Review: CABARET at Oakland Theater Project

Cabaret at Oakland Theater Project is not just a show that sticks with you, it haunts you. The images, the melodies, the emotions will follow you for days. You find yourself not just thinking about the show, but yearning for it, wanting all your friends to see it, and hoping the chase for this feeling won’t take too long to find again. Simply put, Oakland Theater Project’s Cabaret is special.

Cabaret's story is centered on an American writer, Clifford Bradshaw, who travels to 1930s Germany and becomes entangled in the vibrant and seductive world of the Kit Kat Klub - especially its star performer Sally Bowles. His growing friendships with disparate characters such as Fraulein Schneider and Enrst Ludwig draw into contrast the intoxicating escapism inside the club compared to the increasing political tensions outside. When these two worlds collide, Bradshaw must make a sensitive decision that will affect the lives of many.

The twelve-member cast shakes, swaggers, belts, and bedazzles their way right into your heart. James Mercer II gives Clifford Bradshaw a voice that melts walls and eyes that always find the truth. Sharon Shao as Sally Bowles gives us a coquettish kitten, dominating diva and everything in between. Her subtle shifts make the inevitable feel shocking. The Emcee, played by Deanalis Arocho Resto, is as powerful as ever. Their dominant presence makes it feel as if they are not only narrating, but also conducting the action like a puppetmaster. Beth Wilmurt’s Fraulein Schneider and Joshua Pollock’s Herr Schultz are such a perfect combo. He softens her edges, and she fills his heart. Their performance together is heart-achingly beautiful. Megan Trout as Ernst Ludwig is dynamic, surprising, menacing, and rapturous all at once. The ensemble is equally solid and is truly the beating heart of the show, infusing it with energy and vitality. Shout outs to Antonella Scogna for their sultry Lulu, and Mylo Cardona for their endearing Ditzie.

Cabaret has been produced in every possible variation of staging. Oakland Theater Project’s stripped down version means that every inch and item used count double. Set Designer Sarah Phykitt provides a diagonal thrust of leveled platforms that become a virtual playground for the cast. The elevation provides excellent view lines and the ability for ensemble members to move items to and from the stage without obstruction. Costume Designer Ashley Renee creates a world that fits every character with authenticity. The items feel as if they are pulled from the character’s closet rather than having been purchased for the show. With minimal sets, the lighting design of Stephanie Anne Johnson is especially important, and it is so effective in changing moods and delineating different spaces that it was almost an ensemble member itself. All aspects of the remarkable artistic team are cohesive and work in unison with each other. The vision of Director/Choreography Erika Chong Shuch is clear, perspicuous, and thoughtful. The transitions are almost invisible as they are used as part of the show rather than a pause. The emotion is never lost, only heightened or redirected. With this show she truly takes you on a journey where you are immersed in the experience, including the use of a few audience members in small ways.

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