Why CABARET’s New Stars Will Dazzle Broadway
CABARET is, of course, one of musical theatre’s timeless cornerstones, thanks to the inimitable partnership of John Kander and Fred Ebb. The show’s legacy includes iconic stagings and stars from all walks of theatrical life. Stepping into the Emcee’s role is always a high-pressure affair—this character, more than most, requires an electric blend of charisma, mystery, and a dash of danger. That’s where Orville Peck comes in. Until now, he’s been synonymous with a concealed identity, flamboyant country ballads, and a magnetic stage presence that’s part outlaw, part torch singer. The news that he’ll be going “unmasked” as the Emcee has sent a jolt of excitement (and a few gasps) through his loyal fan community. After all, how does an artist so closely associated with secrecy reveal himself on the grandest stage of all?
Meanwhile, the luminous Eva Noblezada takes on the iconic role of Sally Bowles. If you’ve heard her belt out Reeve Carney duets in HADESTOWN or watched her dance across the stage in THE GREAT GATSBY, you already know she has the range and emotional depth to make Sally’s charm and vulnerabilities soar. Sally Bowles is no cookie-cutter ingénue—she’s a complex cabaret singer with big dreams and an undercurrent of melancholy. Casting such a versatile star as Noblezada is sure to result in a portrayal that resonates well beyond the footlights. Her run, alongside Peck’s, lasts until 20 July, so there’s a healthy window of opportunity to catch this pair lighting up the Kit Kat Club.
What to Expect at the “Kit Kat Club”
CABARET has never been a “sit back and relax” musical. Instead, it aims to immerse you in the pre-war decadence of Weimar-era Berlin, where life felt urgent and precarious all at once. In this production—much like its acclaimed West End predecessor—the theatre itself has been transformed into a genuine “Kit Kat Club.” Yes, that means it’s in the round, so audience members are practically stepping into Sally’s nightclub domain rather than watching from a detached vantage. For many, that’s been the main reason to see this revival: you’re not just watching a show; you’re becoming a temporary citizen of Berlin’s underground nightlife.
To ramp up the immersion, ticket holders receive an assigned “club entry time.” This allows them to experience a 75-minute pre-show spectacle: 12 dancers and musicians swirl through the space, serving up an enchanting prologue that blurs the line between audience and performer. In some ticket tiers, you can even dine while you soak in this lively atmosphere. It’s the kind of staging that rewards early arrival, so if you’ve ever complained about missing the overture because you were dashing from the bar at the last minute, you’ll want to plan your evening with care.
What Good is Sitting Alone in Your Room
Broadway revivals can be tricky—especially for shows as revered as CABARET. On the one hand, the theatre scene adores classics, and there’s a devoted fan base ready to buy tickets in droves. On the other, critics and audiences want something new, something that justifies a fresh staging rather than a museum piece. That’s exactly where this production soars. Under the guidance of a dynamic creative team, headed by choreographer Julia Cheng and club/set/costume designer Tom Scutt, the entire enterprise crackles with updated energy.
Data from the last few seasons in both the West End and Broadway suggests that immersive shows tend to sell more repeat tickets because viewers want to catch every detail they might have missed the first time. CABARET has thrived on this phenomenon since it initially unveiled its in-the-round configuration in London. The set design is layered with hidden nooks, unexpected lighting tricks, and actors who appear inches away from you in the blink of an eye. Factor in an Emcee who might roam among the audience in full regalia, and you’ve got a theatrical experience that changes depending on where you sit—or stand—on any given night.
A Fresh Shift in the Ensemble
For those of you keeping score of the current cast transitions, Adam Lambert and Auli‘i Cravalho finish their run as the Emcee and Sally Bowles on 29 March, which means you’ll have to be quick if you want to see that pairing. Also noteworthy is the departure of Bebe Neuwirth—a two-time Tony winner—who steps away from her Tony-nominated role as Fraulein Schneider that same evening. Taking over on 31 March is Ellen Harvey, a seasoned stage performer whose past credits suggest she’ll be more than capable of following Neuwirth’s formidable footsteps.
The rest of the company includes Calvin Leon Smith as Clifford Bradshaw, Steven Skybell as Herr Schultz, Henry Gottfried as Ernst Ludwig, and Michelle Aravena as Fritzie/Kost. It’s an ensemble that merges Broadway veterans with fresh faces, underscoring the production’s ongoing push for new interpretations of these iconic roles. With the pre-show prologue requiring top-tier dancing skills and a flair for audience interaction, the cast members function as a living tapestry that sets the show’s frenetic tone long before the opening number.
A Closer Look at the Creative Team
One detail that might slip past casual fans is how integral the creative roles are in shaping CABARET’s look and feel. For starters, choreographer Julia Cheng has the unenviable task of concocting dance sequences that reflect the era’s unapologetic decadence—raucous, sensual, and occasionally unsettling. Meanwhile, Isabella Byrd is on lighting duty, ensuring each moment carries the right emotional weight, whether it’s the glittery haze of the Kit Kat Club or the creeping darkness foreshadowing Nazi ascendancy.
Nick Lidster (from Autograph) handles the sound design, while Jennifer Whyte oversees music direction and supervision—absolutely crucial when dealing with Kander and Ebb’s legendary score. Keep an ear out for the subtle orchestrations that might differ from previous versions, shining a new light on familiar songs like Willkommen or Maybe This Time. The hair, wig, and makeup design by Sam Cox and Guy Common ensures that every performer captures the period’s distinct aesthetic. And rounding out the creative ensemble, Angus MacRae composes and directs the prologue music, while Jordan Fein serves as prologue director, weaving it all into that immersive front-of-house experience.
The Emcee’s Mask
Now, here’s something that might catch even the most dedicated Orville Peck fans off guard: the Emcee role demands a lot more than a flamboyant costume and a coy smile. Traditionally, the Emcee is a shape-shifting figure, the all-seeing eyes in the unfolding drama—a trickster and commentator who stands at the crossroads of audience and story. Peck’s trademark mask had become almost synonymous with his musical persona, so stepping into the role unmasked is more than a simple wardrobe decision. It symbolises a kind of revealing, a willingness to connect with the audience in a more vulnerable, direct way. Could the mask reappear in certain numbers? Possibly. But the official announcement states he’ll perform “unmasked,” which for an artist like Peck, known for preserving anonymity, is a significant pivot.
Some theatre insiders suggest this departure from his usual style might pave the way for a new wave of pop or country musicians to consider taking on major Broadway roles—blurring the line between mainstream music stardom and live theatrical performance. After all, if Orville Peck can transition from indie darling to Emcee, who’s to say another boundary-pushing artist won’t follow suit? Keep an eye on how critics respond to his reveal; it may well spark a larger conversation about pop musicians bridging the gap with musical theatre.
CABARET isn’t just a show; it’s a communal experience that immerses you in a sultry, precarious world on the brink of cataclysm. With Orville Peck and Eva Noblezada at the centre, this revival offers a fresh take on Kander and Ebb’s timeless creation—one where glamour and political turmoil collide under the flickering lights of the Kit Kat Club. There’s a potent immediacy to this production, partly due to its in-the-round format and partly due to the calibre of talent stepping into these storied roles.
So if you’ve been hunting for that next ticket to catch on Broadway—a production that surprises, seduces, and leaves you with a few philosophical quandaries—CABARET might be your best bet. Step through those doors, soak in the pulsating pre-show, and let the Emcee guide you through an evening of love, despair, and wild abandon. By the final curtain, you might just find yourself questioning where the performance ends and real life begins—a testament to theatre’s unique power to suspend our disbelief, even if only for a few dazzling hours. And isn’t that why we keep coming back for more? After all, life is a cabaret, old chum—especially when Orville Peck is calling the shots.
