David Fick, the actor who moonlights as an online theatre critic, tore into Cabaret, writing it off in a headline as "Too Little Life in Matthew Wild's Cabaret at the Fugard, Old Chum". I have to ask: Did Fick and I see the same production? First, visiting The Fugard is a theatrical experience in itself: It feels like a theatre in London or New York.The show is historically linked to big names and events: It is set in the old Weimar Republic, just before the rise of the Nazis, with much of the action in the deliciously decadent Kit Kat Klub.It has had endless successful revivals all over the world, been made into a film, and some of its songs - Willkommen, Two Ladies and Money - are entrenched in the collective memory of showbiz.The anchor of this production is the emcee (and musical supervisor), Charl-Johan Lingenfelder, who has created a sizzling, flirtatious, wicked character straight out of the randy claws of the demimonde.The pace of the show is fast, the singing and dancing splendid, the costumes world-class.Claire Tailor as Sally Bowles is smouldering, dark, provocative, and the whole spirit of the nightclub with its risqué sexual ripeness pulsates on the stage.You are not just hazily aware of Kit Kat nightclub, you are right in the dark, mesmerising heart of the whore.In one scene where three of the young men flash their bare buttocks, I was taken back to a popular club in New York called Limelight. Situated in a church, the DJ (as God) spun his vinyl from the pulpit, naked men and women were brazenly in flagrante delicto in the confession booths and one kaalgat man swung from a rope that chimed the church bells.Outside people were protesting about something. Inside, the congregation was worshipping the carnal belly of the underworld. Cabaret made me feel like that, as it should, and that's why it worked.Until May 30. Book at www.thefugard.com..