Review: THE END OF THE WORLD CABARET at The Marcelle Theater

The planets are not in alignment for Upstream Theatre’s latest production, The End of the World Cabaret. Premiering in 1936, this satirical work, filled with tragedy and absurdity, was an artistic harbinger of things to come. Sadly, its presentation in contemporary times resonates even louder than when it debuted.

This lively production, directed by Lizi Watt, features a talented ensemble, catchy music, and sublime whimsy. Written by Jura Soyfer and adapted by artistic director Philip Boehm, The End of the World Cabaret pulls no punches in commenting on the dangers of ignoring authoritarianism.

The story centers on our solar system, where the Sun feels consternation about the inhabitants of Earth who are causing the universe to go wonky. Calling a meeting with the planets in the solar system, she explains, how, in order to prevent the cosmos from being permanently out of whack, humanity must be destroyed.

After consulting with the Moon, the Sun affirms that Earth is the cause of the trouble. A nearby comet is dispatched to destroy life on the blue planet.

Although warned that the collision will wipe out all life, Earth's politicians and citizens stubbornly refuse to work together. Instead, they dither with denial, distraction, and division. The planet's residents succumb to hubris and complacency, while the upper elite, many of whom have made plans to leave on their own private rocket, find ways to make money from the cataclysm by selling bonds.

The one man with a plan in a world of greed and madness is Professor Peep, who has designed a machine that will knock the comet off course and save the planet. The only problem is that someone has to pay for it.

Feverish to avoid catastrophie, he meets with the government figures from several countries, only  to be met with indignation and disbelief. Undaunted, Peep takes his message to the streets. Sadly, his warnings go unheeded there as well.

As skies darken, the masses carry on, painfully oblivious to their fate. Meanwhile, corporate oligarchs and the super-rich have their own schemes at work. It’s the end of the world as they know it, and they feel fine.

Tension builds as humanity’s frivolous final moments reach a fateful climax, one that will affect life on Earth as well as its fellow planetary bodies.

Written in response to the rising tide of European fascism in the 1930s, its relevance today is not lost on Watt and her team. Beneath the satirical facade, the production touches on themes of class, community, and the ways propaganda can permeate throughout society.

One reason the gravitas lands is the way Watt incorporates light and sound into the mix. Used to set tone and atmosphere, the production’s meshing of these aspects helps maintain the discomfort and agitation created by the cast.

Keeping the pace moving and framing the drama onstage is the show’s music. Composed by Paige Brubeck of Sleepy Kitty, it undulates and buffers the ensuing mayhem unfurling.

Steve Carmichel’s lighting design makes great use of shadows. With sly nods to Weimar theater, he uses it to create another character, one that lurks in the darkness, speaks to the vastness of space, and accentuates the dangers of ignoring tyranny.

The End of the World Cabaret also boasts a litany of gifted performers in multiple roles. Whether silly or somber, every performance is top-notch. Their efforts sell both the satire and the seriousness of the production.

John Flack is sublime in several parts, including the Moon, a dog, and a multi-millionaire grifter. His laidback approach is a pleasant contrast to the urgency created onstage as the end is nigh.

Jane Paradise gives a commanding performance as The Sun. She also  gets laughs in a variety of other roles.

Chris Tipp is refreshing as a jovial comet and the perpetually flummoxed Professor Peep. Mixing music and melancholy, he shines here.

Whether camping it up as Venus or frustrating Peep as a British bureaucrat, Isaiah Di Lorenzo utilizes a wide range of acting styles across multiple roles.  

Presented with no intermission, The End of the World Cabaret is a gripping work of satire. Written in the past but squarely pointed to the present, this is a superlative production. Sadly, it would be funnier if it weren’t so topical.

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