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"TO BURN always with this hard, gem-like flame, to maintain this ecstasy, is success in life," wrote Walter Pater.

IF THEATER is the elusive art contrived by wily, mischievous talents to transport our minds to a different time and place for several hours while leaving the rest of us in our seats, then the current Roundabout Theater production of "Cabaret" is the epitome of art.

This thrilling, ingenious reinvention of the 31-year-old John Kander and Fred Ebb musical is vivid proof that theater must be a collaborative venture to succeed. Right off, however, I will commit myself to one of the stars of "Cabaret": Natasha Richardson, as Sally Bowles. She is riveting! And she sings in a manner that has made the composers very happy men. I know this because they told me so. (And, remember, Kander and Ebb practically invented the fully realized Liza Minnelli.)

"Cabaret" takes place in a cabaret - literally. It's showing in a sleazy, uncomfortable nightspot on West 43rd Street that has been renamed the Kit Kat Klub - just as in the musical. The landmark site was once the Henry Miller Theater - where, shortly after I got off the train from Texas, I saw T.S. Eliot's "The Cocktail Party." That serious play was the first big British hit ever to play this theater. So it comes roundabout that this particular conception of "Cabaret" should have been nurtured into success at London's Donmar Warehouse by director Sam Mendes. In addition to Ms. Richardson, there is Alan Cumming, making his Broadway debut as the Emcee. Cumming's physical and decadent performance is not only chillingly masterful, it is jaw-dropping.