Review: 'Cabaret' at Trinity Repertory Company

Without the constrains of making this production of Cabaret a star-turn for any individual actor, Artistic Director Curt Columbus has constructed a true ensemble drama with music for this season's opener.

Cabaret is set in Berlin on a snowy, cold, New Year’s Eve as the 1920‘s become the 1930‘s.  The Nazis are still being tolerated, as Germans hope they can control the Communists. 

Clifford Bradshaw, a young novelist from rural Pennsylvania is arriving into the city by train.  He is trying to jumpstart his creative juices, visiting one exciting European city after the next.  As the train crosses the German border he makes the acquaintance of Ernst Ludwig, a seemingly harmless entrepreneur.

On Ernst’s recommendation, Cliff visit’s a local boardinghouse, run by Fraulein Schneider.  While the two successfully negotiate the weekly rent Cliff meets some of the other residents of the house.  They include Fraulein Kost, a matronly prostitute and Herr Schultz a Jewish widower who runs a fruit stand.

With his accommodations settled, Cliff makes his way to the Kit Kat Klub, a dark, exciting and more than a little bit seedy, nightclub.  The headliner a the club is the would-be chanteuse, Sally Bowles.  Cliff and Sally share a nice moment, and a glass of champagne.  The next day Sally shows up at the boarding house, all but begging to let Cliff share his room with her. He acquiesces.

As the Nazi threat becomes real, the tenuous life that Cliff and Sally create, unravels.

In this production, the straight narrative is strongly emphasized.  Christopher Isherwood’s autobiographical source materiel is compelling. Joe Masteroff’s book uses John Van Druten’s play as a jumping off point.  Between them, they sift through, consolidate and condense the characters in Berlin Stories to give us a sliver of life in Berlin.

For fans of John Kander and Fred Ebb, this production gives an opportunity to hear some of their best collaborations, that are, unfortunately, rarely heard.  Hearing Phyllis Kay as Fraulein Schneider sing ‘So What’ and Joe Wilson, Jr. as the Emcee sing ‘I Don’t Care Much’ is a treat. The song ‘Meeskite’ (which is a Yiddish word that means ugly, or funny-looking), is sung by Stephen Berenson and acted with charming little puppets.

Joe Wilson, Jr. opens the production in fabulous gender-fuck Marlene Dietrich drag, singing ’Willkommen’.  The production number is strong, with eye-popping treats. Wilson gives a rich, inventive performance as the Emcee.  William Lane’s costume design help Wilson make this Emcee his own, with only the slightest nod to the previous incarnations of the character.

Rachel Warren’s performance as Sally Bowles in this ensemble cast is spot-on.  Though audiences are most familiar with the Sally Bowles from the 1972 film; Sally is not supposed to be an amazing singer or dancer.  She is a star, but only in the tiny, seedy, club.

As Cliff, Mauro Hantman gives a fine dramatic performance.  The character is not called to do much musically and the one solo is, unfortunately for Hantman, the weakest song that Kander and Ebb wrote for the musical.

Phyllis Kay and Stephen Berenson, as Fraulein Schneider and Herr Schultz, respectively, give nuanced performances.  Vocally, and dramatically, their middle-aged lovers are dear.

I get the feeling that Janice Duclos could slip right in to any of the roles in this musical, male or female, and bring it home.

Micheal McGarty’s set design is functional without distracting.   ShaRon Jenkins guides the cast in some simple, but appropriate, choreography.  There is a small orchestra pit, set traditionally. The musicians, under the direction of Michael Rice, sound like a much larger group than they are.

Columbus has directed a fairly straight-forward reinterpretation of the 1966 musical.  There is a song added, a song switched. The production is slightly stronger dramatically than musically. Gone are the darkest Brecht, Weill, and Fosse influences that have been added since the original production.

Without exception, I enjoyed every moment of Trinity’s current production of Cabaret.

Cabaret runs in the Chace Theater at Trinity Repertory Company through October 11, 2009.

Regular ticket prices range from $20 - $65 with $10 tickets available for the Chace Theater’s 12th row bench.  Tickets can be purchased by calling the Box Office at (401) 351-4242 or online at www.trinityrep.com.

Photo: The Ensemble and Joe Wilson, Jr. as the Emcee. 
Photo by Mark Turek, courtesy of Trinity Repertory Company

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