Review: CABARET at Smyrna Opera House

The Smyrna Opera House’s Cabaret isn’t just good—it’s a minor miracle. This is their first musical in years, and instead of easing back in with something safe, they went straight for one of the most stylistically demanding, tonally complex shows in the canon. And they pulled it off with grit, intelligence, and surprising polish.

What makes this production especially compelling is context. Unlike Candlelight, Delaware Theatre Company, or Wilmington Drama League—organizations with decades of institutional muscle memory—Smyrna had no recent template. No built-in rhythm. This wasn’t a revival; it was a reinvention. Many cast members were returning to the stage after long absences, while others were making their debut in the space. That kind of instability usually shows. Here, it didn’t. That’s not luck—that’s leadership.

Enter Bob Gatchel, the production’s not-so-secret weapon. Calling him a “triple threat” undersells it. Gatchel is the rare performer-director who understands that Cabaret lives in the margins—the glances, the pauses, the undercurrents. His direction is precise without being fussy, shaping performances that feel lived-in rather than indicated. Every shrug, every sidelong look had intention. And yes, the accents—so often a community theatre casualty—were consistently on point, from Sally to Schneider to Schultz to Tristan Torres’ sharply drawn Ernst Ludwig.

Gatchel has clearly been in the jaws of the theatre beast for decades (think Jonah and The Whale), and here it pays dividends. His enthusiasm is infectious, but more importantly, it’s disciplined. This is a thought-out Cabaret.

The boldest—and smartest—choice? Casting Lennon Heitz as the Emcee. A woman in the role isn’t a gimmick here; it’s a revelation. Heitz doesn’t imitate past Emcees—she sidesteps them. Her performance is seductive, knowing, and just unhinged enough to keep the audience off balance. She commands the stage with ease, threading decadence with menace. It’s one of the freshest takes on the role I’ve seen—and I’ve seen plenty, including my own; 3 times in the early 70’s with Joel Gray whiteface.

Jasmine Bradley’s Sally Bowles leans hard into the character’s delusion, which is exactly right. Too often Sally is played as knowingly tragic; Bradley makes her oblivious until it’s far too late. Her “Don’t Tell Mama” and “Mein Herr” have the expected sparkle, but there’s an undercurrent of desperation that creeps in if you’re paying attention. It’s not a carbon copy of Liza—but we buy into Bradley’s version.

Maria Glockner’s Fraulein Schneider is the emotional anchor of the show. Her performance is unforced and deeply human, with a beautifully sustained accent and aching musicality. “What Would You Do” lands exactly where it should—quietly devastating. Ken Speir’s Herr Schultz complements her with warmth and restraint, making “Married” genuinely moving instead of merely sweet.

The Kit Kat ensemble deserves real credit. Fosse is unforgiving—stylized, specific, and easy to get wrong. Choreographer Madalynn Martino doesn’t water it down, and the cast meets the challenge head-on. Is it perfect? No. Is it committed, energetic, and often downright entertaining? Absolutely. “Two Ladies,” cheekily staged with Kit Kat Boy Nick Carey, is a standout, and yes—there’s plenty of unapologetic pelvic action.

Design-wise, this production knows exactly where it is. Sally Borghardt’s costumes are provocative without tipping into excess—this is Smyrna DE, not Berlin’s seediest back alley. The aesthetic restraint actually works in the show’s favor. Autumn Birney (also a memorable Fraulein Kost) deserves a nod for the makeup influence—the Edith Piaf-style brows are a sharp, evocative touch. Her “Tomorrow Belongs to Me” is haunting, as it should be. Lovely voice.

Is this Broadway? Of course not. But that’s beside the point. This is something arguably more exciting: a community theatre production that refuses to think small. It’s a hybrid—grassroots passion with real artistic ambition.

Lighting Design by Valerie “V” Gatchel hit all the right notes, especially those around the proscenium.

And here’s the bottom line: Smyrna Opera House didn’t just stage Cabaret. They proved they’re ready to matter. Aisle Say hopes they make this part of their future.