BWW Reviews: NonProphet Theatre Company's CABARET

Most of the productions of Kander and Ebb's Cabaret that I've attended in recent years have been rather intimate and cozy affairs, with stagings seeking to replicate the smoky atmosphere of the Kit Kat Klub as closely as possible. And, the latest production by Non-Prophet Theatre Company is one such example, making full use of every square inch of the Kranzberg Arts Center space. The performers are certainly an enthusiastic lot, but there's a decided lack of dramatic focus in this production that removes the sting from its downbeat, but honest finale. Still, there are some memorable moments to be gleaned from this generally engaging presentation.

Cliff Bradshaw is a struggling American novelist on his way to Berlin when he stumbles across Ernst Ludwig. Ernst immediately befriends him, and not only directs him toward an inexpensive boardinghouse, but also provides him with steady income via English lessons and mysterious smuggling trips to Paris. He meets Sally Bowles, an English girl who's singing for her supper (which seems to consist entirely of gin and prairie oysters) at the decadent Kit Kat Klub, and she moves in with him when it appears that her engagement at the club has come to an abrupt end. When Sally discovers that she's pregnant the pair entertain thoughts of settling down and marrying, but that idea really never rings true, even though Cliff clings tenuously to it until the end. As their tale plays out we are also witness to the ill-fated engagement of landlady Fraulein Schneider to her Jewish tenant and lover, Herr Schultz. Predictably sour and sobering results occur as the Third Reich begins their rise to power.

Keith Parker's portrayal of the Emcee could use a bit of tightening here and there, and some of the costuming choices made for his character are just bizarre and distracting (and not in a good way). However, Parker's fine vocal work gets the opportunity to shine on "The Money Song", "Two Ladies", "If You Could See Her" and the re-occurring musical motif, "Willkommen".

Stephen Barnowski is good as Cliff. He displays a nice voice, and delivers a fairly compelling performance. More problematic is the way Joe Masteroff's book treats the character. Cliff never denies his homosexuality, even when he's confronted with it, but, he never really confirms his bi-sexuality. It's troubling because it makes his concern over the possibility of impending fatherhood, and his attempt to dissuade Sally from getting an abortion, ring false as plot points. Michael Perkins is properly sinister as Ernst, and he fired off an amusing ad-lib when a tossed hat missed its mark early in the action.

The really compelling elements in this script spring from the relationship between Fraulein Schneider and Herr Schultz since it's their story that's truly tragic, with politics and hatred destroying any chance they have at love. Cindy Duggan and Jim Hurley would seem to be good choices for their respective parts as actors, but their vocal work is very weak, and it hinders the impact of tunes like "So What" and the usually poignant song "Marriage".

Also troubling is Leah Schumacher's uneven work as Sally. Schumacher (aka: Lola Van Ella) certainly fills the bill physically, and she brings a lot of energy to the role, but she falls short dramatically, and during the pivotal performance of the title tune demonstrates a lack of understanding of the true purpose of the song. Instead of this being an emotional climax, it's just a rousing rendition devoid of dynamics.

Special mention should be made of the Kit Kat Klub boys and girls played by: Bitsy Bittersweet, Kay Allen, Elizabeth Hull, Sarah Porter (who also does a good job with the role of Fraulein Kost), Laura Gustafson, Michael Amoroso, Jonathon Ellison and Adam Weber, who greatly enliven the proceedings with their erotic and athletic dance work.

Robert A. Mitchell's direction lacks focus overall, with the various musical and dramatic elements failing to gel fully. Kay Allen's choreography makes the most of the space available and manages to divine the right blend of sex and dance. Heather Tucker's changeable set allows it to double as both the boardinghouse and the Kit Kat Klub with a minimal amount of effort or time expended during scene transitions. Nick Ulmansiek's shadowy lighting scheme adds a measure of darkness to the overall mood. Seth Ward Pyatt's music direction is tentative, at best, but the group vocals are nicely realized and performed.

Cabaret continues through August 1, 2010 at the Kranzberg Arts Center.

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