Interview: Teresa Sanderson and LL West on Utah Rep's CABARET

Utah Repertory Theater Company will present the award-winning musical CABARET from August 26 to September 11, 2016 at the Sorenson Unity Center Black Box Theater.

Master of Ceremonies Teresa Sanderson and director LL West took time out of their busy schedules to answer questions from BroadwayWorld about this new production.

1. What about CABARET makes it such a classic and worth the time of someone who has never seen it before?

T.S.: CABARET has some of the most beautiful music in musical theatre. "Money" is probably the most famous song, but you will walk away from the theatre humming two or three tunes.

L.W.: I'm thinking that CABARET is not so much classic as it is iconic. Rodgers and Hammerstein musicals are classic . . . the best of a genre that will stand the test of time. Iconic stands alone, singular, not beholding to a label or a type. CABARET is the poster-child for a breaking-the-rules, playing-against-expectations non-musical. Characters that we can't quite wrap our sympathies around . . . a structure that's dis-jointed and strangely unified . . . songs that seemingly come from nowhere . . . and anything but a happy ending . . . hell, we don't even get a resolved ending. Not the stuff of classic.

2. What makes this production stand out from the original and revival Broadway productions and the 1972 film?

T.S.: Well, there is the fact that I am playing the Emcee, something usually reserved for a male actor. I think Larry West has fresh ideas and always keeps the play moving. And I don't think you can say enough about Anne Puzey (music direction) and Ashley Gardner-Carlson (choreography). They have added their own wonderful touches to really help this production shine. I wish this production weren't so terribly timely, but you know Hitler started out as a joke. No one imagined he would actually come into power. It terrifies me for our future.

L.W.: The newest version of the play is tighter, grittier, and much darker. And I think in 1972, it played as a sort of historical "look-what-happened" kinda piece. Our world has changed. This newer CABARET--our CABARET--can be seen as a "what-the-hell-is-happening-to-our-world" kinda piece. When I signed on to direct CABARET a year ago there were political rumblings in the country . . . but nothing like what has transpired in the last few months. In 1931, the people of Germany were frightened, distrustful, angry, and poor. They were looking for a quick fix . . . and they thought they found that in a leader who gave them easy answers, a leader who gave them someone to blame. Hitler was a charismatic savior who defied the establishment. Without really knowing his agenda, the German people blindly followed him into WWII. 'Nuff said.

3. What is your favorite moment in the show and why?

T.S.: It is always hard for me to pick a favorite moment; it is ever changing. I love the relationship between Herr Schultz (Michael Nielsen) and Fraulein Schneider (Jayne Luke) right now. But there are a million little moments.

L.W.: I have one. But I'm not going to tell you. You might just need to find your own. I will tell you it's in the second act.

4. What have you enjoyed most about being part of CABARET at Utah Rep?

T.S.: This is such a great ensemble piece, and I have loved working with this incredibly talented cast and creative team. Everyone has a moment to shine. Don't miss it.

L.W.: Music Director, Anne Puzey, and choreographer, Ashley Gardner-Carlson, are both off-the-charts brilliant! Discovering how the music and movement and story all intertwine and come together . . . we're having a blast! And then there's this amazing cast. Every stinkin' one of them . . . talented, smart, caring people who love theatre . . . love performing . . . even seem to love rehearsing. Always a gift to work on an incredible, iconic piece of theatre; a bonus to be blessed with brilliant co-conspirators . . . and when you add a passionate and talented company, it simply doesn't get much better. Shout out to Utah Rep! Bold and courageous . . . always moving forward.

The show starts at 7:30 PM for evening performances, 2 PM for Saturday matinee performances, and 3 PM for the Sunday, September 11, performance. Tickets are $20.00 for adults and $17.00 for students and seniors. The matinee on Saturday, August 27, is a Pay-What-You-May performance, where tickets can be purchased at any price. Additionally, cabaret style tables may be reserved at a premium rate for groups and includes a truly immersive experience with the cast, as well as mock-tails and period snacks. For more information on ticketing, please email utahrepboxoffice@gmail.com or visit www.utahrep.org.

Due to mature themes, this show is not recommended for children.

Photo Credit: L-R Anne Louise Brings (Sally Bowles), Teresa Sanderson (Master of Ceremonies), Johnny Hebda (Cliff Bradshaw). Photo by Alex Weisman, IceWolf Photography.