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Cabaret
Music by John Kander
Lyrics by Fred Ebb
Book by Joe Masteroff
Directed by Fred Anzevino
Music Direction by Joshua Kartes
Choreographer Maggie Portman
Produced by Theo Ubique in association with
Beverle Bloch & Michael James
At No Exit Cafe
6970 N Glenwood
Chicago, IL
Call 773-743-3355, tickets $20 Thursdays & Sundays, $25 on Saturdays
Thursdays thru Saturdays at 8 pm
Sundays at 7 pm running time is 2 hours, 20 minutes with intermission
Through December 31, 2007
Intimate No Exit Café gives Cabaret an emotional edge worth experiencing
Director Fred Anzevino sure knows how to stage a musical on his tiny No Exit Cafe stage. His skillful blocking and smart use of the tight knocks and crannies gave his production of Cabaret an emotional edge that catapulted us back to the 1930 Kit Kat Club of Weimar Berlin. Featuring the rich John Kander score on Fred Ebb’s biting lyrics, Cabaret is a multi-layered musical of decadence and desperation. Based on Christopher Isherwood’s novel, Berlin Stories, Cabaret from its 1966 Broadway opening (winner of 8 Tony’s) and the 1972 film (winner of 8 Oscars) has been mounted often to varying levels of success. Theo Ubique’s production is superb in every aspect. It sings well, dances expertly and is acted richly. In short, this production deserves packed houses—it is that good!
Cabaret’s opening, “Willkommen” (one of the best ever of a Broadway musical) must create the sleazy atmosphere of the 1930 Berlin club. Jeremy Trager is fantastic as the Emcee. Trager has the eye-popping expressions and campy style necessary. He welcomes us into his world. With the terrific Kit Kat Girls (Jenny Lamb, Colleen Buckley, Maggie Portman) and the sweet Kit Kat Boys (Mike Harnichar and Michael Herschberg), the Kit Kat Club has a staff of deliciously sexy performers. Maggie Portman’s choreography cleverly utilized the intimate stage with original movements that hinted of the Bob Fosse’s style. I can’t recall a finer opening number.
Cabaret has two relationship stories—an American writer, Clifford Bradshaw (Eric Martin) who falls in love with a wild English showgirl, Sally Bowles (Dana Tretta) and an older Greman woman, Fraulein Schneider (Danielle Brothers) who loves a Jewish merchant, Herr Schultz (Rus Rainear). The undercurrent in Gremany is the raise of the Nazis. Bradshaw is befriended by the German Ernst Ludwig (Sean Effinger-Dean) who lures Bradshaw into minor smuggling. When Sally moves in to Bradshaw’s boarding house, sparks fly despite the hints of gay feeling in Bradshaw. Add the flamboyant whore, Fraulein Kost (Bethany Thomas) and Cabaret has enough story and unique characters to satisfy.
 
Cabaret is filled with terrific songs. “So What?” is Fraulein Schneider’ s ode to her loneliness. Danielle Brothers is riveting as the older German woman starving for love. She knocks out “What Would You do” with a haunting feeling that goes to the heart. Her duets with Rus Rainear (Herr Schultz) “It Couldn’t Please Me More” and “Married” were pure romance.
Jeremy Trager, as the Emcee, delivers several campy and satiric songs: “Two Ladies,” “Money” (with Bethany Thomas), “Kick Line” (with the boys and girls), “If you could See Her” and “I Don’t Care Much.” Trager is fabulous as the mood-setting Emcee who comments with body language and electrifying eyes on the story. Joshua Kartes (piano) and Kevin Brown (percussion) add their spirited musical talents to the production
Eric Martin’s Bradshaw is effective and his vocals are fine. But Cabaret needs Sally Bowles to be a flighty, hedonistic and emotional insecure soul. Dana Tretta gives an excellent performance as Bowles. She combines her acting chops with her rich voice and her sex appeal to become a most memorable Sally Bowles. Tretta delivers “Don’t Tell Mama,” “Mein Herr” and “Perfectly Marvelous” with zestful sexuality. Her haunting ballad “Maybe This Time” was chillingly real. Tretta brings deep emotions to the signature tune “Cabaret” that caps off a terrific performance.
This powerful production is emotionally compelling; it reaches audiences deeply. It hints at the troubles to come through the scary German patriotic song “Tomorrow Belongs To Me” that taps into the nationalistic pride of the Germans.
I can’t remember a more satisfying production then Theo Ubique Theatre’s polished Cabaret. You’ll have to see how well staged this show is on a tiny café stage in Rogers Park. Fred Anzevino needs to take a bow. You’ll not be able to eat (the food’s excellent) and see a quality Broadway musical for less money ($20 -$25 per show ticket). Sometimes the best shows are in storefront theatres or cafes.
Highly Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: October 26, 2007
Jeff Recommended
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