Snoop's Theatre Thoughts

Cabaret

Book by Joe Masteroff

Based on the play by John Van Druten and Stories by Christopher Isherwood

Music by John Kander, Lyrics by Fred Ebb

Directed and Choreographed by Marcia Milgrom Dodge

Repertory Theatre of St. Louis

September 13, 2013

Nathan Lee Graham
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis

It’s a new season at the Rep, and they’ve gotten off to a good start with their production of the classic musical Cabaret.  As I took my seat, I didn’t know exactly what to expect. I had seen the film and listened to some of the revival cast recordings but had never seen the show live.  I found the Rep’s production to be well-crafted and an excellent introduction to the live show.

Cabaret is a show that makes me think.  That’s the point, really—the juxtaposition of the carefree hedonism of Berlin in the late 1920s-early 1930s with the dawning reality of growing Nazi influence and control in Germany, and the parallels between the performances at a local seedy night club, the lives of some of the performers and regulars of that club and their friends.  Cliff Bradshaw (Hunter Ryan Herdlicka) is an American author caught up in the midst of all the turmoil as he becomes involved with self-destructive nightclub singer Sally Bowles (Liz Pearce), and the world around them is reflected in the performances on stage, led by the enigmatic and ubiquitous Emcee (Nathan Lee Graham), who introduces the show as a performer at the club but then becomes something of a commentator on the situations in the play, as Cliff, Sally and their circle deal (or try not to deal) with the increasingly volatile political situation.

As Cliff, who serves as both a player in the proceedings and a bewildered and increasingly horrified observer, Herdlicka is ideally cast.  It’s a role that could easily be ignored among all the more colorful characters in the show, but Herdlicka makes Cliff at once likeable and interesting, and his reactions to what is going on around him are compellingly portrayed.  His chemistry with Pearce as Sally is one of the highlights of this production.  Sally’s increasing denial of reality is well-portrayed by Pearce, as is her fun-loving spirit.  I also found the subplot involving Cliff’s landlady, Frau Schneider (Mary Gordon Murray) and the sweet older Jewish fruit merchant Herr Schultz (Michael Marotta) to be particularly engaging.  Both Murray and Marotta deliver wonderful performances, and every scene they have together is compelling, from their sweet duet “It Couldn’t Please Me More” to the hopeful “Married”.   Murray’s solo “What Would You Do?” is particularly poignant, as well.  Their plot is kind of the “heart” of this show, and the resolution adds emotional resonance to the increasingly unpleasant reality of the changing life of Germany and the growing sense of hopelessness and denial.

With all the fine performances in this show, the standout is definitely Nathan Lee Graham as the Emcee.  Sporting an array of elaborate outfits from the requisite top-hat and tails to more outrageous ensembles that range from skimpy lederhosen, to Wagnerian opera diva, to a ingeniously-designed half-suit/half evening gown combination. Graham is a wonder and a enigma, as a character who serves as both a literal and figurative host for the evening’s proceedings and appearing anywhere and everywhere on stage, above the stage and even in the audience throughout the performance.  He is at once chameleon-like and cartoonish, and a little unsettling at times.  Graham has a great voice, moves nimbly, and has amazing stage presence and whenever he is on stage, he is the center of attention.  From the strangely inviting “Wilkommen” and throughout all of his songs, from the raunchy “Two Ladies” to the broadly satirical “Sitting Pretty/The Money Song” to the haunting, “I Don’t Care Much”, Graham is a force to be reckoned with, leading the cast with authority, pizzazz, and an almost otherworldly magnetism.

In doing my research about this show, I’ve discovered that the Rep’s version of Cabaret seems to be unique in terms of structure and songs used.  It doesn’t exactly mirror any of the famous stage productions or the Oscar-winning film, but rather seems to be a combination of elements from several of these productions.  I especially liked how the film song “Maybe This Time” was integrated with Cliff’s song “Don’t Go” to give Sally and Cliff a parallel moment that speaks volumes for their situation.  It’s one of my favorite scenes in this production, and I particularly liked the chemistry between Herdlicka and Pearce.  The futility of their situation is made all the more heartbreaking watching these two try to make things work.  Also, “Sitting Pretty” and its film replacement “The Money Song” are both used here, with great spectacle by Graham and the club dancers, presenting a tableau of excess and materialism with several elaborate costumes and much energy.

All of the musical numbers are presented well by a well-cast ensemble, from the bold intro, all of the outrageous production numbers, to the eerily zealous “Tomorrow Belongs to Me”, to Sally’s devastatingly real rendition of the title song late in the proceedings.  Even though I did find myself, at times, wishing things would be a little seedier and more extreme, the excellent cast performs their parts well and brings the audience into the atmosphere of 1920s Germany, and the cacophonous finale is both jarring and powerfully thought-provoking.

From a visual standpoint, this production is spectacular, with a meticulously detailed set designed by Michael Schweikardt, complete with flashing neon sign (seen from behind, with one letter burnt out—a nice effect), a small stage and tables to represent the club, and set pieces brought in to represent Cliff and Sally’s apartment and other locations.  It’s the Kit Kat Club that dominates the proceedings, though, and all the details from the multi-level stage to the small club tables complete with old-fashioned telephones set the mood exactly right.  The choreography is also very well-done, with energetic dance numbers and slick production numbers, even if at times they are a little too slick, although the proceedings did get noticeably more chaotic as the action progressed, which I think is fitting.

For the most part, I would say this Cabaret is a success–a feast for the eyes and ears, as well as the brain.  It’s an engaging depiction of a tumultuous time in world history, with superb visuals and an expert cast.  It makes a compelling start to the Repertory Theatre of St. Louis’s 47th season, and makes me want to come back and see what else the Rep has in store this year.

Cast of Cabaret
Photo by Jerry Naunheim, Jr.
Repertory Theatre of St. Louis