Past Reviews

Regional Reviews: Cincinnati


Cabaret


Nathan Lee Graham
New York audiences are gearing up for a return of the highly successful revival of the musical Cabaret, again to be helmed by Sam Mendes and starring Alan Cumming as it was back in 1998. However, there is an equally compelling, though vastly different, version currently playing at Cincinnati Playhouse in the Park (after a run at the Repertory Theatre of St. Louis). This production likewise boasts an extremely talented cast with Broadway credentials and excellent and innovative direction and design.

Cabaret is set in 1929 in Germany. American Clifford Bradshaw arrives in Berlin to be inspired to write a successful novel. At the Kit Kat Klub, he meets singer Sally Bowles and other creatures of the seedy nightclub life. Cliff, a bisexual, is swept away by the advances of the sexy yet tragic Sally. Their elderly friends Fraulein Schneider and Herr Schultz likewise undertake a courtship, but their future together is tested by the impact of the growing power of the Nazi regime. This compelling story is told through the framework of the cabaret, with the Emcee serving as narrator and social commentator.

The Cabaret score by Broadway legends John Kander and Fred Ebb includes well-known tunes such as "Willkommen," "Don't Tell Mama," "Money," and the title number. These and many other well-constructed songs are both musically attractive and dramatically effective. Joe Masteroff's solid book, based on stories by Christopher Isherwood and a play by John Van Druten, provides significant insight into each main character, and he successfully uses the Emcee to comment on the characters, culture, and ever-changing atmosphere of 1929 Germany.

The direction and choreography for this mounting of Cabaret is by Marcia Milgrom Dodge, who provided the same for the brilliant Broadway revival of Ragtime a few years back. Ms. Dodge is able to effectively manage the tone of the piece, which moves slowly from relaxed and light to foreboding and dangerous. The relationships of the characters feel genuine and filled with significant depth and tenderness. The inventive scene transitions work wonderfully, the humor of the piece comes through well, and this Cabaret feels fresh and new. Dodge's choreography is visually pleasing, well-integrated in the storytelling, and stems naturally from the action. Henry Palkes leads a spirited six-piece orchestra.

This excellent cast has many Broadway vets and does a great job executing Dodge's distinctive take on the material. Nathan Lee Graham (The Wild Party) is a highly eccentric, intense Emcee, fiercely lurching everywhere. Mr. Graham's unique talents are well used here, and his vocals on songs such as "If You Could See Her" and "I Don't Care Much" are effective. As Clifford Bradshaw, Hunter Ryan Herdlicka (A Little Night Music) convincingly takes the character from guarded and gullible to scared and wide-eyed realist as he comes to understand the effect of the Nazi rise to power in Germany. CCM grad Liz Pearce returns to town in the pivotal role of Sally Bowles. She captures the shallow flightiness of the character, along with an underlying brokenness, while also being endearing at the same time. Her vocals and dancing are strong, but it is her penetrating take on the role acting-wise which is most commendable.

As Fraulein Schneider, Mary Gordon Murray (Spitfire Grill, Hands On A Hardbody) supplies impressive singing throughout, and Michael Marotta is a thoughtful and tender Herr Schultz. Blake Ellis (Ernst) and Dana Winkle (Fraulein Kost) do well in supporting roles, and multi-talented CCM grad Carl Draper shines among a likewise praiseworthy ensemble.

The two-tiered set design by Michael Schweikardt is handsome and diverse, and captures the underground seediness and sexiness of the Kit Kat Klub and other locales well. The nicely varied and attractive costumes are by Angela Wendt, and the professionally rendered lighting by John Lasiter cleverly defines settings and provides for a perfect match for the changing tone of the piece.

Thanks to an acclaimed film and a long-running revival which is about to return, many theatergoers have very specific memories of Cabaret. However, innovative director Marcia Milgrom Dodge shows that even well-known shows can take on a different life and provide new insight and messages with a bit of care and invention. With great design and a committed cast, the production at Cincinnati Playhouse in the Park is one not to be missed.

Cabaret continues at Cincinnati Playhouse in the Park through November 16, 2013. For tickets and more information, call (513) 421-3888 or visit www.cincyplay.com.


Photo: Sandy Underwood

-- Scott Cain


Also see the current Cincinnati Area Theatre Schedule