Review Roundup: What Did Critics Think of CABARET at Ivoryton Playhouse?

Review Roundup: What Did Critics Think of CABARET at Ivoryton Playhouse?

The critics went to the cabaret, old chum! Cabaret at the Ivoryton Playhouse plays through this Sunday, September 1. Hear what the critics had to say about this production.

"There was a cabaret and there was a master of ceremonies and there was a city called Berlin in a country called Germany. It was the end of the world ... and I was dancing with Sally Bowles and we were both fast asleep." So begins the international classic musical and winner of 8 Tony awards - Cabaret. Join us at the Kit Kat Club as the Emcee takes us back to those tumultuous times with unforgettable musical numbers including, "Willkommen," "Cabaret," and "Two Ladies."

Set in 1931 Berlin as the Nazis are rising to power, Cabaret focuses on the nightlife at the seedy Kit Kat Klub, and revolves around American writer Cliff Bradshaw and his relationship with English cabaret performer Sally Bowles. A sub-plot involves the doomed romance between German boarding house owner Fräulein Schneider and her elderly suitor Herr Schultz, a Jewish fruit vendor. Overseeing the action is the Master of Ceremonies at the Kit Kat Klub.

Now a Broadway classic, the original 1966 Broadway production became a hit winning eight Tony Awards in 1967 and four in 1998. The show has inspired numerous subsequent productions in London and New York, as well as the 1972 film of the same name

Check out the reviews below!

Andrew Beck, BroadwayWorld: Underwood stages the production with limited scenery, cleverly designed by Daniel Nischan to sufficiently hint at the plot's various locations, relying equally on Marcus Abbott's lighting design which contributes deliberately uncomfortable exclamation points as the story builds. Unfortunately the set is populated with lots of tables, chairs and props which often prolong the flow between scenes and numbers as cast members must scurry out and exchange round tables for square tables and eliminate occasionally sizable numbers of chairs, even though such moves seem to have been obviously choreographed. With the band placed on platforms in the rear, a few scenes are performed in the midst of this elevated area, while most are pushed forward toward the front of the stage, allowing Underwood to stage a variety of dances that capture the flavor of the times.

Tim Leininger, Journal Inquirer: Todd Underwood makes some questionable decisions as director and choreographer, mostly to do with staging. Much of the choreography is tepid and underwhelming. Multiple times in the show the actors' faces are blocked by staging or props, hiding their actions. This is most egregious during Sally's song "Cabaret," where her face is hidden by a giant hand-held microphone for half the song. As the song hits its climax, Sally is positioned far stage left when she should be front and center. This is a shame because Mack is giving her all in the number and much of what she is doing is hidden by the blocking.

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