• Theater | Broadway
  • price 4 of 4
  • Midtown West

August Wilson Theatre


Time Out says

Formerly the Virginia Theatre (and before that the Guild Theatre), this 1,228-seat space was renamed after the late, great African-American playwright in 2005. The current occupant is the long-running Jersey Boys, but in previous decades, the site was home to Eugene O’Neill’s mammoth Mourning Becomes Electra (1931), Clifford Odets’s Golden Boy (1952) and the musical City of Angeles (1989).


245 W 52nd St
New York
Cross street:
between Broadway and Eighth Ave
Subway: C, E to 50th St; N, Q, R, 4nd St S, 1, 2, 3, 7 to 42nd St–Times Sq; N, R to 49th St
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What’s on

Cabaret at the Kit Kat Club

Broadway review by Adam Feldman  Great expectations can be a problem when you’re seeing a Broadway show: You don’t always get what you hope for. It’s all too easy to expect great things when the show is a masterpiece like Cabaret: an exhilarating and ultimately chilling depiction of Berlin in the early 1930s that has been made into a classic movie and was revived exquisitely less than a decade ago. The risk of disappointment is even larger when the cast includes many actors you admire—led by Eddie Redmayne as the Emcee of the show’s decadent Kit Kat Club—and when the production arrives, as this one has, on a wave of raves from London. To guard against this problem, I made an active effort to lower my expectations before seeing the latest version of Cabaret. But my lowered expectations failed. They weren’t low enough. Cabaret | Photograph: Courtesy Marc Brenner So it is in the spirit of helpfulness that I offer the following thoughts on expectation management to anyone planning to see the much-hyped and very pricey new Cabaret, which is currently selling out with the highest average ticket price on Broadway. There are things to enjoy in this production, to be sure, but they’re not necessarily the usual things. Don’t expect an emotionally compelling account of Joe Masteroff’s script (based on stories by Christopher Isherwood and John Van Druten’s nonmusical adaptation of them, I Am a Camera); this production’s focus is elsewhere. Don’t expect appealing versions of the songs in

  • Musicals
  • Open run
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