BWW Reviews: CABARET MACABRE Captivates At Theater Project

Broadway World Reviews: Cabaret Macabre at Theatre Project

cab·a·ret

noun

1. archaic: a shop selling wines and liquors

2. a restaurant serving liquor and providing entertainment (as by singers and dancers)

3. the show provided at a cabaret

I was planning to begin this review by saying that Theater Project's latest show, Cabaret Macabre, was a series of vignettes, some of them related, intermingled with musical and dance numbers, but, suspecting that this was the very definition of cabaret-style theater, decided to look it up first. The Cambridge Dictionary Online: a performance of popular music, singing, or dancing, especially in a restaurant or bar. Theater Project is neither restaurant nor bar, and Cabaret Macabre's offerings do not fit into the insipid concept of "popular", but these factors in no way detract from the charm and appeal of this production.

With gleeful abandon, the extremely versatile ensemble cast energetically engages us in a variety of happy little horrors. Imagine a Maurice Sendak-themed funeral, the 1920s sensibilities of Hercule Poirot played for laughs, the Gorey-esque opening sequence of the PBS series Mystery! come to life, and characters from your favorite gothic novels stepping out from musty pages to show a little ankle in order to get a glimmering of the enchanting delights Cabaret Macabre holds for its viewers. This is a show that lifts its petticoats to race furiously onto the unadorned black box stage, gives the audience a raspberry, cackles madly and races away.

With many costumes but few set pieces, the vignettes, some of which last mere seconds, skip, march, languish and glide, creating an assortment of rhythms which keep the audience animated and attentive. One emotionally burdened character rolled onstage, made wordless exclamations of woe and distress, sighing deeply for an entire minute: someone in my row said (not quietly) "I hate her already." The many personages interact with one another, and sometimes us, with an earnest commitment to character integrity. This is far funnier than if it were performed tongue-in-cheek, and is a mark of dramatic confidence and experience. There is plenty of physical comedy, quick witty dialogue and a muchness of music, whether featured, incidental, or accompanying. Even the most ridiculous of songs is taken seriously and is exquisitely rendered by the beautiful voices of the cast members.

The production owes a lot to the technical perfection of its lighting design and operation. There were no bungled cues, and the lighting changes were as frequent and varied as the pacing in the vignettes. The costumes were a marvel of elaboration and accessibility- the production required many costume changes, some of them very quick.

Gwen Grastorf, playing the stiff housemaid, (among many other roles), silently judges us at every cross. When Sabrina Mandell misses a skip of her rope, she glares at us ferociously; clearly it's OUR fault. Swivel-hipped Sarah Olmsted Thomas seduces us in rocking a red-dress vodal number. Alex Vernon nails the straight man role, uncoincidentally creating an identifiable Everyman, and Mark Jaster is a delight to watch in understated performance wrapped in an oversized fur coat or overwrought in an undersized wig. Particularly noteworthy is Designated Musician Karen Hansen who plays, (for example- not an inclusive list), a two-headed coronet (one mouth muffled) and a pedal organ which appears to have survived from a previous century. She is onstage a disproportionate amount of time and is dapper in tails and a moustache.

As an ensemble, this cast creates spectacular moments- tiny, like a simultaneous coat-tail flick, and broad, like slow-motion action sequence of a civilized game turned unexpectedly combative- as well as environments such as a windy cliff, complete with flapping skirts and flyaway hats. Every sequence is painstakingly choreographed and impeccably executed by the performers, each of them accomplished and well-trained pantomimists. Watching these physical skills incorporated with music, song and snappy dialogue is a rare treat. It is an unusual actor who maintains brilliant physicality when vocally engaged. This gang of physical comedians, an Elegant Clown Posse, delivers an unconventional, tightly-packed 75 minutes of engaging entertainment.

The show is performed without an intermission, in a gorgeous theater that has ample playing space and severely raked stadium-style seating. There are no bad seats. Do be prepared for two flights of stairs to get to the performance, but there are two separate lifts that make the theater accessible for mobility-challenged patrons. It probably would be wise to allow extra time for that, as Theater Project seems lightly staffed.

If you're in the mood for pre-theater food, Soup's On is one block away and organically delicious. Street parking, while not plentiful, is available, and there are public parking lots nearby.

Cabaret Macabre plays at Theater Project through November 2. This Sunday's show is at 7 PM; Monday, Thursday, Friday and Saturday shows are at 8 PM with an additional Halloween show at 11 PM on Friday the 31st and matinees on Saturday and Sunday at 2 PM. For additional information or to purchase tickets, visit http://www.happenstancetheater.com/

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Theater Project

45 W Preston St, Baltimore, MD 21201

(410) 539-3091

Photo by Rachel June

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