The musical Cabaret was always a window into the years leading up to the atrocities of World War II based on Christopher Isherwood’s Berlin Stories. Landmark productions starring Joel Grey and Alan Cumming as Emcee at the fictional Kit Kat Club allowed us to glimpse a decadence we could never imagine. Can you ever top the images of cross-dressing, cross-gender, and utter flagrant sex that John Kander’s music and Fred Ebb’s lyrics brought to provocative life? The new must-see production at the August Wilson Theater, redone in the round so that it could give audiences not only the vision but the experience, is simply above and beyond.

And how do you celebrate that? This opening weekend literally had audiences leaving their troubles at the door, as Eddie Redmayne, the latest Emcee welcomes everyone in whatever your language, to do just that. Angular, his kinkily-clad body a vessel of dis-jointed movement, “Wilkommen” he sings and introduces the ladies and gentlemen dancers who thrust their pelvises your way. Soon the key figures, an American writer called Clifford Bradshaw (Ato Blankson-Wood), an actress named Sally Bowles (a marvelous Gayle Rankin) after Isherwood’s friend, the writer Jane Bowles, and others join the party. Most poignant is landlady Fraulein Schneider, a fabulous Bebe Neuwirth and her beau Herr Schultz (Steven Skybell), a Jew. When he brings her fresh fruit, it is not only an Edenic gift and sexy, but in that real time of deprivation, it brought life-affirming hope.

Speaking to the actors as the Kit Kat Club became a huge multi-leveled party space with flowing Moet & Chandon, lobster rolls, and tasty sliders, we learned just how much the long legacy of the play informed this new production. Sporting a Kit Kat logo “eye” pin, a gift from director Rebecca Frecknall, Neuwirth said in this subtle performance she was mindful that the role was created for Lotte Lenya.

And Redmayne felt the pull of Joel Grey who came to see him and sat within eyeshot as Eddie went through his paces. Redmayne mimicked Grey’s response as he caught the actor’s gaze, a warm heart embrace, a generosity, in Eddie’s estimation, but seeing him at Cabaret’s end as the Nazis take over, in a slightly changed version by Joe Masteroff—the praise was well deserved. Redmayne pointed out, there are no notes about Emcee from the story’s originators, so instead of seeing him dissolve into the maw of war, as other versions have depicted him, he, in a proper German suit, endures.

As does this brilliant musical.