Recorded on Broadway, March 14, 2015. The show closed on March 29 at the Roundabout Theatre, NY.

Cast: Alan Cumming (Emcee), Sienna Miller (Sally Bowles), Linda Emond (Fräulein Schneider), Danny Burstein (Herr Schultz), Benjamin Eakeley (u/s Clifford Bradshaw), Aaron Krohn (Ernst Ludwig), Hani Furstenberg (Fräulein Kost)

Ben Brently, NY Times:
"I hate to keep telling people to go back to the cabaret, old chum, but Ms. Miller is a revelation here, the most realistic Sally since Natasha Richardson won a Tony for the part 17 years ago. Yes, Emma Stone, Ms. Miller’s immediate predecessor in the role, was sensational, an immolating fireball of neurosis and vanity. But Ms. Miller brings something more subtle and pathetic to Sally. She looks gorgeous, but in the tense, artificial way of someone trying too hard to be attractive. She’s more sexually predatory than most Sallys I’ve seen, and more easily deflated when the erotic charm doesn’t work. And in Ms. Miller’s body language, you can read an entire history of abuse, self-inflicted and otherwise. Watch how she reflexively cowers whenever a man raises a hand. She’s been hit before; she expects it. There’s anger in her as well, which Ms. Miller channels most effectively in the man-stomping “Mein Herr.” And though you don’t doubt that she loves her American boyfriend (Bill Heck) as much as she is able to, she knows that men are not to be relied on. This Sally is a pragmatist, with a calloused core. When she sings the climactic title song, shortly after having an abortion, she makes it clear that while she may be shaken, she’s going to soldier on."

Matt Windman, AmNY:
"The Roundabout Theatre Company’s remount of its 1998 “Cabaret” revival, which will shutter in less than two weeks after a one-year run in which Alan Cumming reprised his Tony-winning performance as the decadent and mysterious Emcee, is going out with a bang thanks to Sienna Miller’s raw, playful, very sexy turn as the nightclub performer Sally Bowles. Miller is hardly the best singer to ever play the role. But as anyone familiar with “Cabaret” knows, Sally Bowles is not supposed to be a great vocalist, which is why the film version with Liza Minnelli lacks credibility. After all, Sally works in a dingy club alongside ghoulish-looking colleagues. Miller is reminiscent of the late Natasha Richardson, who played Sally Bowles back in 1998 to great acclaim."

Roger Friedman, showzbiz411:
"The good news is that Sienna, who’s had a big year with roles in “Foxcatcher” and “American Sniper,” has really come into her own. “Cabaret” is not her Broadway debut– that was in “After Miss Julie” in 2009. But it’s her breakthrough performance. She’s gotten rave reviews, deservedly. As Sally Bowles, she ranges from waifish to hardened, just as the play and book would indicate. She’s not attempting Liza Minnelli in the Big Screen version. But after the late Natasha Richardson years ago, then Michelle Williams and Emma Stone, of whom did very well, Miller is bringing something new to Sally and to “Cabaret.” There are only 15 performances left. Try and see it if you can."

Upscaled and edited in 2k. This has to be my favorite Broadway video of the 2014 revival. Miller has not been overly well received both by critics and fans of the show, but I think she comes as close to the beloved Natasha Richardson as one can get. Her Sally is everything the Mendes version asks for: a deluded, not-so-talented, coked up performer that doesn't see the abyss she's heading towards. I also consider Hani Fürstenberg to be the very best Fräulein Kost the show has seen.

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