Within the world of musical theater, shows often have a tendency to be light and carefree. Little attention is paid to earth-shaking events, and even less attention is paid to politics. This is where "Cabaret" strays from the mainstream.
Correctly labeled a "dark musical," MUSKET's latest production, "Cabaret," confronts ideas and situations commonly found in Berlin in the 1920s and '30s. Love in hard times, the rise of the Nazi regime and anti-Semitism all work together to create this unique show. Yet there are numerous questions that must be faced when dealing with themes such as these. How does a director deal with such subjects in a delicate manner? How does one get a message across without creating an uncomfortable atmosphere?
T. Adam Hess and his talented company managed to deal with these issues. They touched the audiences' hearts while at the same time managed to deal with a delicate topic.
Much of the action is set in the Kit Kat Klub, a Berlin cabaret, which also acts as a symbol of the Nazi regime. The Kit Kat girls shimmy their way around the club, oblivious to all that is going on around them. Things then take a drastic change for the worse at the end when they are forced to face a changing Germany.
Opening the show is the wonderfully sleazy Master of Ceremonies, played by Nick Sattinger. Oozing his way from scene to scene, Sattinger managed to send chills down one's back as well as inspired laughter at his outrageous antics. Thoroughly delightful in the song and dance "Two Ladies," Sattinger's charismatic personality was portrayed perfectly.
The plot went on to wind itself around the characters of writer Cliff Bradshaw (Michael Short) and actress Sally Bowles (Heather Freisleben). Freisleben flung herself into her role, making Sally frivolous, outrageous and extraordinary. Charming the audience as well as charming Cliff, Freisleben delivered her role with finesse. Short played a somewhat subdued Cliff, whose anger and passion are seen only for fleeting moments. Supposedly furious at the events and ideas surrounding him, Short's character never quite convinced the audience of his feelings.
Intertwining themselves into the story were Fraülein Schneider (Margaret Magee) and Herr Schultz (Gabe Goldman). Handling a difficult role with ease, Magee created a wonderful Fraülein Schneider. She was able to break hearts with her difficult decision not to marry Herr Schultz. Likewise, Goldman made the audience want to laugh, especially with his song "Meeskite," and then cry with him for his lost love.
A chilling Ernst Ludwig (Barret Foa) manages to slam the production into serious issues when the audience discovers he is a member of the Nazi party. Yet this did not cause the song "Tomorrow Belongs to Me" to be any less breathtaking.
Tackling such topics as the Nazi regime is never easy, and perhaps it is even harder in musicals. But MUSKET managed to deal with such difficult situations, and still satisfy the audience's desire for a theatrical performance. Director Hess did an admirable job of dealing with difficult topics even in the medium of musical theater. If Hess' goal was to have the audience remember the events of the past, this objective was definitely achieved. A complex and unusually dark musical, "Cabaret" offers a constructive message for all of us.