Eddie Redmayne plays sinister character in new London revival of “Cabaret.”

Around two weeks ago, Oscar had a nominee spat in my face, that was Jessie Buckley, who got nominated for best supporting actress for “The Lost Daughter,”  the earlier mentioned spittle incident went down at the West End’s new production of “Cabaret” in London.

It was not loogie of outrage but an outgrowth of the wild fickle of Sally Bowles that troubled British singer who plies her trade at Berlin’s seedy Kit Kat Club.

After Sally was introduced by Eddie Redmayne’s Emcee during “Willkommen,” Buckley ran up to balcony seat and flit her drool lips like a baby who didn’t want her carrot puree. “So that’s why I had to take a COVID test to be here.”

The licentious prologue brings to mind the off-Broadway run of “Natasha, Pierre and the Gret Comet of 1812.” Broadway sources said that the musical would like to come to the Hudson Theatre, the before show antics would be a union nightmare, but let’s leave that to the lawyers.

At first, you’re sucked in by the delirium. Then, as soon as the final lines of “Willkommen” are sung by Redmayne and the tight cast, the dreamy environment sadly fades away and another capable production of John Kander and Fred Ebb’s “Cabaret” start.

In 1930 Weimar Germany, “Cabaret” is for two parties: the first one, the rise of the Nazi party, and the other, increasingly raucous party citizens are throwing to pretend their society isn’t crumbling around them. An American writer, Clifford Bradshaw (Omari Douglas), arrives in Berlin in the middle of all the upheaval and becomes enamored by British songstress Sally at the Kit Kat Club.

In second Act, their world is shattered and the blood drains from the characters’ faces. So, for “Cabaret” to powerfully hit home, first Act needs to be fun, fun, fun!