The End of the World Cabaret
by Jura Soyfer, Adapted by Philip Boehm
Music by Paige Brubeck
Directed by Lizi Watt
Upstream Theater
April 17, 2026
Chris Tipp, Amarachi Kalu, John Flack, Sarah Wilkinson
Photo by Patrick Huber
Upstream Theater
At least in terms of the premise, Upstream Theater’s latest production reminds me of the recent film Don’t Look Up, although it was originally written decades earlier. Austrian playwright Jura Soyfer was writing a few years before the beginning of World War II, but many of the themes in his show, The End of the World Cabaret, are surprisingly timely, although not quite as bleak as more modern “end of the world” works tend to be. It’s been adapted by Upstream’s Philip Boehm, and directed by Lizi Watt, featuring a lively cast and stellar (pun intended) production values.
This is also a musical, with a catchy score by local musician Paige Brubeck of Sleepy Kitty, and beginning with a lively song sung out in space by the Sun (Jane Paradise) and several of the colorfully attired planets, including Mercury (Caitlin Mickey), Venus (Isaiah Di Lorenzo), Saturn (Amarachi Kalu), the erratic Pluto (Ashwini Arora), and Earth (Sarah Wilkinson), who has become “out of step” with the other planets to the point in which the Sun suggests something drastic. After consulting with the Moon (John Flack), the planets enlist a passing comet named Konrad (Chris Tipp) to alter his course and rid the planet of the troublesome humans who live there. As the comet hurtles toward Earth, the perspective shifts to the surface, where the impending apocalypse becomes front page news, and Professor Peep (also Tipp) is charged with inventing a machine to deflect the comet. Peep is earnest and persistent, but the problem is that the various leaders seem more interested in their own reputations and propaganda than actually saving the planet. Of course, there are also enterprising companies and millionaires who exploit the occasion for their own benefit, all the while not seeming to grasp the seriousness of the threat. The tone is satirical and largely comic, but there is an underlying sense of desperation and futility as Peep makes his way around the world in search of someone, anyone, who will help him build his machine. It all seems hopeless, but is it really?
There’s a lot to think about here, and many, many parallels to today that are emphasized in this adaptation, although the overall vibe is also very 1930s in look, style, and attitude. I won’t spoil the ending, but I will say that the show comes across as both a celebration and a criticism of humanity, with their creativity and energy on one level, and self-interest and greed on another. The overall whimsical vibe is carried off especially well in the production design, from Patrick Huber’s colorful and creative set to Max Florida’s scenic painting, Maria I. Straub’s props, and the wonderfully vibrant costumes by Meredith LaBounty and Anabel Weiland that feature both wildly fanciful and period appropriate outfits, as the characters and situations demand. There’s also excellent work from lighting designer Steve Carmichael, contributing to the overall whimsical and increasingly tense tone as the story goes on. Aidan Siliceo-Roman’s sound is also strong, as is Joe Schoen’s music direction and Dawn Karlovsky’s vibrant choreography.
As for the performances, they are fantastic, led by Tipp in a remarkably versatile performance as the determined, increasingly frustrated Peep and as the intrepid, personable guitar-toting comet Konrad. Tipp’s presence, energy, and vocals are highlights, as are the vocals from Mickey in an operatic moments;, Paradise as the Sun and various roles;, Flack as the personable Moon and others; Di Lorenzo as a passionate Venus; Wilkinson in several roles including the melancholy Earth; Kalu and Blindauer also in a variety of roles from planets to performers; and Arora in several roles including a friendly pup and the flighty Pluto. The entire ensemble works together with enthusiasm and excellent timing, in the general satirical spirit of the show, while also carrying across the more weighty moments when they occur.
The End of the World Cabaret is a show that’s bound to provoke lots of thought and conversation, and the comparison between the 1930s mindset and today’s is especially notable. All the cultural references thrown in add to the laughter, and there’s much to ponder on the nature and worth of humanity as well. It’s a witty, challenging, entertaining production.
Isaiah Di Lorenzo, Caitlin Mickey, Jane Paradise, Patrick Blindauer, Sarah Wilkinson
Photo by Patrick Huber
Upstream Theater
Upstream Theater is presenting The End of the World Cabaret at the Marcelle until May 3, 2026
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