Review: 'THE WORLD GOES ‘ROUND: THE SONGS OF KANDER & EBB' at Milwaukee Repertory Theater

My first visit to the Stackner Cabaret at Milwaukee Repertory Theater could hardly have had a better introduction than The World Goes ’Round – The Songs of Kander & Ebb. The intimate, cozy space proves a beautiful match for this wonderfully staged musical revue, bringing the audience close to five immensely talented performers and to the wit, heartbreak, humor and sheer theatricality of John Kander and Fred Ebb’s music.

The gorgeous set immediately establishes the atmosphere, but it is Kelly Faulkner’s direction and choreography that make such inventive use of the space. Her staging plays beautifully with the music, particularly in the production’s high-energy and more emotionally charged numbers. “Coffee in a Cardboard Cup,” “Sara Lee,” “Cabaret” and “Kiss of the Spider Woman” are among the moments when the staging, choreography and performances come together especially well.

At the heart of the production, though, is its five-person ensemble: RJ Christian, Joe Kinosian, Jillian Louis, Paula Gaudier and Tiffany Topol.

Their chemistry is remarkable. They do not simply perform alongside one another; they constantly play off one another’s strengths. A generosity to the performances makes it feel as though each cast member is actively helping the others shine. The result is an ensemble that feels genuinely close-knit rather than five individual performers sharing a stage.

“Multi-talented” almost seems inadequate. Throughout the evening, the five featured performers move between singing, acting, dancing and playing multiple instruments—sometimes seemingly doing everything at once.

That sense of ensemble extends to pianist Brett Ryback and drummer Michael Reilly, who provide the musical foundation for the evening while feeling very much a part of what is happening onstage. Ryback even is drawn into some of the action, blurring the line between musician and performer and adding to the playful theatricality of the production. Reilly’s percussion helps drive everything from the quieter moments to the show's biggest, most energetic numbers. Together, they contribute to the wonderful feeling that the music is not simply accompanying the performance—it is an integral part of it, being created right there in the room.

Yet amid all that collective talent, each of the five featured performers finds opportunities to make an individual impression.

RJ Christian’s rich vibrato is particularly striking in “I Don’t Remember You,” but it was “Kiss of the Spider Woman” that absolutely blew me away. Christian unleashes a vocal performance so powerful that it almost feels as though the walls of the Stackner are vibrating along with him. It is one of those thrilling theatrical moments when the power of a live voice reminds you exactly why live theater can never be replicated.

Joe Kinosian turns “Sara Lee” into one of the funniest highlights of an evening filled with them. His comedic timing is impeccable, but it is the combination of his facial expressions, physicality and complete commitment to the absurdity of the number that makes it so memorable.

Jillian Louis provides one of the evening’s most affecting dramatic moments with “The World Goes ’Round.” Her stunning vocals and emotional honesty transform the song into something genuinely heartbreaking. In a production filled with big personalities and exuberant musical numbers, Louis demonstrates just how powerful simplicity and vulnerability can be.

Paula Gaudier possesses a gorgeous voice and proves equally adept at comedy. She is a standout in “Coffee in a Cardboard Cup,” where her timing and facial expressions are hysterical. Faulkner's staging of the number is equally inspired—the escalating energy becomes so infectious that by the end, I felt as though I had been drinking shots of espresso along with the cast.

Tiffany Topol gets one of the evening’s most recognizable numbers with “All That Jazz,” and she absolutely delivers. Rather than simply recreating the familiar Chicago interpretation, Topol captures everything audiences love about the song while making it her own. The result is playful, confident, joyful and enormously fun.

That willingness to approach familiar material from a fresh angle is one of the production’s greatest pleasures. “Cabaret,” for example, receives a wonderfully unexpected ensemble treatment that at times recalls the intricate vocal layering of a group like Pentatonix. It is fun, inventive and refreshingly different from the version audiences may expect to hear.

There was one recurring technical issue during the performance I attended. When the entire band was playing, the instrumental mix occasionally overwhelmed the singers, making some vocals—and particularly some lyrics—difficult to hear or understand. In a show where Kander and Ebb’s lyrics are so essential, finding a slightly better balance between band and vocals would make an already exceptional production even stronger.

Beyond that issue, however, the evening comes remarkably close to pure perfection.

And the production knows exactly how to send its audience home happy. “New York, New York” provides a joyous finale, with the performers bringing the audience into the celebration. After spending the evening so close to this enormously likable ensemble, being invited to join them feels less like a gimmick and more like the natural culmination of the show.

The World Goes ’Round ultimately succeeds because it celebrates not only the extraordinary songbook of Kander and Ebb, but also the pleasure of watching five gifted performers make music together. Christian, Kinosian, Louis, Gaudier and Topol each get their moments to shine, but the production is at its best when all five are feeding off one another’s energy.

In the wonderfully intimate confines of the Stackner Cabaret, that energy is impossible not to feel.

Reader Reviews

To post a comment, you must register and login.

Need more Milwaukee, WI Theatre News in your life?
Sign up for all the news on the Summer season, discounts & more...