CABARET Welcomes a New Emcee

CABARET has long been a mainstay of musical theatre, blending dazzling entertainment with an unnerving glimpse into the darkening climate of Weimar-era Berlin. Over the years, we’ve seen big stars put their own spin on the Emcee and Sally Bowles, and those transformations have continually refreshed the show’s legacy. It’s a testament to John Kander and Fred Ebb’s genius that decades after its creation, CABARET still manages to feel urgent and relevant—especially in a production as immersive as this one, housed at the Kit Kat Club (formerly the August Wilson Theatre) in New York.

But never before have we had such a compelling twist on the Emcee: a country music star known for his enigmatic mask suddenly revealing himself before Broadway audiences. This revival is also known for reconfiguring the theatre space so you step into the action from the moment you arrive, greeted by roving performers, live music, and maybe even a full dinner if you pick the right ticket option. It’s theatre that demands you engage with every sense—an intoxicating mix of glamour, grit, and the looming spectre of fascism, all swirling into an experience that’s both seductive and sobering.

The Emcee Unmasked

Ever since his involvement in the production was confirmed in January, fans have speculated whether Orville Peck would trade his signature fringe mask for the Emcee’s often flamboyant stage makeup. Now we’ve got our answer: for his 16-week run (from 31 March to 20 July), Peck will perform unmasked. That’s huge news for anyone who’s followed his career—like a mythical creature stepping out from the mist into full view.

Peck himself admits the Emcee has been his dream role since he was a teenager. He’s practically quivering with excitement at the chance for “complete freedom of individual expression,” a hallmark of this famously shape-shifting character. In a statement, he described his early background as a working actor and dancer, hustling to land roles before his music career took flight. “It feels very full circle,” he said, “to be making a return to theatre at this point in my career.”

What sets this Emcee apart is the blend of Peck’s southern gothic flair and the Weimar-era decadence that CABARET is known for. The possibilities for elaborate costumes and boundary-pushing interpretations seem endless. It’s safe to assume audiences might see a flash of vintage glamour fused with a cowboy aesthetic—perhaps a sly nod to Peck’s musical roots. After all, this is a role that thrives on reinvention, from the heavy makeup of Joel Grey’s original portrayal to more contemporary spins involving gender-fluid or rock-and-roll elements.

Eva Noblezada Joins the Ranks

No less thrilling is the arrival of Eva Noblezada as Sally Bowles, replacing Auli‘i Cravalho from 31 March. Broadway buffs already know Noblezada from her star-making turn in MISS SAIGON, and more recently HADESTOWN, and the mere mention of her name can cause a ripple of excitement. She’s a powerhouse vocalist with a knack for creating profoundly human characters on stage.

In her words, Sally Bowles is “like a totally conscious child who is also completely unhinged.” That duality—the comedic flamboyance warring with the quiet desperation of a singer in a seedy Berlin club—has drawn countless actors to the part, from Judi Dench to Liza Minnelli. Noblezada, with her ability to straddle vulnerability and brazenness, is uniquely poised to peel back Sally’s layers. She’s not afraid to be raw and real, even if that means plucking a few emotional chords in the audience that echo far beyond the theatre walls.

A Changing of the Guard

While we celebrate these new additions, it’s also time to bid farewell to current Emcee Adam Lambert and Sally Bowles Auli‘i Cravalho, who take their final bows on 29 March. Lambert’s magnetic rock-star vibe and Cravalho’s effervescent stage presence have left an indelible mark. Their run has garnered rave reviews, capturing that precarious balance between the show’s glitz and its lurking darkness.

Also leaving on 29 March is two-time Tony winner Bebe Neuwirth, who has been playing Fraulein Schneider in a Tony-nominated performance. Her departure heralds the arrival of Ellen Harvey, starting 31 March, in the role of a woman caught between love and the inexorable march of history. If you’re able to attend that final performance, you’ll undoubtedly witness an emotional turning point—one that Broadway fans will likely talk about for years to come.

A Full Sensory Feast

One of the most distinctive elements of this revival is the transformation of the August Wilson Theatre into the Kit Kat Club, immersing audiences the moment they walk in. You don’t just sit and wait for curtain time; instead, you receive a “club entry time” that ensures you arrive well before the show starts, allowing you to savour a pre-show performance. If you’ve ever fantasised about stepping into a smoky Berlin nightclub during the 1930s, here’s your chance. With 12 dancers and musicians swirling around, the lines between audience and performer begin to blur.

At certain ticket levels, you can even indulge in a full dinner—suddenly you’re feasting while dancers waltz past your table, or a mysterious stranger in a bowler hat serenades you from across the room. The production’s West End counterpart adopted a similar approach, garnering accolades for making the show feel urgent, edgy, and heartbreakingly intimate. Expect the same here: a seductive invitation into a world of jazz, swirling confetti, and secrets whispered in hushed corners.

The Shadow Looming Over Berlin

But let’s not forget CABARET’s darker undercurrents. Inspired by Christopher Isherwood’s Goodbye to Berlin and John Van Druten’s I Am a Camera, the musical depicts carefree debauchery threatened by the rise of the Nazi regime. In parallel with the exhilarating nights in the Kit Kat Club, we watch as political tensions tighten their grip, culminating in a chilling reminder of how quickly freedoms can be snatched away.

It’s that tension between show-stopping numbers—like Mein Herr, Don’t Tell Mama, or Cabaret—and the creeping dread of the era that makes the piece timeless. The creative team (choreographer Julia Cheng, designer Tom Scutt, lighting designer Isabella Byrd, sound designer Nick Lidster, and music supervisor Jennifer Whyte) harness this contrast brilliantly, guiding the show from ebullient to unsettling with masterful subtlety.

The Team Bringing it All Together

Don’t discount the behind-the-scenes magic. With hair and wig design by Sam Cox and makeup design by Guy Common, there’s bound to be a striking blend of theatrical artistry and historical detail. The pre-show composition and music direction are courtesy of Angus MacRae, while Jordan Fein takes on the mantle of prologue director, ensuring that even your first few steps into the theatre serve as an entrée into 1930s Berlin.

Credit is also due to the formidable casting team led by Bernard Telsey and Kristian Charbonier, who manage to unearth the perfect mix of stage veterans and fresh faces, giving the production that potent synergy of polished skill and exciting new perspectives. Considering the complexities of the script and the layered demands of the score, that’s no small feat.

The Link To Contemporary Culture

CABARET, at its core, addresses the fragile boundary between escapism and the brutal reality lurking just outside the door. Its emblematic star is an Emcee who welcomes you with a grin but hints that all may not be well. In our modern world—where political upheaval and cultural shifts happen at breakneck speed—the show’s message feels eerily apt. We come to the theatre to be entertained, but we leave with questions that linger about our own societies: Are we overlooking warning signs? Are we drowning out uncomfortable truths with parties and bright lights?

This duality—captivating spectacle paired with chilling resonance—could explain why the show has endured for decades. With Orville Peck and Eva Noblezada at the forefront, the production seems poised to spotlight that tension in a way we haven’t quite experienced before. Peck’s storied image as a masked performer evokes a sense of mystery, which might align compellingly with the Emcee’s cryptic, boundary-pushing presence. And Noblezada’s raw, unfiltered power could bring a jolt of contemporary energy to Sally Bowles, making her less caricature and more poignant reality.

CABARET isn’t just another Broadway revival. This production—complete with an unmasked Orville Peck, a magnetic Eva Noblezada, and an entirely reimagined Kit Kat Club—offers a thrilling collision of past and present, glamour and foreboding. It lures you in with sumptuous visuals, rousing musical numbers, and a promise of excitement, but it leaves you contemplating the darker truths hidden beneath those sparkling lights.

If you find yourself in New York anytime after 31 March, do whatever you must to snag a ticket. Whether you’re there for the jaw-dropping stage transformation, the exhilarating new cast, or the timeless story that refuses to lose its edge, one thing’s certain: you’ll be talking about this production long after you step back into the bustle of Times Square. After all, that’s the potency of CABARET. It invites you to come in and forget your troubles—if only for one tempestuous night—then sends you away realising that art, especially theatre, can hold a mirror to society’s most uncomfortable truths. And that, dear friends, is precisely why we keep coming back for more.