Come to the Cabaret!

The mark of a classic show is one that has received multiple revivals around the world and across the decades. Such shows are brought back again and again, not for nostalgia’s sake as a piece of history, but rather because of their timelessness. Perhaps it says more about humanity than the quality of a production that the same societal issues that have existed throughout history keep these shows relevant however much the context changes.

The Community Players’ choice to open their 96th season with a production of Cabaret was particularly appropriate given the current political climate. The original Broadway production premiered in the ‘60s and has received all of three revivals and a wildly successful film that starred the incomparable Liza Minnelli and Joel Grey. The characters have become classics, which in a way makes them harder roles to step into. The cast had their work cut out for them.

Cabaret takes place predominantly in a seedy nightclub called the Kit Kat Klub in Berlin, Germany, during the Nazis’ rise to power. The audience is lead through this journey by the Emcee (Ed Benjamin III), a leering, ghoulish and flamboyant figure who urges us, the audience, to leave our troubles at the door. The role of the Emcee requires a secure performer who can rock painted nails and a corset while also touching upon the societal issues outside of the club. Essentially, the Emcee is the embodiment of the entire musical; on the surface, it’s raunchy and carefree, but this is underscored by the dark themes of the times. He serves as character, narrator, commentator and symbol all in one. It is indeed a tall order, but Benjamin is perfectly suited for the part.

The main storyline follows the romance of aspiring novelist Clifford Bradshaw (Austin Venditelli) who is visiting from America in search of inspiration, and the British starlet of the Kit Kat Klub, the alluring and naive Sally Bowles (Erica Green). Throughout the first act, just as Berlin is presented through Cliff’s eyes as a magical and beautiful place, so too does their relationship seem to be almost too perfect. Even Sally, normally a rolling stone, begins to believe it may last. Their bubble bursts by the second act, as the rise of the Nazis is now imminent, and while Cliff realizes the situation has become critical, Sally retains her false sense of security in her lifestyle of parties, alcohol and sex, blissfully apathetic to what is happening in the world. Their chemistry as a pair and the tension as their relationship devolves are both palpable. Venditelli successfully delivers on every aspect of Cliff, from his awkwardness next to the larger-than-life presence that is Sally Bowles to his outrage at the political climate in Berlin and at its citizens willingness to let bigotry prevail. Sally Bowles is a truly iconic character, which can make it intimidating to take on the part. Overall, Green does a brilliant job of portraying Sally as someone who believes she is amazingly talented and completely irresistible and therefore, tries to hard to make sure everyone else knows it, though her accent leaves something to be desired.

Another romance emerges between Fraulein Schneider (Susan Staniunas), the spinster from whom Cliff is renting his room, and Herr Schultz (Mark E. Lima), a fruit vendor. Watching their relationship blossom as they flirt over gifts of fruit is a delight, but it soon becomes clear their relationship is doomed, as Schultz is Jewish. This subplot is perhaps the most endearing part of the show, and the pair deliver it beautifully.

A particularly powerful aspect of this production is the inclusion of Benjamin’s son Chase as a young German boy. He appears twice in the show. The first time, he sings “Tomorrow Belongs To Me” a capella until the Emcee interrupts him on the last line. The next time is the very end of the show when he appears holding a gun. This role is not usually included in the production; the first time “Tomorrow Belongs To Me” is sung, it has traditionally been either a young waiter in the Kit Kat Klub or a recording of a boy soprano. Seeing a young boy sing the song provides a powerful visual. For one thing, the audience is forced to acknowledge that what they are seeing actually happened. When we connect this to our world today, it becomes personal and all the more chilling. The final scene makes the message clear: When we instill in our children an ideology of hatred and bigotry, we ultimately make them pay the price for our mistakes.

Another moment that resonated with me was during the reprise of “Tomorrow Belong To Me” in which members of the ensemble emerge from the audience and fall into formation on stage. This creates the feeling that our own friends and neighbors are taking up this banner — that it is in fact people no different from us who are the reason that movements defined by hatred take root.

There is a lot of meaning to unpack with Cabaret, and this production piles onto that in such a way that we are forced to look at the events on stage not retrospectively but prospectively — not distantly, but proximally. At one point, Sally asks Cliff what politics has to do with their lives. This production poses the answer: everything. The audience is called upon to stand up to hate and intolerance, and we are forced to decide whether we will heed the call.

The Community Players’ production of Cabaret will run Saturdays at 7:30pm and Sundays at 2pm through October 30. For tickets, visit thecommunityplayers.net.