Cabaret
During intermission on the opening night of "Cabaret," a
colleague asked quite casually how many productions of this Kander
and Ebb masterpiece I've see over the years.
"About ten," I quipped without counting. In my opinion, along
with several Stephen Sondheim classics, it's a perfect example of
American musical theater at its best.
We both agree on two requirements, however. In order to work, this
material must have strong direction that probes the subtext, and an
informed cast that can deliver the goods.
That said, you have until March 9 to experience the musical
version of the sordid life that took place in 1930's Berlin. Never
mind if you've seen "Cabaret" before, this is a revised version of
Kander and Ebb's original 1966 award-winning work, which was adapted
from "I Am a Camera," John van Druten's 1952 play. It, in turn, was
based on a Christopher Isherwood short story written in 1930.
Thanks to set designer Don Llewellyn, walking into the
International City Theatre is like entering a gaudy vintage venue on
the wrong side of town. Under the artful direction of Jules Aaron,
the entertainment is a time bomb with a sizzling fuse that ignites on
the stage in Act I, and explodes in the audience in Act II.
Even those who are familiar with this material will be hooked.
From "Willkommen" (the very first number), Jason Currie has the
audience in the palm of his hand. Portraying the Emcee as an erotic
transgender, he mugs, mimes, and sings directly to each person. "Two
Ladies" and "If You Could See Her Through My Eyes" almost bring the
house down; while "Tomorrow Belongs to Me" sends chills up your
spine. Currie even dons high heels and a wig to join the raunchy Kit
Kat chorus line.
Also terrific is Erin Bennett as the irrepressible,
devil-may-care English chanteuse, Fraulein Sally Bowles. Her vocal
talents range from the bawdy "Don't Tell Mama," through the
flirtatious "Perfectly Marvelous," to the wistful "Maybe This Time."
Christopher Carothers balances her flamboyant character as Cliff,
a soft-spoken, low-keyed, penniless American writer who, in spite of
his sexual ambivalence, falls in love with her. His delivery of "Why
Should I Wake Up" is so convincing we know his dream-life is over and
reality is about to set in.
You couldn't ask for a finer portrayal of the resigned Fraulein
Schneider than Eileen T'Kaye. Her performance is flawless. When she
sings "The Pineapple Song," it's charming and uplifting; while her
delivery of "So What" and "What Would You Do," is heart-wrenching.
Paul Zegler lacked the warmth, feeling, and physical image to be
an effective Herr Schultz (Fraulein Scheider's would-be Jewish
fiance), but he did a nice job on his "Married" duet with T'Kaye.
Last but far from least, let's give a round of applause for the
terrific onstage musicians who set the tone for this disastrous time
in history. Under the superb direction of Brian Murphy at the piano,
Karen Zelazo, Erin Hobbs and Shelly Suminski blow their horns to the
rafters, while Barry Saperstein keeps the hell out of his drums.
Shirle Gottlieb
("Cabaret" continues at International City Theatre, Long Beach
Performing Arts Center, 300 E. Ocean, in downtown Long Beach.
Performances are Thurs-Sun, 8 pm; Sun., 2 pm; through March 9.
For tickets and further information, call (562) 436-4610 or go online
at www.ictlongbeach.org