so far - and it felt like it was the first time - here's why.

First of all, this is not a review of Cabaret. I reviewed the show when it first opened in 2021, and while I may have a slightly different way I’d describe the show now, I gave it 5 stars then, and I'd give it 5 stars now - any other rating would not be an option, unless a 6th star could be added! The direction and choreography remain out of this world, reinvigorating the show and making it stand out from the many productions that have gone before.

Before Cabaret at the Kit Kat Club opened, I had only seen the show once before in a previous touring production, which I wasn't the biggest fan of. In my head, I believed I didn't like Cabaret as a show, which begs the question - is something ever a great show or just a great production - and, to flip it, a bad show or a bad production? But that is a topic for another time. The fact is, Cabaret at the Kit Kat Club blew my mind the first time I saw it just shy of four years ago, and it did it all over again this time around.

The enduring appeal of Cabaret is in how each cast brings something different to the show. Though they never deviate from the essence of the show, they are encouraged to put their own stamp on the role they are playing, finding their own character. This can lead to an Emcee wildly different to the last, or a Sally Bowles distinctive from her predecessor. Speaking to some of the cast following the show, it became clear the key to this is a collaborative nature in the rehearsal room and a less rigid approach to the material. This fluidity leads to an exciting approach, more personal to each performer and creates a unique experience for the audience every time.

That was more apparent with this latest cast than ever before. Though it was my tenth visit to the Kit Kat Club, it felt like the first time with an energy and excitement that I hadn’t experienced since the very first time I entered the doors of this incredibly repurposed theatre. Celebrating its 1500th performance earlier this year, the current production now has the honour of being the longest-running production of Cabaret that has ever been in the West End - not bad for a show that first premiered there in 1968. I truly believe the conscious attempts to refresh it each time are a big reason for this, with each pairing of Sally Bowles and the Emcee doing a four month stint at a time a novel way to ensure this production never feels as if it’s going through the motions.

Eva Noblezada’s take on Sally Bowles this time around is one for the ages - one of the best I have ever seen in a take that was unafraid to try something new with the role, with new additions, minor tweaks to the line and mostly her mannerisms ensuring a take on Sally Bowles like I have never seen before. The fact she previously performed the role on Broadway no doubt cements the strengths of her performance here, though I would be interested to know just how close her West End Sally is to her Broadway version. It is also worth noting that the response to Cabaret at the Kit Kat Club was far less enthusiastic than it has been in the West End, with the run concluding earlier than planned recently, having had four main pairings as opposed to the West End’s 12 and counting.

Noblezada’s real-life fiancée, Reeve Carney takes on the Emcee this time around, taking over from Rob Madge, who once again blew me away in the role with their take on it earlier this year. Both of their Emcees couldn't be further apart - Rob managed to bring a bit of themself to the role, accentuating some of the more comic elements, while Carney’s feels a bit more dangerous and sombre. One moment that really made me sit up and take notice was Carney’s take on ‘I Don’t Care Much’ - a song that isn’t ordinarily a standout for me, but certainly was this time, thanks to his spine-tingling and emotive vocals.

It is always interesting when a new cast leads to different favourite moments and musical numbers in a show, kind of how various Elphabas in Wicked manage to perform their three biggest solo numbers, with each having a distinct standout of the three - from speaking to actresses who have played this role on my podcast, it is clear they each respond to the numbers differently, having one of the big three they feel stronger about. However Wicked feels a bit more rigid compared to Cabaret at the Kit Kat Club, with more restrictions in place to how much the cast can deviate from the source material and make the role their own. That is perhaps to be expected with a show that is coming up to its 20th anniversary, and similarly when Lucie Jones decided to attempt an opt-up in ‘I Dreamed I Dream’ during her time in Les Miserables, she very nearly broke theatre Twitter, with opinions on such a drastic (albeit minor) change being rather split. The only moment in Wicked that really seems to change with each cast is during ‘Popular’ and Glinda’s “toss toss” (far less rude than it sounds). 

Of course, there are shows such as Titanique where each night can feel brand new thanks to the improvised elements to it, but sometimes with shows that have been running for as long as this production of Cabaret has, it can more often than not feel like a safe bet - if you go and see The Phantom Of The Opera on a weekday matinee, you more or less know what you are going to expect, and there is nothing wrong with that at all - but Cabaret at the Kit Kat Club feels like it has ripped up the rulebook, always rebellious in its nature and undeterred in its refusal to ever feel settled.

Though cast members in Cabaret get to collaborate with the creative team and find their own takes on the characters they play, there has to be a line, for obvious reasons. There are certain aspects of a character that need to be non-negotiable, so that you can still realise they are playing a character and not themselves - after all, a big part of acting is making the audience fall into escapism, and just being yourself can prevent that. The last two Emcees prior to Carney’s take are extreme examples of this, with Rob Madge brilliantly inserting aspects of their own personality and comic style into the role. On the other hand, Billy Porter may have taken it too far, playing “Billy Porter” as opposed to “The Emcee” in a performance that didn’t seem to wow audiences, like the Emcees he was sandwiched between did. Not every take on a character is going to land, but even when you witness a take that might not quite be as electric as the last, that’s all part of the excitement, and the fact that you never know who is going to be next and what their take on the role is going to be like is what keeps me and countless others coming back to the Kit Kat Club.

So who will be next to take on the Emcee and Sally Bowles at Cabaret at the Kit Kat Club? Last night’s gala performance was packed full of musical theatre stars, many of whom I couldn’t help but think how truly remarkable they would be in the roles. The casting in this production has always surprised, though, never being afraid to go for something unexpected, with Cara Delevingne and Self Esteem two such names. One thing is for sure, however - whoever is next to take on these roles is sure to leave their own mark on them, ensuring a Cabaret that continues to feel fresh and exciting, hopefully for years to come.

Cabaret at the Kit Kat Club is currently booking until May 2026, with Eva Noblezada and Reeve Carney appearing until 24th January. Tickets available here

Photos by Marc Brenner