‘Cabaret’ – Book by Joe Masteroff; Based on the play by John Van Druten and Stories by Christopher Isherwood; Music by John Kander; Lyrics by Fred Ebb; Directed by Tom Frey; Choreographed by Ilyse Robbins; Music Directed by Jenny Kim-Godfrey. Presented by the Peterborough Players, 55 Hadley Road, Peterborough, NH through July 3rd.
by Mike Hoban
The Peterborough Players return to the stage after a two-plus year layoff from indoor performances at their 250 seat theater, bring it back in grand style, mounting a winning production of Kander & Ebb’s Cabaret. The choice of this musical could not be more timely given recent events, resonating in a way we could not have dreamed of when it debuted on Broadway in 1966. It’s a chilling reminder that what happened in 1930s Germany could very well happen here in the 21st century. Luckily for audiences looking to escape from what seems to be a daily onslaught of bad news, it’s also one of American Theater’s great musicals, with an equally strong book. The Peterborough Players production – buoyed by a strong cast, sure direction, and inventive choreography – delivers a compelling and enjoyable night of theater.
Cabaret tells the story of doomed lovers Sally Bowles, a troubled British nightclub singer, and Cliff Bradshaw, a bisexual American novelist trying to escape writer’s block by hopping from one romantic European city to another. On his way to Berlin, he meets smuggler Ernst Ludwig, who, unbeknownst to Cliff, dupes him into helping him complete a job under the watchful eyes of the law. In turn, Ludwig helps him find a room at the low rent boarding house run by the elderly Fraulein Schneider. He also encourages him to sample Berlin’s decadent nightlife at the Kit Kat Klub, an anything-goes cabaret where the extracurricular goings-on are reminiscent of discos in the mid-seventies. The club features vaudeville-style dancers and singers, with a floor show hosted by the colorful Emcee (the dynamic Matthew McGloin), who introduces the acts with a slew of clever double-entendres, such as his introduction of the dancer “Texas”: “(She) is from America! Mmmhmm. But she’s a very cunning linguist!”).
Cliff connects with Sally following her provocative number, “Don’t Tell Mama”, Sally moves in with him the following day, and the pair begin a relationship built largely on celebrating the party that is late 1920’s Berlin. Sally and Cliff are not the only burgeoning love story, as the not-so-young Fraulein Schneider takes up with one of her boarders, the charming Herr Schultz, the Jewish owner of a fruit stand. All of this is set against a backdrop of political change in Germany, as the Nazis are gaining power and people – friends, neighbors and co-workers – are beginning to choose sides. We see the rising storm of change reflected in the performances at the Kit Kat Klub, as dancers incorporate goosesteps into their routines and the Emcee performs the initially hilarious (but ultimately horrifying) dance with a woman dressed as a gorilla, “If You Could See Her (The Gorilla Song)”. At this point, we know that the relationships between the pair of lovers are not the only things destined to go horribly wrong.
Those not familiar with the Peterborough Players should know that this is professional theater. Cast members include Broadway veteran Joy Hermalyn (Caroline, or Change, Fiddler on the Roof on Broadway) as Fraulein Schneider; Brandon Grimes (National Tours of Jekyll and Hyde and All is Calm) as writer Cliff Bradshaw, and Michelle Beth Herman (National Tour of Les Misérables) as Sally Bowles. The production also features solid performances from Boston favorite Russell Garrett (as Ernst Ludwig), the aforementioned McGloin, and Kraig Swartz as the kindhearted but naïve Herr Schultz). The supporting players are solid too, particularly Bridget Bierne as Fraulein Kost, the all-business prostitute who is one of Fraulein Schneider’s boarders.
The athletic McGloin (who has a background in burlesque) brings the perfect level of camp to the role, and avoids the Emcee-as drag-queen persona that too many productions of Cabaret have inflicted on the role of late, and he exudes despair during the heart-wrenching “I Don’t Care Much”. Joy Hermalyn’s performance as Fraulein Schneider is so engaging that she nearly steals the spotlight from the main story, and her scenes with Swartz as Herr Schultz are genuinely touching. Michelle Beth Herman nails the pivotal role of Sally Bowles, embodying the not so complex shadings of the character, from assured performer to vulnerable train wreck. She’s a vocal powerhouse on the showstoppers “Maybe This Time” and “Cabaret” but is equally adept at the comic and saucy numbers like “Don’t Tell Mama” and “Mein Herr”.
Director Tom Frey expertly paces the show, and Boston-based IRNE and Norton Award winner Ilyse Robbins choreographs the group of young dancers beautifully, adding her signature touch to the numbers like “Money” and the opener “Willkommen”. Music Director Jenny Kim-Godfrey leads her seven-piece orchestra with spirit, and the extended jazzy overture to open the second act is one of the evening’s highlights. While the production of Cabaret hits a little too close to home in this current political climate, it’s well worth the hour-plus drive from Boston. See it. For tickets and information, go to: https://www.peterboroughplayers.org/ or call the box office at 603-924-7585.
