Review: CABARET at CVRep

The musical Cabaret is a classic for many reasons, and no matter who produces it the dark foreboding story never fails to pack a gut punch. The impactful way Cabaret shows the divide of a country, the hate crimes of anti-Semitism and neo-Nazi white supremacy, and the meteoric rise of one of the most brutal dictators in world history. In song and dance it is a perfect lesson of “those who forget the past tend to repeat it”.

The troubling aspect of this gorgeous and complex musical is that it should feel like an ancient relic, but it remains as timely and relevant today as it ever has. This heartbreaking revelation of the rise in anti-semitism is why so many revivals are being planned nationwide, including Broadway, which is set for Spring 2024.

The current production at CV Repertory is expertly guided by Executive Artistic Director/Director Adam Karsten, and it is an all-immersive event that begins when you step through the theatre lobby doors. The audience is transported back to 1929 - 1930 Berlin between the collapse of the Weimar Republic, the rise of the Nazi Party and the Third Reich; and into the decadent sexually free world of the Kit Kat Klub. Arrive early as there is much to see and enjoy during pre-show; with short performances in a side room piano bar with piano man Gustav (Musical director Brent Alan Huffman). He says he is an export from Hungary and, between funny groaner jokes, flirts mercilessly with the ladies. Several of the Kit Kat girls sing popular songs of the period, other strolling players fill the space with spoken word German monologues, and a violinist plays a beautifully haunting tune assisting in setting the mood for the evening. Nice touch.

Unless you’ve lived under a rock or have somehow missed the last 57 years of revivals, community and dinner theatre productions, the premise is: Cabaret is set during the early years of the Jazz Age and the Nazis regime is ascending to power. The musical focuses on the hedonistic lifestyle of a very seedy venue called The Kit Kat Klub. The story revolves around all-American writer Clifford Bradshaw (Marrick Smith) who comes to Berlin to work on a new novel, and the marvelously eccentric English cabaret singer Sally Bowles (Cecily Dowd). With an award-winning score and beloved songs that have become classics of American Musical Theater, Cabaret is a densely powerful and moving depiction of a vile and tragic period in our world. A secondary plot about an elderly couple and their ill-fated courtship is the true heart of this musical tragedy.

Under Adam Karstens’ direction this version of Cabaret with its Fosse-esque theatricality this production is a dynamic evening of entertainment. It is a bit lighter, less trashy in physical appearance, and several heavier moments of dialog were given a much softer touch. However, the standing ovation and cheers from the audience proves it still packs the necessary punch to the gut.

Kristen Howe as the Emcee is given the daunting task of gender-bending to the ultimate extreme (the loud noises heard during her entrance were the heads of Musical Theatre traditionalists exploding) but she capably delivers a strong performance. She was definitely the epitome of androgynous sexual freedom of that era. Unfortunately, what seems to be lacking was any feeling of menace; the Greek chorus representing a creepy looming shadow of Hitler.

Dowd as Sally Bowles brings out her best self-absorbed carefree qualities with great ease. She is a good actress with a lovely singing voice.

Smith as Cliff Bradshaw is exceptional. Usually a thankless doormat role; this Cliff is quite natural (The best I have ever seen) and is given an opportunity to show off some personality and dance skills.

Fraulein Schneider (Leslie Tinnaro) and Herr Schultz (Fred Frabotta) are the older couple who feel the society pot boiling and impending doom more than anyone. Their sweetly charming interaction during “It Couldn’t Please Me More” is the very moment we fell in love with these two characters and began to root for them.

Ernst Ludwig (Ben Sears) befriends Cliff on his first day in Berlin. Sears had the toughest role to play, but should feel honored when members of the audience were compelled to “boo & hiss” his performance at curtain call. The character you absolutely love to hate.

Each of the intricate production numbers are crisp and exciting. All 11 members of the ensemble deserve praise because they are individually superb; enhanced by Karen Sieber’s clever and tight choreography. Most notably “Wilkommen” and “Money, Money”.

Scenic designer Jimmy Cuomo gives the setting an almost rusty industrial feeling. It’s the dark and foreboding mood; exactly the perfect energy we want surrounding these characters throughout the entire production.

Costume designer Hannah Chalman did her homework and gave the production an almost MGM studio archive upscale theatrical look. Other than some ripped fishnet stockings the rest of the costumes looked Haute Couture and beautifully tailed to fit.

The orchestra headed by conductor/pianist Brent Alan Huffman was beautiful; only five (5) musicians, with seven (7) instruments, but they made a big glorious sound. Perfection.

CABARET runs from January 24-February 4, 2024. Performances are on Wednesdays & Saturdays (January 24, 27, 31; February 3) at 2 and 7 p.m.; Thursdays, Fridays (January 24, 25, 26) at 7 p.m.; Sundays (January 20; February 4) at 2 p.m. Talkback Thursdays will be held immediately after the Thursday, February 1 performance. Talkbacks offer audience members the opportunity to discuss the plays with the directors and casts.

Tickets are available online at www.cvrep.org, by calling (760) 296-2966, ext. 115, or at the CVRep box office located at 68510 East Palm Canyon Dr., Cathedral City. Box office hours are Monday-Friday from 10:30 a.m. to 5:00 p.m. and two hours prior to performances. Group tickets are available and can be arranged by calling the box office.  

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