EPAC brings the timely Kander and Ebb musical, Cabaret to their summer stage. Directed by Ben Galosi, this production puts an original spin on the story.
Using the philosophy that less is more, the action takes place on a bare stage backed by three curtained entrances. The space morphs easily and effectively into train stations, nightclubs, and Berlin apartments.
Zach Haines is great as Cliff Bradshaw, the American who experiences the decadence and openness of pre-War Germany. Haines is effective at holding back, allowing his fellow actors to appear more intense, flamboyant, and active in their performances. By being more reserved, we are able to better appreciate the extremity of other characters.
Speaking of extreme characters, Tell Williams IV is dazzling as the emcee. He emphasizes the character’s humor, playfulness, and gregariousness, while downplaying the menace and threat. He makes the emcee a more likable character, but one that accurately reflect the hypocrisy and disgust of the Nazi party. This is seen most clearly in his number, If You Could See Her, one of the more disturbing things that I have seen on the Ephrata stage. I felt guilty applauding afterwards, concerned that it wasn’t clear that I was recognizing and appreciating the talents of the cast, rather than the awful tone of the song.
I am a big fan of Rachael Opdenaker’s portrayal of Sally Bowles. Opdenaker brings vitality and beauty to her role. All of her numbers are fantastic, but her cover of the title song is a true powerhouse performance that needs to be seen and heard.
Julia Smith and Marc Lubbers are perfect as the elder couple, Fraulein Schneider and Herr Schultz. The couple has solid chemistry, and provide a poignant glance at more conservative Germans of the time surviving far away from the razzle-dazzle of the Kit-Kat Club.
Costume designer, Lionella Darling has a field day with this show, especially with the sexy clothes (or lack thereof) of the multiple club dancers and patrons.
My sole complaint with this production is that I don’t think they were able to stick the landing. The finale of Cabaret is usually a sucker-punch to the audience. We are caught off guard by realities of the Holocaust, and what this, ultimately, means for the characters we have come to know and love. In other productions, characters change into “striped pajamas”, or affix patches of pink triangle or yellow stars/ Such actions clearly and heavily emphasizes their impending doom.
While I won’t spoil the choices of EPAC’s finale, I will say that they seemed a bit vague and arbitrary.
Cabaret is an important piece of musical theater, and one that can have a significant impact on its audience. It blows my mind that a show with such complex and mature themes found its way to the Broadway stage in 1966. Most other shows of the same era like Hello, Dolly!, Fiddler on the Roof, and Mame can’t hold a candle to Cabaret’s sophistication.
EPAC knows musical theater. Their production of Cabaret is a winner, buy a ticket while you can.
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