Oakbrook's 'Cabaret' a Seamless, Compelling Theatrical Vision

Run. Do not walk. Run to Oakbrook Terrace-or, at least, run to your car, train, bus, taxi or helicopter-in order to get to Chicago's western suburbs. There you will witness an extraordinary night of theater, Jim Corti's staging of "Cabaret," which is seamless, courageous and frequently state-of-the-art.

Is is possible that "Cabaret" is really the Great American Musical? I can't imagine it being done badly. I mean, it could be done amateurishly, I suppose, but I think it is so solidly written that it will always work. And even though it is has been slightly overshadowed of late by composer John Kander and lyricist Fred Ebb's other great masterpiece, "Chicago," I think that history will judge "Cabaret" to be the superior work. Because of the strength of its story (American writer goes to Weimar Germany looking for a topic, and boy does he find one), it will always move an audience. And, because of the vast differences in tone and emphasis (not to mention script and score changes) that "Cabaret" has exemplified in its major American viewings (the original Harold Prince 1966 staging, the 1972 Bob Fosse film, the 1987 and 1998 Broadway revivals), audiences never know quite what they will get, beyond a particular director's interpretive emphasis. (I mean, you don't expect a lot of changes when you go see "Oklahoma!" or "A Chorus Line.") But that can make it very exciting!

You see, "Cabaret" can differ a lot from one theater to the next, and still work its magic. Drury Lane's production places its emphasis on the "camera" eye of its Christopher Isherwood surrogate, Clifford Bradshaw, and uses the 1987 script (credited to Joe Masteroff) and the 1966 score (with one song added in to each Broadway revival) for actor-turned-director Jim Corti's clean and clear vision of the show as a seamlessly integrated "concept musical inside a book musical." Its ending is the reverse of its beginning, and every design element, casting choice and pacing beat serves his overall vision. It has the courage of his artistic convictions in its every pore.

Even while sticking closer to the Prince stage versions than the movie or the recent Donmar Warehouse staging (and its gasp-inducing, though somewhat pasted-on, ending), Corti, who performed the role of the Emcee when the 1987 revival toured (taking over for the legendary Joel Grey), adds a few touches of his own. Most noticeably, there are no blackouts at all in this production (skillful lighting by Jess Klug). Every single scene and song bleeds cinematically into the next, like a Michael Bennett show. Stunning. And, building on Tommy Tune's staging for "Grand Hotel," the cast watches, not from the sidelines but from other parts of the action (amazing industrial/glam set by Brian Sidney Bembridge). Cliff Bradshaw frequently watches performances at the Kit Kat Klub from this typing desk in his flat (properties by Greg Isaac). And when Cliff and Sally Bowles are in the flat, there are Klub patrons and employees watching them from tables or balconies, motionlessly hanging on every word (remarkable sound design by Cecil Averett). Seamless integration, indeed. 

I sat bolt upright when the word "KABARETT" appeared over the stage, in big neon letters, and Patrick Andrews, as the most Aryan-looking Emcee in history, sang that word in the fantastic opening number, "Willkommen" ("im Kabarett, au Cabaret, to Cabaret!"). I don't know that that's ever been done before (dialect coaching by Claudia Anderson). Corti is absolutely right that the German word for "cabaret" is "kabarett," (short e, hard t on the end). English does not have an equivalent word, but has incorporated the French "cabaret," with the pronunciation the same (long e, no t). Like I said, courage of artistic convictions. Amazing.

Andrews is a revelation in the role, progressing bit by bit from handsome, innocent and elegant in the opening sequence to bawdy, menacing and homicidal at the end. He is a remarkable triple threat with a long list of Chicago-area credits, and more to come. Such dancing, singing and acting! As Cliff, Northwestern graduate and New York-based actor Jim Weitzer (Broadway's "Little Women") is sensitive, strong, thoughtful-and thoroughly believable. He grounds the entire evening, which swirls around him so seductively, fascinatingly.

As budding Nazi Ernst Ludwig, Brandon Dahlquist turns in a sequentially nuanced and subtly dangerous performance. Rob Lindley provides a unique presence as a cross-dresser who sings "Tomorrow Belongs to Me" in a warbly falsetto (Corti providing shades of "Chicago.") And as Jewish fruit merchant Herr Schultz, David Lively comes as close as one could to matching the matchless original creation of Jack Gilford, particularly in his nailing of the difficult song "Meeskite" near the end of Act One.

And the women! Los Angeles actress Zarah Mahler completes the three-coast casting of the lead roles here, by bringing to Sally Bowles many of the qualities of her esteemed predecessors (the soubrette strength of Julie Harris, the waiflike innocence of Jill Haworth, the vocal power of Liza Minnelli and the husky-voiced intelligence of Natasha Richardson). Mahler also creates something new and lovely. She sings, she seduces, she suffers-does she survive? Her rendition of the title tune is compelling in its inevitable simplicity. Christine Sherrill's Fraulein Kost is busty, yes, but just as fully realized on the inside.

And Rebecca Finnegan merely achieves the impossible-she obliterates all memory of Lotte Lenya in the role of Fraulein Schneider-Lenya carried Weimar Germany on stage with her every time she entered, too! Finnegan's acting is powerful and thoroughly compelling, her singing throaty and warm, her humor wonderful and her heartbreak shattering. This is a performance not to be missed. Run, do not walk. Run to Oakbrook Terrace! 

Needless to say, the ensemble of triple threat performers and patrons at the Kit Kat Klub dance, act and sing superbly (fight choreography by Jarret Ditch, assistant direction by Erin Thompson and musical direction by the very busy Doug Peck.) Stage Manager Thomas Joyce and Conductor Maria Honigschnabel keep everyone on point and purpose. And Drury Lane Productions Executive Director Kyle DeSantis has another big hit on his hands, I am sure. This "Cabaret" is thoughtful, technically superb and as professional as any production of this show has ever been. It unspools inevitably, inexorably, incredibly. It makes one wonder if it could be any better, given the space and time constraints of this particular venue in this particular economy. There aren't any weaknesses, really. If you change anything, you really aren't doing "Cabaret" anymore-it seems that exactly right. To see what America is capable of, and to relive moments in both world history and theatrical history, see this "Cabaret."

"Cabaret,"opens August 19 and runs through October 11 at Drury Lane Oakbrook Terrace, 100 Drury Lane, Oakbrook Terrace, IL.  For tickets call (630) 530-0111 or visit www.ticketmaster.com or www.drurylaneoakbrook.com. 

Photo credit: Johnny Knight  

Patrick Andrews ("Emcee") and -from left to right- Nicole Pelligrino, Amanda Tanguay, Amber Mak and Summer Rich 

Zarah Mahler and Jim Weitzer  

Rebecca Finnegan and Christine Sherrill

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