The new Cabaret Theatre at Harlequin was amazing. What a treat. The musicians were in a curved balcony above the stage and did an incredible job. We loved the pineapple shaped stage lights that gave off just enough yellow glow to set the mood.
The emcee is played by Adam Rennie. Adam joined us from New York. He’s actually from Australia. This is his second production for Harlequin. The first was as Hedwig in “Hedwig and the Angry Inch”. We enjoyed that production as well.
Although there were perhaps six empty seats in the entire house, tickets were sold out. Ticket holders were offered the opportunity of sitting at the foot of the stage that half-encircled the action (for an extra charge) or receiving a shot of tequila. The circular design of the set invites the audience to connect with action of the play. Entrances come from every nook and cranny of the space including a round box at center stage from which most of the cast crawls or climbs out of. The most notable arrivals are the very gymnastic Kit Kat Girls: Lola Havens, Mariesa Genzale, Emma Bradley, Araquin Boome, Jacqueline Tardanico, and Amy Shephard.
Welcome to the Kit Kat Klub. A nine piece orchestra floats above the stage. Spaced apart from left to right and playing multiple instruments like a team of music makers who relish their time together playing some of the most important tunes of the last century. They love what they’re going and consequently the audience loves them as they support and guide the production. Aaron Lamb does well to involve them in the fast moving moment moments late in the second half. One of the most famous American musicals of all time.
Cabaret takes us to the seedy underground of 1929 Berlin during the twilight of the Jazz Age. We’ve seen “Cabaret” in Seattle, Tacoma, and even Gig Harbor. The musical keeps pulling at your heart strings.
“Set in 1929–1930 Berlin during the twilight of the Jazz Age as the Nazis rise to power, the musical focuses on the hedonistic nightlife at the seedy Kit Kat Klub and revolves around American writer Clifford Bradshaw’s relations with English cabaret performer Sally Bowles. A subplot involves the doomed romance between German boarding house owner Fraulein Schneider and her elderly suitor Herr Schultz, a Jewish fruit vendor. Overseeing the action is the Master of Ceremonies at the Kit Kat Klub, and the club itself serves as a metaphor for ominous political developments in late Weimar Germany.” – Wikipedia
There has been a tremendous revival of productions across the nation from Broadway to Community theatres. “Cabaret” speaks to a need to be wary of forces that are causing democracy to crumble. Cabaret is teaching us to fight for human rights.
Sally Bowles is the key to the production and her song “Maybe This Time” is both a heart breaker and the magnet that continues to pull you in. The short song is magic. Karin Terry breaks our heart with this number.
The killer combination and the event that sucks out all the joy out of our hearts is the landlady of the hotel (Fraulein Schneider played by Teri Lee Thomas) and the Jewish grocer (Herr Schultz played by David Gassner) who loves her and wants to marry her. We know that the Nazi’s would never allow that.
The entire play is sad. We watch it because we hope for the best. We want our heroes to win. We want justice. We want to be accepted. We want love. We want a happy ending and we keep thinking “Maybe this time . . . “
Cabaret runs threw July 28th. Visit: HarlequinProductions.org or call 360-786-0151.
