AWARDS:

 

Fleur du Cap Nomination for Best Actor in a Musical: Charl-Johan Lingenfelder

Fleur du Cap Nomination for Best Actress in a Musical: Claire Taylor

Fleur du Cap Nomination for Best Supporting Actress in a Musical: Shannyn Fourie

Fleur du Cap Nomination for Best Supporting Actress in a Musical: Michele Maxwell

 

PRESS:

 

“Cabaret an absolute winner for the Fugard ... If you go to the theatre just once this year, make it Cabaret ... (Lingenfelder is) simply outstanding ... Behind the scenes, special praise must go to Penny Simpson for costume design, and Tina Driedijk for a set design that is simple and clever, making good use of the Fugard’s small stage. Following the long run of The Rocky Horror Show, this is another winner for the theatre” WEEKEND ARGUS

 

“Cabaret is oozing with life .... The anchor of this production is the Emcee ... Charl-Johan Lingenfelder, who has created a sizzling, flirtatious, wicked character  ... The pace of the show is fast, the singing and dancing splendid, the costumes world-class. Claire Taylor as Sally Bowles is smouldering, dark, provocative, and the whole spirit of the nightclub with its risqué sexual ripeness pulsates on the stage.” THE TIMES

 

“★★★★ Amper 50 jaar nadat dit die eerste keer opgevoer is, het Cabaret se boodskap – van medemenslikheid in ’n mal wêreld – nog net soveel trefkrag ... Die baldadige choreografie veral is uitstekend, die humor slinks, die stelontwerp treffend en gesofistikeerd.” DIE BURGER

 

“★★★★ A multi-layered musical like Cabaret invites as many interpretations as there are directors; some emphasise its risqué sexuality, some the contrast it presents between a frenetic pursuit of fun and an increasingly sinister political climate, and others focus on the work’s darker implications of failed relationships and anti-Semitism. Matthew Wild deftly combines all three approaches in this show, and in so doing brings out its intrinsic complexity ... Tina Driedijk’s versatile set rings the changes from Bradshaw’s meagre accommodation to the bling of the Kit Kat Klub and even on occasion to the compartment of a moving train ... The inclusion of a child to portend the future horrors of Hitler’s Berlin has a calculated shock value ... As Cabaret draws to an end, there is a bitter taste in the mouth at odds with the show’s cheery music and manic energy – proof that this is more than just light entertainment to beguile an evening.” CAPE ARGUS

 

“Fabulous Cabaret reimagined ...A fresh take on the award-winning John Kander and Fred Ebb musical classic Cabaret opened at Cape Town’s Fugard Theatre last week ... Director Wild and costume designer Penny Simpson have purposefully moved away from the iconic look made famous by Liza Minnelli and the Bob Fosse framework of bentwood chairs and bowler hats, while choreographer Louisa Talbot has been allowed to do what she does best - reimagine everything ... The casting of Charl-Johan Lingenfelder as the Emcee is something of a coup ... Cabaret promises a great night out at the theatre.” CAPE TIMES

 

“a spectacularly exquisite account of one of the world's greatest musicals.” WHATSON.CO.ZA

 

"A show that every musical fan should see. It leaves your skin crawling at appropriate moments, while tugging on your heart strings at other times" THEATRESCENECPT.CO.ZA

 

”Life is a cabaret, old chum, and this version is a damn good one. The lights are beautiful, the orchestra is beautiful, the singing is beautiful, the set works beautifully … it is a quite stunning production by the creative team who brought you the wildly popular Rocky Horror Show and hats off to Matthew Wild for bringing it to life.” THECRITTER.CO.ZA

 

“Matthew Wild’s vision for this production is dangerous and beautiful. The design is awesome, and his choices are strong ... This well thought out, clever, harsh, bleak, challenging show is not cute, or sentimental, or full of heart. It is ugly and raw. The girls are too thin. The boys are cruel. The main characters are complicated failures; the world is on its head. The choreography is clever; sordid but context-conscious. The protagonists are weaklings, and self-absorbed. Nobody is loveable. The closest we get to liking someone is the Nazi sympathiser. He is personable. How clever. How complicated ... I think this production is the best Cabaret I have seen.” MEGANSHEAD.CO.ZA

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