Kander and Ebb’s Cabaret (with book by Joe Masteroff) is not one of those musicals that has audience members whistling a tune as they leave the theater. While it does offer alluring showgirls, memorable music and a few laughs, the overriding theme is the rise of Nazism—a gut punch which should leave theater-goers reeling.
CVRep’s current production does all that—and more.
The tone is set the moment you enter the lobby, as scantily clad showgirls and creepy men in black pants and suspenders skulk about. Once audience members are seated in the theater, individual performers—including a solo violinist—occasionally grace the stage to extend the sad, ominous mood.
The story—based on John Van Druten’s play I Am a Camera and Christopher Isherwood’s Goodbye to Berlin—is set in Berlin at the end of the 1920s. The Emcee (Kristen Howe) welcomes us to the Kit Kat Klub, a sleazy establishment where anything can happen while you “forget your troubles.”
American writer Cliff Bradshaw (Marrick Smith) arrives on the scene; on the advice of Ernst (Ben Sears), a German man he met on the train, he rents a room from Fraulein Schneider (Leslie Tinnaro). Though a few sparks fly when Cliff meets singer/hostess Sally Bowles (Cecily Dowd) at the Kit Kat Klub, he’s a bit surprised when she arrives with her luggage and moves in the next day.
Meanwhile, Fraulein Schneider is being courted by the kindly Herr Schultz (Fred Frabotta), a man who sells produce.
But something is overshadowing the budding romances and the frivolity at the club: Germany’s descent into madness. Cliff senses something is not quite right when Ernst offers to pay him well to collect something from Paris—and when it’s revealed that Herr Schultz is a Jew, his relationship with Fraulein Schneider is threatened.
Director Adam Karsten has assembled a stellar cast. He took a risk casting a woman as the Emcee, but it really paid off: Kristen Howe is simply magnificent. With short, slicked-back hair and masculine attire, yet in full makeup, she has an androgynous look that’s perfect for the role. When Howe appears onstage, she commands attention—enticing, raunchy and slightly dangerous, with just the right amount of humor to balance things out. Add in her strong vocals, and you’ve got a powerhouse performance.
Marrick Smith is well-cast as Cliff. Tall and attractive, with all-American good looks, he’s the kind of guy you’d feel safe taking home to meet Mom and Dad. Mostly mild-mannered, Smith does exhibit flashes of passion with Sally, and appropriate outrage over the rising power of the Nazis. Smith also has a lovely singing voice.
In the pivotal role of Sally Bowles, Cecily Dowd is fabulous. We never stop rooting for her—she’s sexy, spunky and strong-willed, yet vulnerable. Though bubbly at times, there’s an aura of tragedy about her as well. Dowd’s got some strong acting chops and a great set of pipes. Her heart-wrenching version of the title song is one of the show’s highlights.
The always-dependable Leslie Tinnaro does not disappoint as Fraulein Schneider. She nails the German accent (which is not easy to do), and her moments with Herr Schultz are warm and touching. Tinnaro’s well-trained, legit voice is on display here, but she really shines in some dramatic moments, particularly in the heartbreaking “What Would You Do?”
As Herr Schultz, Fred Frabotta is perfect. Sweet, kind and grandfatherly, Frabotta’s Schultz conveys his tender feelings for Fraulein Schneider, knowing this is probably his last chance for romance. His duets with Tinnaro are lovely, especially “Married.”
Other standouts include Ben Sears as Ernst and Erin Stoddard a Fraulein Kost. The ensemble is very good, maintaining the balance of sensuality and impending doom with great skill.
Good dancing and standout musical numbers are crucial in a show like Cabaret. Kudos to choreographer Karen Sieber, musical director Brent Alan Huffman and his orchestra for making all of that happen.
The lighting, set and costumes set the tone in this kind of production, and all are top-notch.
CVRep has long had a reputation for choosing plays that are not only entertaining, but have something important to say—stories that are relevant to what’s happening in the world right now. I can’t help but think that Karsten, who’s also CVRep’s executive artistic director, had that in mind when he added Cabaret to this season’s lineup.
This production is superb. It is entertaining. It is an example of what good theater should be—but as with any production of Cabaret, is it disturbing and should serve as a warning: What happened in Germany could happen again—anywhere. We are not powerless to prevent it.
Vote.
Cabaret will be performed at 7 p.m., Wednesday through Saturday; and 2 p.m., Wednesday, Saturday and Sunday, through Sunday, Feb. 11, at the CVRep Playhouse, 68510 E. Palm Canyon Drive, in Cathedral City. Tickets are $83, and the show runs 2 1/2 hours with one intermission. For tickets or more information, call 760-296-2966, or visit www.cvrep.org.
