Blending various styles, 'Cabaret' smolders onstage

By Jim Schiff

Daily Arts Writer

"In here, life is beautiful." This line, one of the first uttered by the emcee of The Kit Kat Club, was the theme of University Productions' spectacular production of the Kander and Ebb hit musical, "Cabaret." The first-rate cast delivered masterfully choreographed dance numbers and perfectly-pitched vocals to the full crowd at the Power Center.

Directed by Linda Goodrich, "Cabaret" follows the lives of several individuals in 1930's Berlin, just as the Nazis were coming to power. It centers on American Clifford Bradshaw (Sean Clifford), who travels to Germany to get inspiration for his novel. Through his stay at a tenant house, owned by Frau Schneider (Madeleine Wyatt), he meets an ensemble of quirky characters. His frequent trips to The Kit Cat Club, a sleazy cabaret, cause him to collide with Sally Bowles (Celia Keenan-Bolger), a free-spirited spunky British singer. Back at the hotel, Schneider gives herself a chance at love with an elderly Jewish man, Herr Schultz (David Reiser).

In the background of these relationships is the flashy decadance of the cabaret. The ensemble cast, adorned in glittery costumes and widened smiles, brought this night club to life. Throughout, the musical retained an unsurpassed energy and vigor. The cabaret's musical entertainment, a mostly crossdressing jazz ensemble, set the spirited mood. Flappers and their beaus shimmied across the stage in with incredible ease. While singing, dancing, and drinking, the partiers could leave their worries behind.

The set design gave an authenticity to "Cabaret" that was useful in creating a genuine period-feel. The train car and the hotel room were simply decorated in 1930s-style furniture, but careful attention was payed to the tattered curtains and worn-wood door. In stark contrast was The Kit Kat Club, decorated as brightly as the smiles on the actors' faces. Dim table lighting, coupled with bright lights on the stage, helped to reveal the sexy dialogue among the chacters and the over-the-top performances on the Kit Kat stage.

In an incredible performance, the emcee (Darryl Semira) set the sexually-charged tone to "Cabaret." He was completely believable as a gender-bending party-animal, seamlessly blending in the female chorus line. "The Money Song" allowed him to show off his considerable vocal talents and dancing ability. Both Clifford and Keegan-Bolger handled their lead parts beautifully, providing the musical with its emotional center. Keegan-Bolger was particularly convincing as a lounge singer who comes face-to-face with responsibility and her first true love in Clifford.

But the most impressive aspect of "Cabaret" was the onstage chemistry between Wyatt and Reiser. In "So What," and "What Would You Do," Frau Schneider confronts her lonely existance and the moral dilemma she must make between her love, Schultz, and her safety in Nazi Germany. The widower Schultz and the love-deprived Schneider convey beautiful vocals in their longing for one another.

In supporting roles, T0homas Foster as Ernst Ludwig, a Nazi businessman, and Anna Gleichauf as Fraulein Kost, a sexy young woman who sleeps around with German sailors, were also effective. Both winningly wooed the innocent Bradshaw into the carefree world of the German cabaret.

"Cabaret" is so wonderful because it is an intricate blend of many kinds of shows. Las-Vegas style dancing, a witty sense of humor, and powerful relationships make it a delight to see. "In here, life is beautiful." At the Power Center last night, it certainly was.