There are only two musicals that I have ever loved: Les Miserables and Cabaret.

The Les Misèrables is a young man’s musical: it is a poem of hot blood, energy, and passion. It’s the belief of young men (and old fools) that their judgement is unerringly correct and that the nobility of their sentiments insulates them from criticism of what their imagined worlds would cost. It’s a warning to beware those hot-blooded young artistic men so very certain that the poetry, passion, music in their hearts ought be made into the culture of all - by force if necessary.

The Cabaret is something about being a true human in the world: it’s something about patience, tolerance, regret, sorrow, error and realizing that we are defined by our folly. It’s about having pity and empathy and realizing you’ve broken the Ming urn of civilization and might not live long enough to see its return. It is a poem of tender humility and regret.¹

Lauren and I were exceedingly lucky to catch the most recent revival after its core star swap out: Adam “Glambert” Lambert for Eddie Remayne and Auli’i Cravahlo for Gayle Rankin. The production was top notch and I have nothing but glowing praise for Lambert and his portrayal of that horn-dog imp, the Emcee.