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Novaya Gazeta Europe
2 days ago
- Business
- Novaya Gazeta Europe
Wolf at the door. Europe must now show that it can follow through on its pledges to boost military spending and step up its support for Ukraine — Novaya Gazeta Europe
'Money makes the world go around,' sings the showgirl Sally Bowles in Cabaret, the iconic musical set against the backdrop of the Weimar Republic's decadence. Money will certainly shape Europe's future, as political leaders across the continent are forced to make painful decisions about how to allocate public funds in an increasingly unstable world. Carl Bildt Former Swedish prime minister and foreign minister Three urgent priorities are set to strain Europe's public finances over the next few years. The first — and most obvious — is defence. The push to boost military spending is primarily a response to Vladimir Putin's aggression, compounded by US President Donald Trump's relentless criticism of America's NATO allies. Together, these pressures have made strengthening Europe's defence posture a strategic necessity. The second, and arguably more urgent, priority is to support Ukraine in its fight against Russia. If Ukraine's defences were to collapse, a revanchist Russia would likely go on a rampage. Ensuring that Ukraine can continue to defend itself will require European governments to go beyond their existing defence-spending commitments. And lastly, there is the lengthy process of producing the European Union's next multiyear budget, which will cover the period from 2028 to 2034. The European Commission has already presented its proposal, but the real challenge lies ahead, as member states and the European Parliament must go through internal negotiations before agreeing on the final numbers. Supporting Ukraine through the war and the country's eventual reconstruction will also require a substantial financial commitment. The commission's proposal includes increased funding for security, global commitments, and competitiveness, as well as additional support for Ukraine. Although these priorities have been widely supported, the reallocation of resources needed to fund them has been the subject of fierce debate. It is safe to say the commission is headed for a bruising political showdown before a consensus is reached. Despite the intensity of these budgetary battles, the commission's proposed budget amounts to just 1.26% of the combined gross national income (GNI) of the EU's 27 member states. While that is up from 1.13% today, the net increase is relatively modest once debt-servicing costs from the bloc's post-pandeemic borrowing spree are factored in. When it comes to defence, however, the numbers are far more significant. Across Europe, defence budgets have grown by roughly one third in recent years, with most of NATO's European members spending around 2% of their GDP or nearing that benchmark. But even that is no longer enough. At the June NATO summit in The Hague, members pledged to spend 3.5% of GDP on defence by 2035, with an additional 1.5% earmarked for loosely defined defence- and security-related investments. The extra 1.5% appears designed to appease Trump, who has repeatedly called for European allies to boost military spending to 5% of GDP. Much of this additional spending is expected to rely on creative accounting rather than actual new funding. Supporting Ukraine through the war and the country's eventual reconstruction will also require a substantial financial commitment. While estimates vary, $100 billion per year, for example, would amount to just over 0.4% of the combined GDP of the EU and the United Kingdom — significant but far from unmanageable. At some point within the 2028-35 budget window, the cost of rebuilding Ukraine will need to be addressed. Some studies have estimated the cost of reconstruction at around $500 billion, though this figure includes areas that may remain under Russian control for the foreseeable future. Much will also depend on whether security guarantees and the prospect of Ukraine's EU accession can foster an environment conducive to large-scale private investment. Ukrainian rescuers work at the site of a glide bomb strike in Kharkiv, northern Ukraine, 25 July 2025. Photo: EPA/SERGEY KOZLOV Of course, new demands may emerge, placing additional strain on Europe's finances. Several European governments, for example, have already slashed development aid or diverted part of it to support Ukraine. While this may have been a necessary short-term response to Russia's invasion, its long-term consequences remain unclear. Currently, only Norway, Sweden, and Denmark meet the United Nations target of allocating 0.7% of GNI to development assistance. Following the Trump administration's dramatic foreign-aid cuts and the shutdown of the US Agency for International Development, there is a strong case for Europe to fill the void. A more desperate world will be more volatile and less secure, making development a strategic imperative as well as a moral one. Meeting all of these commitments will not be easy, especially for governments already grappling with high deficits and rising public debt. My guess is that northern European countries will reach NATO's 3.5%-of-GDP defence spending target well before 2035, while southern European countries — with the exception of Greece — will likely fail to meet it. With France, Italy, and Spain all heading for elections by 2027, the political appetite for the spending cuts needed to increase defence budgets will likely remain limited. There is a stark contrast between NATO's swift approval of large spending pledges and the EU's wrangling over far smaller amounts. This trend is already evident in the distribution of aid to Ukraine. In the first four months of 2025, the Nordic countries contributed $6.8 billion, the UK provided $5.3 billion, and Germany put up $760 million, while Spain and Italy gave only a fraction of those amounts. The irony is that the EU member states often labelled as 'frugal' are the ones actually willing to provide funding to advance the bloc's agreed-upon priorities. Meanwhile, the less frugal countries prefer to call for more borrowing, even though they have limited room to do so themselves. These tensions are now driving the intensifying battle over Europe's finances. There is a stark contrast between NATO's swift approval of large spending pledges and the EU's wrangling over far smaller amounts. Whatever the outcome, the coming fiscal fight will test how able and willing Europe's leaders are to confront the serious security challenges ahead. This article was first published by Project Syndicate. Views expressed in opinion pieces do not necessarily reflect the position of Novaya Gazeta Europe
RTÉ News
08-07-2025
- Entertainment
- RTÉ News
Eddie Redmayne feeling 'such pride' as Cabaret marks 1,500th show in London
Oscar-winning actor Eddie Redmayne has said he feels "such pride" at musical theatre show Cabaret celebrating its 1,500th performance at London's Playhouse Theatre. The Day Of The Jackal star, 43, led the West End revival of the show, alongside Irish actress Jessie Buckley, in 2021 and won an Olivier for his role as the Emcee, the flamboyant master of ceremonies, while Buckley won for her role as Sally Bowles. "I feel such pride in what the show is, and having been some part of helping put it together, and I've been lucky enough to come and see almost all the cast who have taken over and really the show in its essence", Redmayne told the PA news agency at a special gala night. "I think our director's version of it is a celebration of the individual, and watching how the show shifts and changes as each actor brings their own entirety of themselves to it has been a real wonder and nothing makes me happier when I'm in London and I see a Cabaret poster go by on a bus, and I know that it's continuing to thrill each season, and kind of reflect what's going on in the world." The show, which features music from composer John Kander, is set in Berlin during the jazz age as the Nazis rise to power. Set in the seedy Kit Kat Club, which acts as a safe space for outsiders, the story explores themes of sexuality and fascism. Redmayne told PA: "Each time Cabaret has ever been put on, it's felt resonant, and it just, sadly, feels more and more resonant daily, and as John (Kander) says, he hopes one day it won't. "But, in the meantime, sort of reflecting learning from our history is pretty important, but doing so in this joyful, bacchanalian, sort of, celebration of the individual is special." Since Redmayne's performance, a number of other actors have played the Emcee at the Playhouse Theatre including Bad Education actor Layton Williams, Olivier Award-winning actor Luke Treadaway, US star Billy Porter, and It's A Sin actor, Callum Scott Howells. Sex Education star Aimee Lou Wood, model Cara Delevingne, musical theatre star Marisha Wallace, and musician Self Esteem are among those who have played Sally Bowles. The musical theatre production is partly based on Christopher Isherwood's 1939 novel Goodbye to Berlin which tells of the glamour, danger, excess and repression of Berlin society. Bridgerton actress Hannah Dodd is currently playing Sally Bowles while TikTok star Rob Madge is starring as the Emcee.
Yahoo
18-06-2025
- Entertainment
- Yahoo
‘Cabaret At The Kit Kat Club' Will End Broadway Run In October With Billy Porter & Marisha Wallace In Lead Roles
Broadway's Cabaret at the Kit Kat Club will close on Sunday, October 19, producers announced today, ending a 14-week run that was spotty at the box office and almost certainly will leave investors short from recouping the revival's estimated $23 million-plus costs. Also today, producers announced that Billy Porter and Marisha Wallace will be the show's final Emcee and Sally Bowles, with the two actors taking over the roles on Tuesday, July 22. More from Deadline Jinkx Monsoon To Join 'Oh, Mary!' In Title Role, Play's Broadway Run Extended To January 'Oh, Mary!' Breaks House Record As Cole Escola's Starring Run Nears End; Overall Receipts Drop As Hollywood Goes Home – Broadway Box Office Roastmaster Jeff Ross Lands Venue For Broadway Summer Stand, Sets Opening Date Producers have not revealed or confirmed the show's capitalization amount or whether the show has recouped or is expected to recoup. 'I can think of no better way to celebrate this production's incredible run on Broadway than by welcoming Billy and Marisha into the company for our final 13 weeks,' said director Rebecca Frecknall. 'They brought down the house every night on the West End, and I cannot wait for Broadway audiences to experience the electricity they generate together.' Said Adam Speers on behalf of the producers: 'Having the chance to present this masterwork to audiences at this moment in history has been the honor of a lifetime. We are so proud of what Cabaret at the Kit Kat Club has achieved on Broadway – artistically, culturally and with audiences. We've been unbelievably lucky to have had such an incredible string of cast members lend their talents to this run, and Billy and Marisha are the ideal stars to lead us into this final stretch.' The Broadway production of Cabaret at the Kit Kat Club began previews on April 1, 2024, becoming a buzzed-about hot ticket. Well-received by most critics, the elaborate, immersive production went on to become the most nominated revival of the 2023-24 season, receiving nine Tony Award nominations, winning for Best Scenic Design/Musical. The London production, now in its fourth year, won a record-breaking seven Olivier Awards and now is tied for the most for any musical revival in Olivier history. In New York, though, the revival was received by critics with mixed reviews, and while the production — originally starring Eddie Redmayne and Gayle Rankin — did strong business initially, more recent months have seen attendance dropping, with audiences sometimes filling just 75%-85% of seats at the expensively renovated August Wilson Theatre. For the week ending June 15, the revival was at 86% of capacity, with a gross of $762,715, far less than the estimated $1 million-plus needed each week to meet costs. The show's current cast features Orville Peck as Emcee and Eva Noblezada as Sally Bowles; they'll play their final performances on Sunday, July 20, two days before Porter and Wallace take over. With music by John Kander and lyrics by Fred Ebb — and a book by Joe Masteroff based on the play by John Van Druten and stories by Christopher Isherwood — Cabaret features such beloved songs as 'Willkommen,' 'Mein Herr,' 'Maybe This Time,' 'Money' and the title number. The musical has been staged on Broadway five times, beginning with the original 1966 production and followed by revivals in 1988, 2004, 2015 and 2024. The musical was adapted for film in 1972, with Bob Fosse directing and Liza Minnelli in a career-making performance. Best of Deadline 'The Buccaneers' Season 2 Soundtrack: From Griff To Sabrina Carpenter 2025 TV Series Renewals: Photo Gallery 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More
Chicago Tribune
28-04-2025
- Entertainment
- Chicago Tribune
Review: Epic ‘Berlin' at Court Theatre pictures the end of a cultural paradise
Anyone who has seen the musical 'Cabaret' knows of the free liberality of pre-war Berlin, a nirvana equal parts sexual, artistic and intellectual. The kind of place that would attract a Sally Bowles, looking to sing and to live, or a Christopher Isherwood, seeking characters about whom to write. But Isherwood's novel 'Goodbye to Berlin' was written as the Nazis were already taking up space at the Kit Kat Club and alarms bells were ringing. The new show at Court Theatre, a world premiere simply titled 'Berlin,' ranges further back into the heart of the Weimar Republic, and centers not just the denizens of a nightclub but a whole variety of characters, all inhabiting what at the time was perhaps the most exciting city in the world. As adapted by the Chicago writer Mickle Maher and directed by former Court Theatre artistic director Charles Newell, 'Berlin' is the rare theater piece based on a graphic novel (there have been a few others, including the musical 'Fun Home'). The source here is a widely admired and epic work by the American artist Jason Lutes that tells the story of Berlin from 1928 to 1933, through a variety of characters who occupy its streets and bedrooms. Those include Marthe Müller (Raven Whitley), a young woman who is mourning a dead brother and has set out on a voyage of Berlin self-discovery. Martha becomes entangled with Kurt Severing (Tim Decker), a journalist growing ever more cynical with age, and also with Anna Lenke (Mo Shipley), an artist-sensualist caught between personal desire and political awakening. Then there's Kid Hogan (Terry Bell), a curious Black guy compelled and concerned by the music of the city, and Otto and Silvia Braun (Christopher Meister at my performance and Ellie Duffey), an impoverished little family (the Weimar Republic did not eradicate poverty) who stare critically at the cavorting of the liberal German elite as they find their souls and lives progressively destroyed by fascism. Oh, and in the end there is Hitler, rising, as essayed by Elizabeth Laidlaw. Lutes began work on the 'Berlin' project as far back as 1996, and it ended up with 22 chapters released across several years, all richly detailed and carefully researched. If you're into graphic novels, you'll know 'Berlin,' very much seen as a high point of the genre and a kaleidoscopic exploration of the fall of a free and liberal city. For many people at Court this weekend, judging by the murmurs of recognition, Berlin surely revealed itself as a cautionary tale for the moment as much as a temporal and geographical portrait of a very specific set of circumstances. Certainly, Mahler's shrewd adaptation encourages that perception, although Newell's typically humanist production also mostly replicates the empathy with which Lutes drew all his characters. Bar one. Does 'Berlin' work as a theater piece? Let's first stipulate that this is a major new work from Court of a size and scope that has been all too rare in post-pandemic Chicago theater; it's especially good to see Newell, a highly skilled Chicago director, return to his old stomping grounds with a homegrown premiere. If you follow significant theatrical events here, you'll want to see this piece. As is his wont, Newell goes with a minimalist and highly styled approach, using a mostly empty stage and tables with microphones whereat the characters can introduce themselves. There are no actual images of the city, which is an understandable choice, given the visually rich source. 'Berlin' is something of a slow burn, perhaps inevitably so for a work with this many characters and at times it runs afeared from the intense sensuality found in Lutes' work, especially his clear-eyed exploration of how people seem more compelled to make love and art when their world is falling apart. I miss the lack of caution found in Newell's early work, now more tempered. Ergo, there were times when you watch one or another character rushing around the stage in a cool way and wish the show would slow to get deeper inside their heads and hearts. Not everybody is as intricately connected as the lines they are speaking imply. Better with time, I suspect. But that said, this is still an immersive and very worthwhile work of theater and you'll be in the hands of a deftly cast ensemble of performers. Whitley, whose young artist emerges as the central figure here, is a talented, and very live performer who reminds me of a youthful Carrie Coon, to tell the truth. She gives the show its core vulnerability, although Duffey, who plays a character with much less confidence, is also moving. As you might imagine, being Jewish ends up becoming an issue for the Berliners in this portrait and Jack Doherty, who plays a young man navigating that growing stress, also is strikingly empathetic. When it comes to the caustic, Isherwood-like Berliner vibe, Bell fits that bill. And as Hitlers go, Laidlaw has her own especially clever take. Striking prescient lines abound in this piece, including the Sisyphean moment when the journalist wonders aloud why we cannot hold inquests before the events into which they are established to enquire, happen. Would life not then be better? Asking too much, though, of humans condemned to repeat their mistakes, caught as they usually are in the swing of the pendulum of history, knocking over the unwary whenever brutality ascends. Chris Jones is a Tribune critic. cjones5@ Review: 'Berlin' (3.5 stars) When: Through May 18 Where: Court Theatre, 5535 S. Ellis Ave. Running time: 2 hours, 30 minutes Tickets: $60-$110 at 773-753-4472 and
