[NEohioPAL] Review of Great Lakes Theater's "Cabaret"

[Bob Abelman]

Great Lakes Theater's 'Cabaret' is a force to be reckoned with

Bob Abelman

 

News-Herald, Chagrin Valley Times, Solon Times,

The Morning Journal, Geauga Times Courier

Member, American Theatre Critics Association 

 

This review will appear in the News-Herald on 9/30/11

 

There are many instances when art reflects life and the result, while enthralling, is far from entertaining. See, for example, last week's The Life of Galileo review.  

 

The musical Cabaret reflects the burgeoning Nazi movement in 1930 Berlin, yet the play and the current Great Lakes Theater production of it manage to be both absolutely enthralling and thoroughly entertaining.

 

One reason, of course, is that most of the action takes place in the steamy, sweaty Kit Kat Klub where, amidst the hedonism and sexual decadence of the time, damaged cabaret performer Sally Bowles and naïve American novelist Cliff Bradshaw fall in love.  

 

They fall so deeply in love that they, like so many Germans during the uninhibited era of the Weimar Republic, are oblivious to the invading atrocities that will soon take over Europe.

 

Also enthralling and entertaining is Cabaret 's use of the artwork of period expressionist and social critic George Grosz for creative inspiration.  His paintings capture the vulgarities of the time by depicting everyday Germans in garish colors, awash in grotesque shadowing, and wearing faces void of expression. So too does this play and its staging.

 

Interestingly, in every subsequent incarnation of Cabaret -from its 1966 Broadway premiere to a 1972 film, a 1987 theatrical revival, and the most recent 1998 New York production-both the realism of the story and the dark expressionism of the storytelling have become increasingly prominent. This makes the play even more powerful.  

 

The Great Lakes Theater production, under the direction of Victoria Bussert, follows the lead of the 1998 revival with regard to its immensely sultry, savvy and expressionistic staging.  

 

This is particularly evident in Jeff Herrmann's dark, sinister and simple scenic design as well as in Gregory Daniels' naughty choreography, where dance steps subtly transform into goosesteps and chairs, while in possession of the half-naked and highly flexible Kit Kat Klub girls, become so much more serviceable than their intended function.

 

Add to the mix John Kander's phenomenal music, as performed by a wonderfully jazzy on-stage quintet under Matthew Webb's direction, and Fred Ebb's poignant lyrics, as presented by a very talented cast, and this production of Cabaret is a force to be reckoned with.

 

Over time, the show's Master of Ceremonies, who serves as a metaphor for the tenuous and threatening state of Germany, has morphed from being sinister and androgynous to ominous and an equal opportunity seducer.  Eduardo Placer is wonderful in the role.  He is simultaneously alluring and repellent, and in just the right combination. 

 

Fraulein Schneider, the landlady where Sally and Cliff reside, is a supporting character in Cabaret but, in the hands of Laura Perrotta, she is particularly memorable.  More actress than songstress, Perrotta sells her gorgeous duet "It Couldn't Please Me More" with the adorable John Woodson as Herr Schultz, with dramatic flair.

 

Sara Bruner also makes the most out of her supporting role of Fraulein Kost, a prostitute living in Fraulein Schneider's apartment building.  She has created such an interesting and likable persona that it is devastating when, later in the story, she reveals her political leanings.  

 

The same can be said for the superb Jim Lichtscheidl as Ernest Ludwig, who befriends the young novelist, played with immense charm by Neil Brookshire.

 

Jodi Dominick is so very likable in the pivotal role of Sally Bowles.  This is no easy task given how frighteningly lost and self-destructive this character is despite a brave front and devil-may-care façade.   

 

A layer of veneer has clearly worn thin from Dominick's voice, the likely result of this production playing in Idaho from July through August. What she lacks in tone and range, however, she more than makes up for in attitude.  This is particularly evident in the passionate "Maybe This Time" and the show ending/show stopping "Cabaret."

 

Absolutely enthralling and thoroughly entertaining.  Bussert and the gang have opened Great Lakes' season with a bang.

 

Cabaret continues through October 30 at PlayhouseSquare's Hanna Theatre in downtown Cleveland.  It plays in repertory with The Taming of the Shrew.  For tickets, which range from $15 to $70, call 216-241-6000 or visit www.greatlakestheater.org.
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