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It’s the wild 1930’s in Berlin and it’s anything goes at the Kit Kat Klub where an impish Emcee feasts on making the haunt as alluring as possible to its guests. He loves the boys, he loves the girls and he loves the orchestra. Headliner Sally Bowles leads the cabaret dancers in the playful club where one can phone table to table if interested in another. Bowles is brassy, commanding and she flat out belts, leaving little doubt who runs the show. This is quickly evidenced in her racy opening number “Don’t Tell Mama”. It is a place of decadent carnival where boundaries do not exist and guests are endlessly entertained by its sexy performers. 

American writer Cliff Bradshaw soon arrives via train ride where he meets new friend Ernst Ludwig. The two quickly hit it off. While getting to know each other, Bradshaw reveals he is looking for a place to stay, so Ludwig recommends a boarding house run by Fraulien Schneider. Searching for inspiration for his second novel, Bradshaw visits the nearby Kit Kat Klub where he is opened to a world he never knew existed. 

While Bradshaw and Bowles get to know each other (and then some), Herr Schultz, an elderly German, regularly visits the boarding house where he shows his affections for Schneider by bringing her fruit from the nearby produce store that he owns. Soon Schultz and Schneider agree to marry, while Bowles and Bradshaw become cozier, the two now living together. The club is thriving and all seems well in 1930’s Berlin. 

But the shadow of the Nazi regime is gradually becoming much more apparent. Slowly, the danger of a growing Third Reich is affecting Berlin. Gradually, the carefree mood of many Berlin residents becomes that of one awaiting impending doom. Some sense a mounting tragedy afoot and fear a change for the worse in Germany. 

Yet, the threat is still in its infancy stage, whereas Schultz, a Jew, naively states, “Everything will be fine. After all, I am a German.” At the same time, Schneider fears her association with Schultz will put her business under as the hatred against Jewish-Germans becomes more apparent. 

Cabaret is the gripping account of how a circle of friends and businesses in Berlin are overcome by the inevitable Nazi threat, from the story's hopeful beginning full of modernization and progressive views to its haunting end. 

The production is seamlessly woven together. Throughout the musical, there is an ongoing collocation of dialogue scenes and songs that serve as explanation to the story while a series of distinct cabaret numbers provide a public observation for the times. 

Cabaret continues to attract both new audiences and return visitors more than fifty years after its initial Broadway production, because it has everything – fascinating characters, iconic music, a dazzling look that transports us to a different world that is still incredibly timely and relevant today,” says Artistic Director Linda Fortunato.

Her statement couldn’t bear more truth as the production has won eight Tony Awards, including Best Musical and Best Original Score. 

The casting in Theatre at the Center’s Cabaret is very strong. Danni Smith, who recently impressed theatre goers in the leading role of “Donna” in Marriott Theatre’s Mamma Mia! is sensational as Sally Bowles. Smith’s robust, velvety vocals along with just the right air of confidence make for yet another successful leading role for the fetching stage star. Smith’s astounding performance alone is worth the ticket cost and drive to Munster, Indiana. Yet, the same impressionable effect on the audience can be said for co-lead Sean Fortunato as the mischievous Emcee, who is a pure delight to watch as he captures a changing Berlin within his character most effectively through a well-acted gamut of emotions. We watch on as the whimsical Master of Ceremonies is sincerely affected by what he recognizes is the beginning to the end of an era, yet we see his strength as he bravely presents an amusing appearance for his club-goers to distract from the imminent threat. 

Patrick Tierney (Bradshaw), Craig Spindle (Schultz), Iris Lieberman (Schneider), Christopher Davis (Ernst) and a very capable ensemble round out this talented cast that help in creating a magical Cabaret experience, along with an extraordinary creative team that so well brings the period to life. 

Based on a book written by Christopher Isherwood, with music by John Kander and lyrics by Fred Ebb, Cabaret is loaded with wonderful show tunes that include “Perfectly Marvelous”, “The Money Song”, “Married”, "Willkommen", “If You Could See Her” and Bowles highly-charged title song “Cabaret”. 

Well-constructed, finely acted and beautifully sung, Cabaret is an epic theatre experience not to miss.   

Cabaret is being performed at Theatre at the Center (1040 Ridge Road, Munster, IN) through June 4th. For show times, tickets and/or more show information, visit www.TheatreAtTheCenter.com

 

Published in Theatre in Review

In 1931 nine African American teenagers were wrongly accused of raping two white women while aboard a freight train in Alabama. Worried they might get imprisoned for prostitution while traveling aboard the same train, Victoria Price and Ruby Bates quickly cried rape, diverting the attention rather to the handful of innocent boys. These nine boys became known as The Scottsboro Boys, growing more and more infamy as their many trials became public interest throughout the nation. Fighting through Southern angry mobs, an all-white jury and a trial that was hastened, the nine boys were quickly convicted and sentenced to death by hanging. As word spread of the prejudice demonstrated, Northerners eventually stepped in to see that such a miscarriage of justice be overturned, but that was just the beginning of a process clouded by an ugly and unjust preconception. The uphill fight was long and grueling and successes were slow in the making. The story, superbly performed by Porchlight Music Theatre, is remarkable, sad and hopeful.

Written by David Thompson and directed by Samuel G. Roberson, “The Scottsboro Boys” is a controversial musical, now making its debut in Chicago after Broadway and London runs, and is the last featuring the music and lyrics of John Kander and Fred Ebb, mostly known for their triumphant smash hits “Chicago” and “Cabaret”. The story, a compelling and emotional ride through the racist South is a painful lesson of our nation’s dark history and serves as a stark reminder that change for a better world must never be ignored as we move forward as a unified people.  

Throughout the musical’s duration, we see an image of a pained Rosa Parks (Cynthia Clarey) who plays witness to the injustices that take place. Though her stand wouldn’t take place until years later, we see the effect such a stirring account would have on approaching generations. Sad as this tragic story as such is, we feel hope for the future by the play’s end and a realization for the work that still needs to be done.

“This is a story that needs to be told,” says Mark J.P. Hood who stars as Mr. Tambo. 

The nearly all African American cast delivers several all-around brilliant performances, doling out tremendous vocal harmony efforts, powerful acting and dance numbers that are both inventive and energetic. Currently running at Stage 773, a mid-sized theatre, the only drawback is that it is easy to envision the musical preformed on a larger stage, sometimes routines appearing a bit crowded. Still, that’s a very small drawback, because the play’s director is able to utilize its given space to maximize this Broadway-sized show effectively, moving boxcars and all.    

Denzel Tsopnang and Mark J.P. Hood lead this gifted ensemble along with James Earl Jones II with commanding acting performances that would be hard to beat. The Scottsboro Boys is a real showcase for both Tsopnang and Hood, who flex their versatility while taking on a handful of roles. Veteran actor Larry Yondo, most recently known for his spot-on portrayal of Ebenezer Scrooge in Goodman’s “A Christmas Carol”, also puts forth yet another admirable effort as The Interlocutor. With several beautiful vocal harmonies that sweep the house with robust sentiment, it is perhaps “Go Back Home”, a pivotal number that relates to those longing to find peace passionately led by Jones II, that will truly resonate with theatre goers long after the show. Though the vocal finesse is abundant throughout, fourteen-year-old Cameron Goode and Stephen Allen Jr. somehow find room to dazzle us even more. 

As jaw dropping as many of the numbers are in their performance, the audience often finds reluctance in their clapping, the weight of the subject matter almost seemingly inappropriate to applaud. But it is in these performances that the story is told so well. A handful of poignant casting twists take place as the white policemen and the woman accusers are played by African Americans. 

“The Scottsboro Boys” is a highly recommended theatre experience, both exceptional in its performance and its ever-important message. Wonderfully staged, acted and sung, this is a thoroughly entertaining production that will invoke much thought, inspire bravery and encourage action to be taken long afterwards. 

“The Scottsboro Boys” is being performed at Stage 773 through March 12th. For tickets and/or more show information click here.     

 

Published in Theatre in Review

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