Review Roundup: What Did Critics Think of CABARET at Connecticut Repertory Theatre

Wilkommen to Connecticut Repertory Theatre's production of Cabaret, running now through July 21 at the Harriet S. Jorgensen Theatre on the campus of the University of Connecticut.

In a Berlin nightclub, as the 1920's draw to a close, a garish Master of Ceremonies welcomes the audience and assures them they will forget all their troubles at the Cabaret. With the Emcee's bawdy songs as wry commentary, Cabaret explores the dark, heady, and tumultuous life of Berlin's natives and expatriates as Germany slowly yields to the emerging Third Reich. Cliff, a young American writer newly arrived in Berlin, is immediately taken by English singer Sally Bowles. Meanwhile, Fräulein Schneider, proprietor of Cliff and Sally's boarding house, tentatively begins a romance with Herr Schultz, a mild-mannered fruit seller who happens to be Jewish. Musical numbers include "Willkommen," "Cabaret," "Don't Tell Mama" and "Two Ladies."

The musical features a book by Joe Masteroff and a score by John Kander and Fred Ebb.

For more information and tickets to see Cabaret, tap here.

Let's check out what the critics have to say about the production in their reviews below!

Joseph Harrison, BroadwayWorld: The cast of CT Rep's Cabaret is like a gift from Broadway heaven. First, and foremost, Laura Michelle Kelly is on fire as Sally Bowles. Each and every one of her numbers raises the roof, with her delivery of "Maybe This Time" and "Cabaret" standing out the most. Her group numbers with the Kit Kat girls and boys are full of raw energy and beautiful tension, making this reviewer very happy they kept both "Don't Tell Mama" and "Mein Herr" in the show.

Donald Brown, New Haven Review: At UConn, the tension between the show's professionalism and less professional elements makes for an interesting mix that suits this musical. With four superlative Broadway show-persons in the main roles and post-graduates and a few undergraduates providing support, this Cabaret showcases a divide between the adults-Sally Bowles, the Emcee, Fraulein Schneider, Herr Schultz-and the more youthful ensemble members. The latter bring a freshness to their roles that plays off the experience of the elders-whether the Emcee's glittering irony, Herr Schultz's cautious emotion, Fraulein Schneider's brittle matter-of-factness, or Sally's willfulness and selfishness. Barnes' Bradshaw comes into his own when confronted by changes, notably those in Ernst, who Marchetti plays with an endearing charm only to turn cold and baleful.

Christopher Arnott, Hartford Courant: Where this production truly distinguishes itself is in the singing. The character of Sally Bowles is usually not required to sing especially well; it's well-established that she's self-destructive, delusional and only has her low-rent cabaret gig because she's sleeping with the proprietor. Laura Michelle Kelly, who originated the title role in the original London production of "Mary Poppins" and later played that role on Broadway, has a magnificent musical-theater voice, and belts out "Maybe This Time" as though she owns the club. She simply finds other ways to express Sally's vulnerability and self-undermining style.