“…It was the Worst of Times”
This classic musical has tunes by John Kander, lyrics by
Fred Ebb and book by Joe Masteroff, and is based on Christopher Isherwood’s
short novel, “Berlin Diaries,” and the play, “I Am A Camera,” by John Van
Druten. It is directed and designed by Rusty
Tennant, musical direction by Matt Insley (also keyboard), and choreography by Kate
Mura.
It is playing at the Funhouse
Lounge, 2432 SE 11th Ave. (street parking only), through June 2nd. This is part of the OUTwright Theatre
Festival. For more information, go to
their site at www.boxofficetickets.com
or rusty.fuse@gmail.com
When down and out, what do you do, “put on a happy
face.” There was a definite glumness to
Germany in the 1930’s, as their world was about to change forever. And when the sense of Doom seemed eminent,
there is only one thing to do, pretend everything is all right and dance, sing
and be merry. But can you really make “a
silk purse out of a sow’s ear.” Of
course not. But, until you’re discovered
to be a fraud, might as well put on airs and treat Life like a giant Masquerade
Ball, where everybody pretends to be something they’re not and you put your
best mask on, and soar….
The main body of action follows Cliff (Alec Cameron Lugo), a
very naive American, wanting to write the great American novel, who lands in
Berlin at the inopportune time that Hitler is moving into politics and the
Nazis are beginning to strong-arm the German people, especially the Jewish
population, into their own obscene brand of a totalitarian government. But, being an innocent, a lamb in a wolf’s
den, he is vulnerable which, for a budding writer, may be a good thing.
He connects with a young German “salesman,” Ernst (Michael
J. Teufel), who desires to learn English, befriends him and introduces Cliff to
life at the Kit Kat Club, a type of underground amusement parlor, where
anything, and anyone, can be available, for a price. The oily owner of the Club, Max, is bedding
down with his star attraction, the alluring, Sally Bowles (Gwendolyn Duffy), a
popular belter of racy tunes and maudlin lyrics. But the one who runs the show, is the Emcee (Ernie
Lijoi), the musical narrator/commentator of the Cabaret lifestyle, in which
everyone has their roles to play.
Cliff is housed into one of the boarding houses near the
club, in which Sally Bowles is also a resident.
The owner of the establishment is the fastidious, Fraulein Schneider (Dmae
Roberts), who has a romantic relationship with one of her boarders, a Jewish
fruit vendor, the kindly, Herr Schultz (Glenn Williams). Also, in residence, is the naughty, Fraulein
Kost (Sara Fay Goldman), who has hot-and-cold running sailors in and out of her
room. Love will make its mark with the
golden-agers, as well as with Cliff and Sally and, under normal circumstances,
there would be happy endings.
But this is not the time nor place for that. Smuggling, corruption, decadence, prejudice
and cruelty are the orders of the day here.
Their world is held up to a mirror, broken several times in many
places. This mock world will trample the
good, make demi-gods of the bad, and reflect the ugliness of a not-too-distant
time and place of yesteryear. And,
perhaps, we should heed this warning nowadays, if we haven’t solved the
mistakes of the past, we are bound to repeat them. If we can’t work together, we are then doomed
to fall separately.
Although the play could be considered a bit of a downer
story-wise, it does reflect well of a by-gone era. And the songs from this musical are
outstanding, both in writing and delivery.
The chorus numbers with the gals and guys are expertly delivered and
well thought out by Mura. The Emcee (Lijoi) is a chameleon and is always
outstanding in his numbers. Duffy, as
Sally, is amazing, as she is both very sexy and very sad at the same time. And her final solo, “Cabaret,” is as chilling
as it is heart-breaking, it raised the hairs on the back of my neck. Hope to see more of her onstage.
Some top numbers were, “Don’t Tell Mama,” “Two Ladies,”
“Sitting Pretty,” “If You Could See Her (the ape acrobatics are stunning)” and,
of course, “Cabaret,” are painfully exciting.
The frightening but beautiful, “Tomorrow Belongs to Me,” by Goldman, is
always a show-stopper. And Roberts and
Williams are touching as the doomed, old couple with their hopeful ballads in a
forlorn setting. Also, Lugo, as our
hero, has the right, wide-eyed stare, like a deer caught in someone’s
headlights, who will have his eyes opened but his heart
broken. Well done.
Tennant has wisely set this story in a real-life bar and it
works wonderfully in creating the proper mood for the story. He has also, with Mura, used the tiny stage
to great advantage, even bringing the action into the house at time. And Insley and his band (Cameron Poehner and
Andy Schanz) do justice to the rousing score without overpowering the actors. This
is a raw show and does have some nudity in it.
I highly recommend it. If you do
choose to see it, please tell them Dennis sent you.
--DJS
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