Showing posts sorted by relevance for query Fiddler on the Roof. Sort by date Show all posts
Showing posts sorted by relevance for query Fiddler on the Roof. Sort by date Show all posts

Wednesday, 16 August 2017

In Conversation With... Emma Kingston | Fiddler on the Roof | Interview

In my opinion, Emma Kingston has one of the absolute best voices on the West End. I've been fortunate enough to see her in a number of shows and concerts, including Les Miserables, In The Heights and most recently, the stunning Fiddler on the Roof at the Chichester Festival theatre. Emma was kind enough to sit down and discuss Fiddler, After Anatevka, her hidden passion and more...




Have you always aspired to be a performer or did you have a different dream when you were younger?

I've always wanted to be a performer. I used to sing Les Mis and Anything Goes with my dad all the time. 



Have you got any hidden passions you’d like to pursue?

I love Psychology! As an actor I love getting inside a characters brain. I studied Psychology at A Level and I would love to further my understanding of why people are the way they are. Furthering my study's would interest me as well as it being useful as an actor.



What drew you to the role of Hodel in Fiddler on the Roof- are the two of you alike in any ways?

I'm jewish, so growing up Fiddler was always being quoted around the house. I used to watch the film with my grandma. Also, ‘Far from the Home I Love’ was the first song I ever sang in a singing lesson when I was 11.



How is this production bringing something new to the well-loved musical?

We are so lucky that our production in Chichester has amazing new orchestrations by David White and new choreography by Alistair David, bringing a fresh take on the brilliant musical.

Sam MacKay (Usnavi) and Emma Kingston (Vanessa) in In The Heights

Do you feel any extra responsibility or pressure playing one of the few explicitly Jewish female characters in musical theatre?

I feel a responsibility to show the traditions in a way that people of other cultures can relate to. I want to show people that Judaism is a way of life as well as a religion. The community aspect for me is so important.



What’s your research process like for each role you take on, has After Anatevka helped add a new dimension to your portrayal?

For Fiddler I dived into researching about Russia pre 1905 and Russian attitudes towards jewish people. Also looking at Jewish culture in shetles in Russia. My paternal grandparents were children of immigrants from Lithuania and Oddessa, so I had lots of family history to draw on.

After Anatevka I am enjoying so much, especially now I understand so much more about Hodel. I’m loving reading her journey after she leaves home, and how Alexandra has filled in the parts of Fiddler that we don't see in the musical. 



If you’d written After Anatevka would you have given Hodel the same after story? 

Alexandra's story has portrayed so many aspects of Hodel's life during the Fiddler story and after that I thought about a lot. Especially the way she highlights her relationship with her sisters and Perchik. As I'm reading, I feel that the story all completely slots into place and I can't imagine her next journey any other way.



Tradition is obviously the central theme in Fiddler. Do you have any family traditions?

My family traditions are the Fiddler traditions! Every Friday night my family and I get together for a shabbat meal. We celebrate Jewish festivals like Rosh Hashana (Jewish New Year) and Yom Kippur (The Day of Atonement), Passover and many others.

Emma Kingston (Hodel), Simbi Akande (Tzeitel) , Rose Shalloo (Chava) in Fiddler on the Roof

How do you keep your voice healthy? Do you have any vocal rituals?

Drink endless amounts of water and concentrate on centring your breathing.  



If you had a magic wand, which show would you do next?

After Fiddler, I'm playing Eva Peron in the Hal Prince production of Evita, international tour and I can't wait! My mum is Argentine, so it's a huge bucket list role, much like Hodel in Fiddler is! 



Whats a fun fact people might not know about you?

One of my first words was Archemeaies (the owl from sword in the stone) my parents were so proud haha! 



What’s your best piece of advice for an aspiring performer?

Don't compare your journey to anybody else's. Be original. I read a quote by Steve Martin "Be so good they can't ignore you”, to me that means work as hard as you can on being the best you can be.



Thank you so much Emma for taking the time for this interview. Fiddler on the Roof runs until September 2nd. 

Read my review of After Anatevka here and keep an eye out for an interview with Alexandra Silber and a giveaway!

Interview by Olivia Mitchell, Editor

Wednesday, 2 August 2017

Fiddler on the Roof, Chichester Festival Theatre | Review


Fiddler on the Roof
Chichester Festival Theatre
Reviewed on Tuesday August 1st 2017 by Olivia Mitchell
★★★★


It's not often that I venture out of London for theatre but when I do it's usually to Chichester and so far I've never been disappointed with a production. Of the various shows I've seen there, Fiddler on the Roof is by far the best and I am completely in awe of its brilliance. If I Were A Rich Man, I would fund this productions transfer to the West End right this minute, but as I'm not I will have to settle with the fact that the show, directed by Daniel Evans is absolutely fantastic so is more than likely to make the move without me... I'll just have to wait a little while.



Set in rural Tsarist Russia in 1905 when the first hints of revolution are revealing themselves, we follow Tevye who is trying to preserve tradition in the face of a changing world by marrying off his daughters. They, however, want to marry not for money but for love. In a time when Russia's Jews are facing incredible hardships where tradition is one of the few things keeping them together, Tevye has to decide whether his daughters' happiness is more important than his adored traditions. 



Omid Djalili was born to play the poor dairyman, Tevye. His masterful comedic timing is pure excellence but he also manages to capture his internal torment and external hardships perfectly. Djalili is able to involve the audience with every thought that goes through his head and makes sure that every side of the Festival Theatre gets to feel and see the emotion. Tracy-Ann Oberman is great as his wife, Golde, with her caustic personality the ideal contrast to the bright, humorous Tevye. 


Emma Kingston (Hodel) and Louis Maskell (Perchik)


The rest of the family are equally strong with the daughters each having clear personalities and being performed to the fullest. Simbi Akande as Tzeitel is sweet but strong, begging her father to allow her to marry the impoverished tailor, Motel (Jos Slovic). The pair work wonderfully together. Emma Kingston shows off her stunning voice as Hodel who falls in love with the forward thinking, Perchik played by Louis Maskell who has an equally beautiful voice which soared over every note perfectly in 'Now I Have Everything'. Particularly touching with the two was during the first Sabbath dinner when they kept subtly making eye contact with one another and we could see the first inklings of their romance. Rose Shalloo as Chava and Luke Fetherston as Fyedka have fantastic chemistry, showing their struggles with honesty and strength.



Lez Brotherston's design is bare and simplistic as it should be but transitions and evolves wonderfully to create the various settings and is able to establish feelings of both warmth and stark cold at various times. Alistair David's choreography is spectacular, lively and powerful. It unapologetically shows off Jewish tradition and does so in a extremely striking way; popping and dazzling from start to end. 



The entire cast are incredibly strong and this is as much an ensemble piece as it is a lead-led piece. Each moment when the cast come together- either in choreography or in close a cappella harmony- is magical.



I'm truly wowed by this production. My only little niggle is the accents at times, with some attempting and falling somewhat short but this is my only fault in an overall impeccable production. May it transfer and run for a very long time!

Fiddler on the Roof runs at the Chichester Festival Theatre until September 2nd 2017



photo credit: Johan Persson


Tuesday, 22 August 2017

In Conversation With... Alexandra Silber | After Anatevka | Interview

If you've been on the tube in the last few months I'm sure you'll have spotted the marvellous Alexandra Silber's face plastered over the walls for Today Tix. Whilst Al's face is up there for her performances both on the West End and Broadway, she is also a beautifully eloquent lady and recently published her debut novel, After Anatevka, which tells the story of Hodel after Fiddler on the Roof

Alexandra was lovely enough to talk to Rewrite This Story about her writing process, After Anatevka, her transition from West End to Broadway and so much more. Make sure you read until the end to find out how you can win a copy of After Anatevka!



For anyone that doesn’t know, can you explain a little about your career and highlights so far?

I went to drama school in Glasgow at the Royal Conservatoire of Scotland before living in London and working the West End for several years. 

While I was in my final year at RCS, I was cast as Laura Fairlie in Andrew Lloyd Webber’s The Woman in White opposite Ruthie Henshall, Anthony Andrews and Damian Humbley

Among many other things, I have also played Julie Jordan in Carousel in the West End, made my Broadway debut opposite Tyne Daly in Terrence McNally’s Master Class, and have sung at Carnegie Hall, Disney Hall in Los Angeles, was nominated for a Grammy for singing Maria in a the first ever symphonic recording of West Side Story with the San Francisco Symphony, and of course, at Royal Albert Hall with the John Wilson Orchestra for the BBC Proms as the titular character in their production of Kiss Me Kate

Above all, I have been fortunate enough to play two of Tevye’s daughters, one on each side of the Atlantic— the first was in the West End, portraying After Anatevka’s protagonist Hodel (the second-eldest daughter of Shalom Aleichem’s Tevye the Dairyman who is the star of the 1964 musical Fiddler on the Roof) at the Sheffield Crucible and its West End transfer, and last year, played Tzeitl, Tevye’s eldest daughter on Broadway in the most recent Broadway revival. 

Portraying both characters for such lengths of time, and with such incomparable creative teams and casts, informed, inspired and shaped the writing of After Anatevka: it truly was a journey from stage to page. 




Have you always aspired to be a performer or did you have a different dream when you were younger?

I always knew I wanted to be a professional creative— I’m not certain that acting and singing professionally was the epitome of my dream. As a child and teenager I loved the theatre, felt at home and accepted amongst its “creatures” and had an outlet to explore new worlds, research new ways of life, get inside different people’s minds and heart, and to express so many of my deepest emotions. 

I’ve been thinking very deeply about “dreams coming true” recently— possibly because so many people are asking me about it. “Is publishing your novel a dream come true” they will ask, and I don’t entirely know how to answer that. Because of course it is, I have dreamed of sharing my stories with the wider world, to hold a book-shaped book, with actual binding and  I have written in my hands

The voices on Broadway cast recordings were not only my inspirations, but my companions, my teachers; I know many people for whom that is a familiar history. But I felt very much the same about characters in books. I was just as enamored with E.M Forster’s Margaret Schlegel as I was with the book and score of South Pacific. 



Other than writing, have you got any hidden passions you’d like to pursue?

I love the accordion and have taken several lessons, and I passionately want to visit Antarctica. 



What drew you to the roles of Hodel and then Tzeitel in Fiddler on the Roof— are the three of you alike in any ways?

There are too many to mention. I honestly feel this question is best answered within the pages of After Anatevka— and not only the similarities, but the differences, and the growth every human being hopefully acquires as they age and experience life. I had the uncanny joy of being able to understand each woman more deeply as I embodied the other— much like members of the same family come to more deeply understand their siblings as they all become adults. 

One of my most treasured passages from After Anatevka is from the penultimate chapter, an epistolary exchange from Tzeitel to Hodel:


Home, Hodelleh. That place beyond the place where we rest our heads every night. Where our centerpieces, our sewing, our carefully prepared meals, simply do not matter. Where our petty little differences and competitions with one another do not matter anymore.

And I thought of you.

It is odd, Hodelleh. Because I do not know if you shall ever read this, I feel compelled to tell you more than ever. Home—where love shall reign supreme. The kind of home you always held within your heart, my dear sister, the kind no meaningless skill of mine could ever fully capture. How I love you, Hodel. It aches within me that I failed to show you in so many ways. That I provided you with every comfort but the comfort of my heart.

Yet I know that we shall both, as we always did, return to each other. For the love beneath our struggle is so strong. Perhaps in time, the Lord shall reveal to us why it is so difficult.


My goodness, to embody two such women. What a privilege.  




Did you feel any extra responsibility or pressure playing one of the few Jewish female characters in musical theatre?

I believe that if you portray any character or story with honesty and vulnerability, the work will resonate. Our only responsibility as artists is to tell the truth. 


After Anatevka tells the story of Hodel after Fiddler. When you research for a role do you think about what happens to the character after the show ends as well as their backstory or was Hodel an exception?

Hodel was absolutely an exception. 

The Broadway community and wider world may know me as the most-recent Tzeitel,  from the 2016 Broadway revival of Fiddler on the Roof, but from October 2006 to February 2008, I played Tevye's second-eldest daughter, Hodel, in the last West End revival in London. That experience was, without exception, the most immersive and deeply felt of my artistic life thus far. It was like a “first love—” the kind one never forgets, and imprints itself upon you more deeply than any to follow it. Hodel’s strength and sense of purpose, your complex feminine spirit, her wit and determination, her devotion and loving heart. She offered me a chance to find all of these things within myself, and to grow with them. 

While all characters tend to endear themselves to you, Hodel haunted me— remained in my cells like an un-rinseable, inextinguishable fuel. Actors often embody traits of the characters they take on, but few characters weave in and out of the soul until you can scarcely detect the line between the emotional truths of one and the other. 


If you could write a continuation of any other musical theatre character, who would you choose and why?

Tzeitel. I think we can all agree that I’m now intensely involved in this family’s “future story—” I do feel compelled to finish what I’ve started. Additionally, I don’t think I’ve heard the last of Hodel. We leave her at quite a cliffhanger in After Anatevka

You’ve made the transition from West End to Broadway and from acting to writing so well. What would your advice be to people hoping to do similar?

Being a “multi-hyphenate” is simultaneously straightforward, and tremendously complex. 

To “do” something other than what is listed on, say, your tax return, there is very little required other than to just DO it. You want to write? Don’t wait for a permission slip from the Gods of Writing; just write. An essay. A blogpost. A Tweet. It does’t matter what you create as long as you actually create it, and create it from a place of authenticity. 



What’s your writing setup like? Do you have a certain playlist you listen to or a drink you always have?

Yes. I have a beautiful vintage pull-down writing desk! It has been handed down from my mother— she found it on the street when she was in college. When she discovered it, it was covered in layers of paint that she subsequently stripped away, to reveal a beautiful raw wood. The desk has been in my home since childhood, and the handle where you “pull-down” is the face of a lion, that I always thought was the face of Aslan from The Chronicles of Narnia

I write for about one hour every day, with a pot of tea poured from my perfect little tea pot (gifted to me by actress Lara Pulver), under the supervision of my cat, Tatiana. 



Whats a fun fact people might not know about you?

I’m an introvert. In fact, according to the Myers Briggs personality test I’m an INFJ (which is a very rare personality type, about 2% of the world’s population). Many people challenge me on this, based on their mis-impressions of not only me, but introverts in general. Introverts are not necessarily aloof, shy, people-hating trolls, we simply recharge our personal batteries in solitude. Despite my highly developed extrovert behavior, I still require (and enjoy!) lots of time alone to process life. 

Also, I have a (fabulous, diva, rescued) cat named Tatiana Angela Lansbury Romanov. She is a star (cue: Mama Rose music)!! She has her own Instagram page, which is: photographs of “Tati” (as I call her) with theatrical captions called @ifeelkitty.…..You’re welcome. 



What’s your best piece of advice for an aspiring performer?


For anyone, really: success is not about what you do, it is about how you feel about what you do. 


A massive thank you to Al for taking the time to do this interview. Read my review of After Anatevka here.

Interview by Olivia Mitchell, Editor

Saturday, 2 February 2019

Showstopper! The Improvised Musical, The Other Palace | Review


Showstopper! The Improvised Musical 
The Other Palace
Reviewed on Thursday 31st January 2019 by Nicola Louise 
★★★★★

There’s a reason Showstopper! won an Oliver award; there’s a reason why this show (which on the tin has the potential to be messy) has been running for near enough 12 years without fail, and that reason is that it's pure brilliance.

Showstopper! is fun, new and refreshing and a different show every performance means you can go back and enjoy the comedy again and again without boredom setting in. There’s always something new and exciting to watch.

The basic premise of the show is this; Cameron Mackintosh wants a new musical, and he wants it written within the next two hours- as audience members we’re invited to help. Our job is to set the ball rolling and call out places for the setting as well as styles of musicals or composers, then vote which ones we think are the best. We also help with the title of the performance, ours was ‘Austria the Moosical’ (can you guess what that was about??)

We had a range of musical styles within out show, Fiddler on the Roof, Mamma Mia, Les Mis, Titanic, The Sound of Music and School of Rock.

There’s clearly a format which the actors follow but this doesn’t make the show less enjoyable. The story and songs are made up on the spot with the band doing very well to keep up with the styles of musicals being called out by the producer who’s sat on stage and helps move the story forward.

From scene to scene there seems to be a leader within the improv group, who the cast refer to for leads. The company work very well together and apart from a couple of actors speaking at the same time,  there’s nothing bad to say about this show.

Improv is always going to worry some theatre goers: "Are they going to be boring?", "Are they going to now know what to say next?". But personally I feel improv adds a whole other level to shows. Even scripted shows which include some improv always feel unique and special.

The cast on stage clearly love what they do and this comes through from the moment they step on stage and the first word is spoken. They enjoy the laughter their improv brings and you can see the hard work and dedication they put in to performing a new musical every night.

I wasn’t too sure what I’d make of this show when I first heard about it, but from the moment the show started, I realised that my worries were just that of how I’ve seen previous improv shows performed.

If you’re questioning whether to see this show or not ... STOP! This show defies theatre as we know it and will bring a smile to our face from beginning to end. I’ve already informed friends that they need to see this show, I suggest you run out now and buy the tickets, you won’t regret it.

Showstoppers! The Improvised Musical is currently playing at The Other Palace until the 16th March 2019. Tickets can be purchased via London Box Office here

Tuesday, 1 March 2022

Cabaret at the Kit Kat Club Announces New Emcee and Sally Bowles


The producers of CABARET at the KIT KAT CLUB in London’s West End are delighted to announce that Fra Fee will play ‘The Emcee’ and Amy Lennox will play ‘Sally Bowles’ from 21 March – 25 June 2022. This unique production opened in December last year to critical and audience acclaim, widely praised as the ultimate theatrical experience.

 

Adam Speers, Ed Bartlam and Charlie Wood, the producers of Cabaret at the Kit Kat Club said today “We are thrilled to be welcoming the perfectly marvellous Fra Fee and Amy Lennox to our production of Cabaret. We wanted to recast these career defining roles with exceptional actors and so we’re just delighted that the stars have aligned with both Fra and Amy’s schedules.  We couldn’t have asked for a more exciting and thrilling duo to follow Eddie and Jessie.”

 

Director Rebecca Frecknall said today “It's always exciting to be able to keep a production live and evolving across its run, to be able to continue digging into the piece and making new discoveries. The fact that we will have new actors taking on the roles of Sally and the Emcee as Cabaret continues to run in the West End is thrilling, the original cast passing the baton to different actors who will bring their own perspectives to the work. I'm thrilled that Fra Fee and Amy Lennox will be the first new pair joining the production this Spring, two of our most exciting stage and screen actors. I know they will bring new creative energy to the production and will show me and our audiences new facets of the show.”

 

Fra Fee most recently starred as Kazi in the hit Disney+ series Hawkeye, set in the Marvel Cinematic Universe. He created the role of Michael Carber in the award-winning play The Ferryman at the Royal Court, the Gielgud Theatre in the West End and the Bernard B. Jacobs Theatre on Broadway. His other theatre credits include Owen in Translations and Amiens in As You Like It, both at the National Theatre and the title role in Candide at the Menier Chocolate Factory. He played Courfeyac in the film of the musical Les Misérables and also appeared in the stage production at the Queen’s Theatre.

 

Amy Lennox received an Olivier nomination for Best Actress in a Supporting Role in a Musical for her portrayal of Lauren in the West End production of Kinky Boots. Her other credits include Ellie in the London premiere of the David Bowie and Enda Walsh musical Lazarus. She was in the original West End cast of the musical Legally Blonde and created the role of Doralee in the original UK production of 9 to 5 The Musical.

 

Fra and Amy appeared together in the critically acclaimed production of The Last Five Years in Belfast.

 

Also joining the production on 21 March 2022 will be Omar Baroud as ‘Cliff Bradshaw’ and Vivien Parry as ‘Fraulein Schneider’. Continuing in their roles will be Elliot Levey as ‘Herr Schultz’, Stewart Clarke as ‘Ernst Ludwig’ and Anna-Jane Casey as ‘Fraulein Kost’.

The cast is completed by Josh Andrews, Emily Benjamin, Sally Frith, Matthew Gent, Emma Louise Jones, Ela Lisondra, Theo Maddix, Chris O’Mara, Daniel Perry, Andre Refig, Christopher Tendai, Bethany Terry, Lillie-Pearl Wildman and Sophie Maria Wojna.

  

Omar Baroud (Cliff Bradshaw) is soon to appear in the series Wedding Season for Disney+. His other TV credits include Baptiste for the BBC and The Innocents for Netflix. His theatre credits include You Bury Me for Paines Plough, As You Like It at the Watermill Theatre, A Song at Twilight at the Theatre Royal Bath and All Places That The Eye of Heaven Visits at Shakespeare’s Globe.

 

Vivien Parry (Fraulein Schneider) has appeared in many West End productions including Madge Hardwick in the original cast of Top Hat at the Aldwych Theatre, Madame Thénardier in Les Misérables at the Queen’s Theatre, Donna in Mamma Mia! at the Prince of Wales Theatre and Mrs Walshingham in Half A Sixpence at the Noel Coward Theatre. Vivien’s other credits include Twelfth Night and The Shoemaker’s Holiday, both for the Royal Shakespeare Company and Celia in The Girls at Leeds Grand Theatre.

 

Elliot Levey (Herr Schultz) most recently appeared in Nine Lessons and Carols at the Almeida where he also appeared in Three Sisters. His other theatre credits include the West End productions of Mary Stuart at the Duke of York’s Theatre, The Ruling Class at Trafalgar Studios and Much Ado About Nothing at the Wyndham’s Theatre. His National Theatre credits include The Habit of Art and His Dark Materials.

 

Stewart Clarke (Ernst Ludwig) most recently appeared in Be More Chill at The Other Palace. His West End theatre credits include Fiddler on the Roof at the Playhouse Theatre and Loserville at the Garrick Theatre. He also appeared in Assassins at the Menier Chocolate Factory and The Rink at the Southwark Playhouse.

 

Anna-Jane Casey (Fraulein Kost) was most recently seen in Girl from the North Country at the Gielgud Theatre in the West End. Her other West End credits include Mrs Wilkinson in Billy Elliot at the Victoria Palace and Lady of the Lake in Spamalot at the Playhouse Theatre. She played Dot in Sunday in the Park with George at the Menier Chocolate Factory, Mabel in Mack and Mabel at the Watermill Theatre and the title roles in Piaf and Sweet Charity and Violet Butterfield in Flowers for Mrs Harris, all at the Sheffield Crucible.

 

In a time when the world is changing forever, there is one place where everyone can be free… Welcome to the Kit Kat Club, home to an intimate and electrifying new production of CABARET. This is Berlin. Relax. Loosen up. Be yourself. 

 

The Kit Kat Club has laid siege to the Playhouse Theatre. The performers have infiltrated the premises. The artists have staked their claim. Who knows for how long they’ll stay, but for now they are enjoying the party. The party at the end of the world.

 

Transforming one of London’s most famous theatres with an in-the-round auditorium and reimagined spaces, before the show guests are invited to enjoy and explore the Kit Kat Club with pre-show entertainment, drinks and dining all on offer. When booking, guests receive a 'club entry time' to allow enough time to take in the world of the Kit Kat Club before the show starts. But of course, the show really starts when you first join us in the club…

 

One of the most successful musicals of all time CABARET features the songs Wilkommen, Don’t Tell Mama, Mein Herr, Maybe This Time, Money and the title number. It has music by John Kander, lyrics by Fred Ebb, book by Joe Masteroff. Based on the play by John Van Druten and stories by Christopher Isherwood.

 

CABARET is directed by Rebecca Frecknall (the Almeida’s Olivier Award winning Summer and Smoke, The Duchess of Malfi, Three Sisters), set and costume design is by Tom Scutt (A Very Expensive Poison, Constellations, King Charles III, Jesus Christ Superstar, collaborations with Sam Smith, Christine and the Queens) with choreography by Julia Cheng (founder of the House of Absolute, Philharmonia Orchestra Artist in Residence, recipient of the runner-up prize for Hip Hop Dance futures, Resident Choreographer for the Royal Academy of Dance, Judge and mentor for BBC Young Dancer and Breakin’ Convention – the UK’s biggest Hip Hop Festival, collaborations with London Fashion Week, Google and Dr Martens). Musical supervision and direction is by Jennifer Whyte (Les Misérables film, Caroline Or Change, Parade). Lighting design is by Isabella Byrd (Heroes of the Fourth Turning and Light Shining in Buckinghamshire – both in New York, Daddy – A Melodrama at the Almeida and The Flick at the National theatre) with sound design by Nick Lidster (City of Angels, Passion, Pacific Overtures and Parade at the Donmar Warehouse, Sweeney Todd and On The Town for English National Opera, A Chorus Line, Les Misérables and Miss Saigon). The casting director is Stuart Burt (& Juliet, The Drifters Girl and 2021 CDG Award for Best Casting in Theatre for Cyrano De Bergerac) and the associate director is Jordan Fein.

 

Tickets for CABARET at the KIT KAT CLUB are currently on sale until October 2022. kitkat.club

CABARET at the KIT KAT CLUB is produced by Ambassador Theatre Group Productions and Underbelly.