“Life is a cabaret, old chum.” Oh wait, wrong show. Or is it? Taking on Percy and Eleonore Adlon’s 1987 movie “Bagdad Cafe,” Emma Rice’s music-filled, uber-quirky production boasts everything from …
” . But the slighter the narrative the more obviously effortful her work becomes, which makes the play with music “Bagdad Cafe” a particularly tricky proposition, since the screenplay is long on mood and short on tension.
While the film lacked dramatic action, that absence was replaced by close-up observation developing and deepening audiences’ responses to the characters caught in controlled strangeness. Everything was, literally, brought into focus. On stage, robbed of close-up and stillness, with Lez Brotherston and Vicki Mortimer’s multiple little set-pieces being comically wheeled on and off, details don’t resonate: everything feels diffuse.
By contrast, Kujawska offers a distilled, beautifully unfussy performance as Jasmin as both the unintended catalyst and, unexpectedly, as a violinist accompanying Salomé , who devotes herself to playing Bach rather than mothering her child . Operatic bass Le Gateau Chocolat is wasted as Brenda’s estranged husband, sitting in a car off the edge of the stage almost throughout but lending rich heft to the ensemble’s choral moments.
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