Cabaret (musical)

Cabaret is an American musical with music by John Kander, lyrics by Fred Ebb, and a book by Joe Masteroff. It is based on the play I Am a Camera by John Van Druten, premiered in 1951, which in turn was based on the 1939 novel Goodbye to Berlin by Christopher Isherwood.

Set in 1929–1930 Berlin during the twilight of the Jazz Age as the Nazis rise to power, the musical focuses on the hedonistic nightlife at the seedy Kit Kat Klub and revolves around American writer Clifford Bradshaw's relations with English cabaret performer Sally Bowles. A subplot involves the doomed romance between German boarding house owner Fräulein Schneider and her elderly suitor Herr Schultz, a Jewish fruit vendor. Overseeing the action is the Master of Ceremonies at the Kit Kat Klub, and the club itself serves as a metaphor for ominous political developments in late Weimar Germany.

The original Broadway production opened on November 20, 1966, at the Broadhurst Theatre in New York City and became a box office hit that ran for 1,166 performances. The production won eight Tony Awards and inspired numerous subsequent productions around the world as well as the 1972 film of the same name.

Background

Historical basis

The events depicted in the 1966 musical are derived from Anglo-American writer Christopher Isherwood's autobiographical tales of his colorful escapades in the Weimar Republic. In 1929, Isherwood visited Weimar-era Berlin during the final months of the Golden Twenties. He relocated to Berlin to avail himself of boy prostitutes and to enjoy the city's orgiastic Jazz Age cabarets. He socialized with a coterie of gay writers that included Stephen Spender, Paul Bowles, and W.H. Auden. At the time, Isherwood viewed the rise of Nazism in Germany with political indifference and instead focused on writing a novel.

In Berlin, Isherwood shared modest lodgings with 19-year-old British flapper Jean Ross, an aspiring film actress who earned her living as a chanteuse in lesbian bars and second-rate cabarets. While room-mates at Nollendorfstrasse 17 in Schöneberg, a 27-year-old Isherwood settled into a sexual relationship with a 16-year-old German boy, and Ross became pregnant after engaging in a series of sexual liaisons. She believed the father of the child to be jazz pianist and later film actor Peter van Eyck.

As a favor to Ross, Isherwood pretended to be her heterosexual impregnator in order to facilitate an abortion. Ross nearly died from the procedure due to the doctor's incompetence.

While Ross recovered from the botched abortion, the political situation rapidly deteriorated in Weimar Germany as the incipient Nazi Party grew stronger day by day. "There was a sensation of doom to be felt in the Berlin streets", Stephen Spender recalled. As Berlin's daily scenes increasingly featured "poverty, unemployment, political demonstrations and street fighting between the forces of the extreme left and the extreme right", Isherwood, Ross, Spender, and other British nationals realized that they must leave the politically volatile country as soon as possible.

Two weeks after the Enabling Act cemented Adolf Hitler's dictatorship, Isherwood fled Germany on May 13, 1933. Afterwards, the Nazis shuttered most of Berlin's seedy cabarets, and many of Isherwood's cabaret acquaintances fled abroad or perished in concentration camps. These events served as the genesis for Isherwood's Berlin stories. In 1951, playwright John Van Druten adapted Isherwood's 1939 novel Goodbye to Berlin into the Broadway play I Am a Camera which in turn became a 1955 film starring Laurence Harvey and Julie Harris.

Musical development

In early 1963, producer David Black commissioned English composer and lyricist Sandy Wilson to undertake a musical adaptation of Van Druten's 1951 play I Am a Camera. Black hoped that singer Julie Andrews would agree to star in the adaptation, but Andrews' manager refused to allow her to accept the role of Sally Bowles due to the character's immorality. By the time Wilson completed his work, however, Black's option on both the 1951 Van Druten play and its source material by Isherwood had lapsed and been acquired by rival Broadway producer Harold Prince. Prince wished to create a gritty adaptation of Isherwood's stories that drew parallels between the spiritual bankruptcy of Germany in the 1920s and contemporary social problems in the United States at a time "when the struggle for civil rights for black Americans was heating up as a result of nonviolent but bold demonstrations being held in the Deep South."

Prince hired playwright Joe Masteroff to work on the adaptation. Both men believed that Wilson's score failed to capture the carefree hedonism of the Jazz Age in late 1920s Berlin. They wanted a score that "evoked the Berlin of Kurt Weill and Lotte Lenya." Consequently, Prince invited the songwriting team of John Kander and Fred Ebb to join the project. Kander and Ebb envisioned the work as a dramatic play preceded by a prologue of songs describing the Berlin atmosphere from various points of view. As the composers distributed the songs between scenes, they realized the story could be told in the structure of a more traditional book musical, and they replaced several songs with tunes more relevant to the plot.

For the musical adaptation, playwright Joe Masteroff significantly altered Isherwood's original characters. He transformed the English protagonist into an American writer named Clifford Bradshaw; the antisemitic landlady became a tolerant woman with a Jewish beau who owned a fruit store; they cut various supporting characters and added new characters such as  the Nazi smuggler Ernst Ludwig for dramatic purposes. The musical ultimately expressed two stories in one: the first, a revue centered on the decadence of the Kit Kat Klub, for which Hal Prince created the Master of Ceremonies (Emcee) character played by Joel Grey; the second, a story set in the society outside the club, thus juxtaposing the lives of the characters based on Isherwood's real-life associates and acquaintances with the seedy club.

In fall 1966, the musical entered rehearsals. After viewing one of the last rehearsals before the company headed to Boston for the pre-Broadway run, Prince's friend Jerome Robbins suggested cutting the songs outside the cabaret, but Prince ignored his advice. In Boston, lead actress Jill Haworth struggled with her characterization of Sally Bowles. Critics thought Sally's blonde hair and white dress suggested a debutante at a senior prom instead of a cabaret singer, so Sally became a brunette before the show opened on Broadway.

Prince staged the show in an unusual way for the time. As the audience entered the theater, they saw the curtain raised, exposing a stage with only a large mirror that reflected the auditorium. Instead of an overture, a drum roll and cymbal crash introduced the opening number. The show mixed dialogue scenes with expository songs and standalone cabaret numbers that provided social commentary. This innovative concept initially surprised audiences. Over time, they discerned the distinction between the two and appreciated the rationale behind them.

Synopsis

Act I

At the twilight of the Jazz Age in Berlin, the incipient Nazi Party is growing stronger. The Kit Kat Klub is a seedy cabaret – a place of decadent celebration. The club's Master of Ceremonies (Emcee) together with the cabaret girls and waiters, warm up the audience ("Willkommen"). Meanwhile, a young American writer named Clifford Bradshaw arrives via a railway train in Berlin. He has journeyed to the city to work on a new novel. Cliff encounters Ernst Ludwig, a German smuggler who offers him black market work and recommends a boarding house. At the boarding house, the proprietress Fräulein Schneider offers Cliff a room for one hundred reichsmarks, but he can only pay fifty. After a brief debate, she relents and allows Cliff to live there for fifty marks. Fräulein Schneider observes that she has learned to take whatever life offers ("So What?").

When Cliff visits the Kit Kat Klub, the Emcee introduces an English chanteuse, Sally Bowles, who performs a flirtatious number ("Don't Tell Mama"). Afterward, she asks Cliff to recite poetry for her, and he recites Ernest Thayer's mock-heroic poem "Casey at the Bat". Cliff offers to escort Sally home, but she says that her boyfriend Max, the club's owner, is too jealous. Sally performs her final number at the Kit Kat Klub aided by a female ensemble of jazz babies ("Mein Herr"). The cabaret ensemble performs a song and dance, calling each other on inter-table phones and inviting each other for dances and drinks ("The Telephone Song").

The next day at the boarding house, Cliff has just finished giving an English lesson to Ernst when Sally arrives. Max has fired her and thrown her out, and now she has no place to live. Sally asks Cliff if she can live in his room. At first he resists, but she persuades him to take her in ("Perfectly Marvelous"). The Emcee and two female companions sing a song ("Two Ladies") that comments on Cliff and Sally's new living arrangement. Herr Schultz, an elderly Jewish fruit-shop owner who lives in the boarding house, gives a pineapple to Fräulein Schneider as a romantic gesture ("It Couldn't Please Me More"). In the Kit Kat Klub, a young waiter starts to sing a song – a patriotic anthem to the Fatherland that slowly descends into a darker, Nazi-inspired marching song ("Tomorrow Belongs to Me"). He initially sings a cappella, before the customers and the band join in.

Months later, Cliff and Sally are still living together and have grown intimate. Cliff knows that he is in a "dream", but he enjoys living with Sally too much to come to his senses ("Why Should I Wake Up?"). Sally reveals that she is pregnant, but she does not know who the father is and decides to have an abortion. Cliff reminds her that it could be his child and tries to persuade her to have the baby ("Maybe This Time"). Ernst enters and offers Cliff a chance to earn easy money – picking up a suitcase in Paris and delivering it to a client in Berlin. The Emcee comments on this with the song "Sitting Pretty" (or, in later versions, "Money").

Meanwhile, Fräulein Schneider has caught one of her boarders, the prostitute Fräulein Kost, bringing sailors into her room. Fräulein Schneider forbids her from doing so again, but Kost threatens to leave. Kost reveals that she has seen Fräulein Schneider with Herr Schultz in her room. Herr Schultz saves Fräulein Schneider's reputation by telling Fräulein Kost that he and Fräulein Schneider are to be married in three weeks. After Fräulein Kost departs, Fräulein Schneider thanks Herr Schultz for lying to Fräulein Kost. Herr Schultz says that he still wishes to marry Fräulein Schneider ("Married").

At Fräulein Schneider and Herr Schultz's engagement party, Cliff arrives and delivers the suitcase of contraband to Ernst. Sally and Cliff gift the couple a crystal fruit bowl. A tipsy Schultz sings "Meeskite" (, he explains, is Yiddish for ugly or funny-looking), a song with a moral ("Anyone responsible for loveliness, large or small/Is not a at all"). Afterward, seeking revenge on Fräulein Schneider, Kost tells Ernst, who now sports a Nazi armband, that Schultz is a Jew. Ernst warns Schneider that marrying a Jew is unwise. Kost and company reprise "Tomorrow Belongs to Me", with more overtly Nazi overtones, as Cliff, Sally, Schneider, Schultz, and the Emcee look on.

Act II

The cabaret girls – along with the Emcee in drag – perform a kickline routine which eventually becomes a goose step. Fräulein Schneider expresses her concerns about her impending nuptials to Herr Schultz, who assures her that everything will be all right ("Married" (reprise)). They are interrupted by the crash of a brick being thrown through the glass window of Herr Schultz's fruit shop. Schultz tries to reassure her that it is merely rowdy children making trouble, but Fräulein Schneider is now afraid.

Back at the Kit Kat Klub, the Emcee performs a song-and-dance routine with a woman in a gorilla suit, singing that their love has been met with universal disapproval ("If You Could See Her"). Encouraging the audience to be more open-minded, he defends his ape-woman, concluding with, "if you could see her through my eyes... she wouldn't look Jewish at all." In addition, John Serry Sr. performed as the orchestral accordionist.

The original Broadway production was not an instant success according to playwright Joe Masteroff due to its perceived immoral content. "When the show opened in Boston," Masteroff recalled, "there were a lot of walkouts. Once the reviews came out, the public came back." At the time, actor Joel Grey was merely fifth-billed in the show. Nevertheless, audiences were hypnotized by Grey's sinister performance as the Emcee.

In contrast, Jill Haworth's performance as Sally was less well-received and was criticized for its blandness. Emory Lewis, the reviewer for The Morning Call, wrote that "Jill Haworth, the lovely English actress who played Sally Bowles on opening night, was personable, but she was not sufficiently trained for so pivotal a role. And her voice was small and undramatic. Her performance threw 'Cabaret' out of kilter."

The 1967–68 US national tour featured Melissa Hart as Sally, Signe Hasso as Fräulein Schneider, and Leo Fuchs as Herr Schultz. The tour included the Shubert Theatre in New Haven, Connecticut in December 1967, the Ahmanson Theatre in Los Angeles in May 1968, the Curran Theatre in San Francisco in September 1968, and many others.

Original West End production

The musical premiered in the West End on February 28, 1968, at the Palace Theatre with Judi Dench as Sally, Kevin Colson as Cliff, Barry Dennen as the Emcee, Lila Kedrova as Fräulein Schneider and Peter Sallis as Herr Schultz. It ran for 336 performances. Critics such as Ken Mandelbaum have asserted that "Judi Dench was the finest of all the Sallys that appeared in Hal Prince's original staging, and if she's obviously not much of a singer, her Sally is a perfect example of how one can give a thrilling musical theatre performance without a great singing voice."

1986 West End revival

thumb|upright=0.6|right|[[Kelly Hunter as Sally Bowles, 1986]]

In 1986, the show was revived in London at the Strand Theatre starring Kelly Hunter as Sally, Peter Land as Cliff and Wayne Sleep as the Emcee, directed and choreographed by Gillian Lynne.

1987 Broadway revival

The first Broadway revival opened on October 22, 1987, with direction and choreography by Prince and Field. The revival opened at the Imperial Theatre, and then transferred to the Minskoff Theatre to complete its 261-performance run. Joel Grey received star billing as the Emcee, with Alyson Reed as Sally, Gregg Edelman as Cliff, Regina Resnik as Fräulein Schneider, Werner Klemperer as Herr Schultz, and David Staller as Ernst Ludwig. The song "Don't Go" was added for Cliff's character.

1993 London revival

In 1993, Sam Mendes directed a new production for the Donmar Warehouse in London. The revival starred Jane Horrocks as Sally, Adam Godley as Cliff, Alan Cumming as the Emcee and Sara Kestelman as Fräulein Schneider. Kestelman won the Olivier Award for Best Supporting Performance in a Musical, and Cumming was nominated for an Olivier. Mendes' concept was different from either the original production or the conventional first revival, particularly with respect to the character of the Emcee. The role, as played by Joel Grey in both prior productions, was a sexually aloof, edgy character with rouged cheeks dressed in a tuxedo. Alan Cumming's portrayal was highly sexualized, as he wore suspenders around his crotch and red paint on his nipples. Staging details differed as well. Instead of "Tomorrow Belongs to Me" being performed by a male choir of waiting staff, the Emcee plays a recording of a boy soprano singing it. In the final scene, the Emcee removes his outer clothes to reveal a striped uniform of the type worn by the internees in concentration camps; on it are pinned a yellow badge (identifying Jews), a red star (marking Communists and socialists), and a pink triangle (denoting homosexuals). Other changes included added references to Cliff's bisexuality, including a brief scene where he kisses one of the Cabaret boys. "I Don't Care Much," which was added for the 1987 Broadway revival, was maintained for this production, and "Mein Herr" was added from the film.

This production was filmed by Channel Four Film for airing on UK television.

1998 Broadway revival

The second Broadway revival, by the Roundabout Theatre Company, was based on the 1993 Mendes-Donmar Warehouse production. For the Broadway transfer, Rob Marshall was co-director and choreographer.

The Broadway production was nominated for ten Tony Awards, winning four for Cumming, Richardson and Rifkin, as well as the Tony for Best Revival of a Musical. This production featured a number of notable replacements later in the run: Susan Egan, Joely Fisher, Gina Gershon, Debbie Gibson, Milena Govich, Jennifer Jason Leigh, Melina Kanakaredes, Jane Leeves, Molly Ringwald, Brooke Shields, and Lea Thompson as Sally; Michael C. Hall, Raúl Esparza, Neil Patrick Harris, Adam Pascal, Jon Secada, and John Stamos as the Emcee; Boyd Gaines, Michael Hayden, and Rick Holmes as Cliff; Tom Bosley, Dick Latessa, Hal Linden, Laurence Luckinbill, and Tony Roberts as Herr Schultz; and Blair Brown, Carole Shelley, Polly Bergen, Alma Cuervo, Mariette Hartley as Fräulein Schneider, and Martin Moran as Ernst Ludwig. Replacements later in the run included Kim Medcalf and Amy Nuttall as Sally, Honor Blackman and Angela Richards as Fräulein Schneider, and Julian Clary and Alistair McGowan as the Emcee. This production closed in June 2008 and toured the UK for two years opening at the Birmingham Repertory Theatre with a cast that included Wayne Sleep as the Emcee and Samantha Barks as Sally, before Siobhan Dillon took over the role.

2012 West End revival

A revival opened in the West End at the Savoy Theatre on October 3, 2012, following a four-week tour of the UK, including Bromley, Southampton, Nottingham, Norwich and Salford, with Will Young as the Emcee and Michelle Ryan as Sally Bowles. Siân Phillips, Harriet Thorpe and Matt Rawle also joined the cast. The production was made by the creative team behind the 2006 London revival, but with new sets, lighting, costumes, choreography and direction.

In August 2013 the show went on tour in the UK, again with Young as the Emcee, Siobhan Dillon reprising her role of Sally and Lyn Paul joining the cast as Fräulein Schneider. The same production toured the UK again in autumn 2017 with Young as the Emcee and Louise Redknapp as Sally. Another UK tour began in autumn 2019 starring John Partridge as the Emcee, Kara Lily Hayworth as Sally Bowles and Anita Harris as Fräulein Schneider.

2014 Broadway revival

In September 2013 Roundabout Theatre Company announced plans to return the company's acclaimed 1998 production to Studio 54 in New York. For this, the show's third Broadway revival, Sam Mendes and Rob Marshall reprised their respective roles as director and co-director/choreographer to recreate their work from the earlier production. Alan Cumming starred again as the Emcee while Academy Award-nominee Michelle Williams made her Broadway debut as Sally Bowles. On October 7, 2013, Tony Award nominees Danny Burstein and Linda Emond joined the cast as Herr Schultz and Fräulein Schneider. The production began a 24-week limited engagement with previews from March 21, 2014, with opening night on April 24, 2014, but the engagement was extended. Emma Stone replaced Michelle Williams as Sally from November 2014 to February 2015. Critics praised Stone's performance for her interpretation of the hard-drinking sybarite Sally Bowles "as a flaming flapper, the kind hymned by F. Scott Fitzgerald and embodied by the young Joan Crawford in silent movies." Sienna Miller took over the role on March 29, 2015, remaining through to the show's closing. Alan Cumming continued in the role of the Emcee until the show's final curtain.

The production toured the US from January 2016 with Randy Harrison as the Emcee and Andrea Goss (who played Frenchie in the Broadway production). They were later replaced by Jon Peterson and Leigh Ann Larkin.

2021 West End revival

thumb|256x256px|Kit Kat Club (Playhouse Theatre) Marquee in London

Eddie Redmayne and Jessie Buckley starred as the Emcee and Sally Bowles in a West End production directed by Rebecca Frecknall, designed by Tom Scutt, choreographed by Julia Cheng, with lighting design by Isabella Byrd and sound design by Nick Lidster. The production also featured Omari Douglas as Cliff, Liza Sadovy as Fräulein Schneider, Elliot Levey as Herr Schultz, Stewart Clarke as Ernst and Anna-Jane Casey as Fräulein Kost. Produced by Underbelly and Ambassador Theatre Group, and billed as Cabaret at the Kit Kat Club, the production began previews November 15, 2021 at Playhouse Theatre, which was reduced to a 550-seat capacity with an intimate in-the-round stage and table seating for some audience members, in effect transforming the theater into a Weimar-era nightclub. Layton Williams and Rhea Norwood; Adam Gillen and Katherine Langford; Billy Porter and Marisha Wallace; Rob Madge and Hannah Dodd; Reeve Carney and Eva Noblezada; Matt Willis and Katie Hall; and Jamie Muscato and Joy Woods.

2024 Broadway revival

The 2021 West End production transferred to the August Wilson Theatre on Broadway, with previews from April 1, 2024, and the opening on April 21. As in the West End production, the August Wilson Theatre was refurbished as the "Kit Kat Club" with an intimate in-the-round staging. Redmayne reprised his role as the Emcee with Gayle Rankin and Ato Blankson-Wood co-starring as Sally and Cliff. Bebe Neuwirth, Steven Skybell, Natascia Diaz, and Henry Gottfried played Fräulein Schneider, Herr Schultz, Fräulein Kost, and Ernst Ludwig, respectively. The production was nominated for 9 Tony Awards, winning one for scenic design. Replacements in this revival included Adam Lambert, Orville Peck, and Billy Porter as the Emcee and Auliʻi Cravalho, Eva Noblezada, and Marisha Wallace as Sally Bowles. The production closed on September 21, 2025, having played 18 previews and 592 performances.

Other productions

A BBC Radio 2 radio broadcast in 1996 from the Golders Green Hippodrome starred Clare Burt as Sally Bowles, Steven Berkoff as the Emcee, Alexander Hanson as Clifford Bradshaw, Keith Michell as Herr Schultz, and Rosemary Leach as Fräulein Schneider.

Since 2003, international stagings of the show, many influenced by Mendes' concept, have included productions in Argentina, Australia, Brazil, Colombia, Costa Rica, France, Portugal, Greece, Israel, Malaysia, Mexico, Peru, Puerto Rico, Serbia, South Africa, Spain and Venezuela. A 2008 production at the Stratford Shakespeare Festival's Avon Theatre in Canada, designed by Douglas Paraschuk and directed by Amanda Dehnert, featured Bruce Dow as the Emcee, Trish Lindström as Sally, Sean Arbuckle as Cliff, Nora McClellan as Fräulein Schneider and Frank Moore as Herr Schultz. The Shaw Festival at Niagara-on-the-Lake, Ontario, included Cabaret in its 2014 season. The production, which ran from April 10 – October 26, 2014 at the Festival Theatre, was directed by Peter Hinton-Davis with choreography by Denise Clarke. It featured Juan Chioran as the Emcee, Deborah Hay as Sally, Gray Powell as Cliff, Benedict Campbell as Herr Schultz, and Corrine Koslo as Fräulein Schneider.

A 2017 revival played in Sydney and Melbourne, Australia, starring Paul Capsis as the Emcee and Chelsea Gibb as Sally. The production mixed elements of the Mendes production, such as its version of "Two Ladies" and its portrayal of a gay Cliff, with the colorful art design of the original (the Emcee is in full makeup and clothed) and most of the additional songs from the 1972 film (with the exception of "Mein Herr").

Cast and characters

<!--Actors must be named first in the Productions section in a long-running production, with a citation to appropriate sources, before being placed in this section.

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{| class="wikitable"

! width="130" |Character

! width="120" |Original Broadway Cast

! width="800" |Other notable performers in long-running, noteworthy productions

|Sally Bowles

|Jill Haworth

|Judi Dench, Kelly Hunter, Alyson Reed, Jane Horrocks, Natasha Richardson, Anna Maxwell Martin, Michelle Ryan, Michelle Williams, Jessie Buckley, Gayle Rankin, Anita Gillette, Melissa Hart, Susan Egan, Joely Fisher, Lea Thompson, Gina Gershon, Brooke Shields, Molly Ringwald, Jane Leeves, Debbie Gibson, Milena Govich, Jennifer Jason Leigh, Melina Kanakaredes, Teri Hatcher, Kim Medcalf, Amy Nuttall, Emma Stone, Sienna Miller, Amy Lennox, Madeline Brewer, Aimee Lou Wood, Maude Apatow, Rebecca Lucy Taylor, Cara Delevingne, Rhea Norwood, Auli'i Cravalho, Katherine Langford, Marisha Wallace, Eva Noblezada, Hannah Dodd, Katie Hall, Joy Woods

|The Emcee

|Joel Grey

|Barry Dennen, Wayne Sleep, Alan Cumming, James Dreyfus, Will Young, Eddie Redmayne, Michael C. Hall, Norbert Leo Butz, Fra Fee, Callum Scott Howells, John McCrea, Mason Alexander Park, Jake Shears, Luke Treadaway, Layton Williams, Adam Lambert, Billy Porter, Orville Peck, Rob Madge, Reeve Carney, Matt Willis, Jamie Muscato

|Clifford Bradshaw

|Bert Convy

|Kevin Colson, Peter Land, Gregg Edelman, Adam Godley, John Benjamin Hickey, Michael Hayden, Matt Rawle, Omari Douglas, Ken Kercheval, Larry Kert, Boyd Gaines, Rick Holmes

|Fräulein Schneider

|Lotte Lenya

|Lila Kedrova, Regina Resnik, Sara Kestelman, Mary Louise Wilson, Sheila Hancock, Siân Phillips, Linda Emond, Liza Sadovy, Bebe Neuwirth, Blair Brown, Carole Shelley, Polly Bergen, Alma Cuervo, Mariette Hartley, Honor Blackman, Angela Richards, Ruthie Henshall

| colspan="2"| Best Musical

| Outer Critics Circle Award

| colspan="2"| Best Musical

1987 Broadway revival

{| class="wikitable" style="width:95%;"

! style="width:5%;" | Year

! style="width:20%;"| Award

! style="width:45%;"| Category

! style="width:20%;"| Nominee

! style="width:10%;"| Result

| rowspan="7" style="text-align:center;"| 1987

| rowspan="4"| Tony Award

| colspan="2"| Best Revival of a Musical

| Best Featured Actor in a Musical

| Werner Klemperer

| rowspan="2"| Best Featured Actress in a Musical

| Alyson Reed

| Regina Resnik

| rowspan="3"| Drama Desk Award

| colspan="2"| Outstanding Revival of a Musical

| Outstanding Actor in a Musical

| Joel Grey

| Outstanding Director of a Musical

| Harold Prince

1993 London revival

{| class="wikitable" style="width:95%;"

! style="width:5%;"| Year

! style="width:20%;"| Award

! style="width:45%;"| Category

! style="width:20%;"| Nominee

! style="width:10%;"| Result

| rowspan="4" style="text-align:center;"| 1994

| rowspan="4"| Laurence Olivier Award

| colspan="2"| Best Musical Revival

| Best Actor in a Musical

| Alan Cumming

| Best Performance in a Supporting Role in a Musical

| Sara Kestelman

| Best Director of a Musical

| Sam Mendes

1998 Broadway revival

{| class="wikitable" style="width:95%;"

! style="width:5%;" | Year

! style="width:20%;"| Award

! style="width:45%;"| Category

! style="width:20%;"| Nominee

! style="width:10%;"| Result

| rowspan="32" style="text-align:center;"| 1998

| rowspan="10"| Tony Award

| colspan="2"| Best Revival of a Musical

| Best Actor in a Musical

| Alan Cumming

| Best Actress in a Musical

| Natasha Richardson

| Best Featured Actor in a Musical

| Ron Rifkin

| Best Featured Actress in a Musical

| Mary Louise Wilson

| Best Direction of a Musical

| Sam Mendes and Rob Marshall

| Best Choreography

| Rob Marshall

| Best Orchestrations

| Michael Gibson

| Best Costume Design

| William Ivey Long

| Best Lighting Design

| Peggy Eisenhauer and Mike Baldassari

| rowspan="10"| Drama Desk Award

| colspan="2"| Outstanding Revival of a Musical

| Outstanding Actor in a Musical

| Alan Cumming

| Outstanding Actress in a Musical

| Natasha Richardson

| Outstanding Featured Actress in a Musical

| Michele Pawk

| Outstanding Director

| Sam Mendes and Rob Marshall

| Outstanding Choreography

| Rob Marshall

| Outstanding Orchestrations

| Michael Gibson

| Outstanding Set Design

| Robert Brill

| Outstanding Costume Design

| William Ivey Long

| Outstanding Lighting Design

| Peggy Eisenhauer and Mike Baldassari

|Drama League Award

|colspan="2"|Distinguished Production of a Revival

| New York Drama Critics' Circle Award

|colspan="2"|Special Citation

|rowspan="9"|Outer Critics Circle Award

|colspan="2"|Outstanding Revival of a Musical

|Outstanding Actor in a Musical

|Alan Cumming

|Outstanding Actress in a Musical

|Natasha Richardson

|Outstanding Featured Actor in a Musical

|Ron Rifkin

|Outstanding Featured Actress in a Musical

|Michele Pawk

|Outstanding Choreography

|Rob Marshall

|Outstanding Costume Design

|William Ivey Long

|Outstanding Director of a Musical

|Sam Mendes and Rob Marshall

|Outstanding Lighting Design

|Peggy Eisenhauer and Mike Baldassari

|Theatre World Award

|Outstanding Broadway Debut

|Alan Cumming

2006 West End revival

{| class="wikitable" style="width:95%;"

! style="width:5%;" | Year

! style="width:20%;"| Award

! style="width:45%;"| Category

! style="width:20%;"| Nominee

! style="width:10%;"| Result

| rowspan="3" style="text-align:center;"| 2007

| rowspan="3"| Laurence Olivier Award

| colspan="2"| Best Musical Revival

| Best Performance in a Supporting Role in a Musical

| Sheila Hancock

| Best Theatre Choreographer

| Javier de Frutos

2012 West End revival

{| class="wikitable" style="width:95%;"

! style="width:5%;" | Year

! style="width:20%;"| Award

! style="width:45%;"| Category

! style="width:20%;"| Nominee

! style="width:10%;"| Result

| rowspan="3" style="text-align:center;"| 2013

| rowspan="3"| Laurence Olivier Award

| colspan="2"| Best Musical Revival

| Best Actor in a Musical

| Will Young

| Best Performance in a Supporting Role in a Musical

| Siân Phillips

2014 Broadway revival

{| class="wikitable" style="width:95%;"

! style="width:5%;" | Year

! style="width:20%;"| Award

! style="width:45%;"| Category

! style="width:20%;"| Nominee

! style="width:10%;"| Result

| rowspan="9" style="text-align:center;"| 2014

| rowspan="3"| Tony Award

| Best Featured Actor in a Musical

| Danny Burstein

| Best Featured Actress in a Musical

| Linda Emond

|Drama Desk Award

|Outstanding Featured Actor in a Musical

|Danny Burstein

|rowspan="3"|Outer Critics Circle Award

|colspan="2"|Outstanding Revival of a Musical

|Outstanding Actress in a Musical

|Michelle Williams

|Outstanding Featured Actor in a Musical

|Danny Burstein

|rowspan="2"|Fred and Adele Astaire Award

|Outstanding Choreographer in a Broadway Show

|Rob Marshall

|Outstanding Female Dancer in a Broadway Show

|Gayle Rankin

2021 West End revival

{| class="wikitable" style="width:95%;"

! style="width:5%;" | Year

! style="width:20%;" | Award

! style="width:45%;" | Category

! style="width:20%;" | Nominee

! style="width:10%;" | Result

| rowspan="14" style="text-align:center;" | 2022

| rowspan="11" | Laurence Olivier Award

| colspan="2" | Best Musical Revival

| Best Actor in a Musical

| Eddie Redmayne

|Best Actress in a Musical

|Jessie Buckley

| Best Actress in a Supporting Role in a Musical

| Liza Sadovy

|Best Actor in a Supporting Role in a Musical

|Elliot Levey

|Best Director

|Rebecca Frecknall

|Best Costume Design

| rowspan="2" |Tom Scutt

|Best Set Design

|Best Sound Design

|Nick Lidster

|Best Theatre Choreographer

|Julia Cheng

|Best Lighting Design

|Isabella Byrd

| rowspan="3" |Critics' Circle Theatre Award

| Best Actress

|Jessie Buckley

|Best Director

|Rebecca Frecknall

|Best Designer

|Tom Scutt

2024 Broadway revival

{| class="wikitable" style="width:95%;"

! style="width:5%;" | Year

! style="width:20%;" | Award

! style="width:45%;" | Category

! style="width:20%;" | Nominee

! style="width:10%;" | Result

| rowspan="26" style="text-align:center;" | 2024

| rowspan="9" | Tony Awards

|colspan="2"|Best Revival of a Musical

|Best Actor in a Musical

|Eddie Redmayne

|Best Actress in a Musical

|Gayle Rankin

|Best Featured Actor in a Musical

|Steven Skybell

|Best Featured Actress in a Musical

|Bebe Neuwirth

|Best Scenic Design in a Musical

|rowspan="2"|Tom Scutt

|Best Costume Design in a Musical

|Best Lighting Design in a Musical

|Isabella Byrd

|Best Sound Design in a Musical

|Nick Lidster for Autograph

| rowspan="5" |Drama Desk Award

| colspan="2" |Outstanding Revival of a Musical

|Outstanding Lead Performance in a Musical

|Gayle Rankin

|Outstanding Featured Performance in a Musical

|Bebe Neuwirth

|Outstanding Direction of a Musical

|Rebecca Frecknall

|Outstanding Sound Design of a Musical

|Nick Lidster for Autograph

| rowspan="2" |Outer Critics Circle Award

| colspan="2" |Outstanding Revival of a Musical

|Outstanding Featured Performer in a Broadway Musical

|Bebe Neuwirth

| rowspan="2" |Chita Rivera Awards

|Outstanding Choreography in a Broadway Show

|Julia Cheng

| colspan="2" |Outstanding Ensemble in a Broadway Show

| rowspan="4" |Drama League Awards

|Outstanding Revival of a Musical

| rowspan="2" |Distinguished Performance Award

|Eddie Redmayne

|Gayle Rankin

|Outstanding Direction of a Musical

|Rebecca Frecknall

| rowspan="4" |Dorian Theater Awards

| colspan="2" |Outstanding Broadway Musical Revival

|Outstanding Lead Performance in a Broadway Musical

|Eddie Redmayne

|Outstanding Featured Performance in a Broadway Musical

|Bebe Neuwirth

| colspan="2" |Outstanding LGBTQ Broadway Production

References

Notes

Citations

Works cited

Print sources

Online sources

External links

Plot and production information at the Guide to Musical Theatre