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Regional Reviews: Phoenix Cabaret Also see Gil's review of Puffs
Set in 1930s Berlin, Cabaret centers around the captivating yet seedy Kit Kat Klub, where the mysterious Emcee invites the audience to leave their troubles behind and indulge in a world of decadence. At the heart of this world is Sally Bowles, a bubbly and carefree English singer who has had a series of tumultuous relationships and embarks upon one with Clifford Bradshaw, an American writer seeking inspiration for a novel he's writing in the vibrant yet increasingly volatile city. As political tensions rise and the shadow of the Nazi regime looms ever larger, the lives of those in and around the club are forever altered. With music by John Kander, lyrics by Fred Ebb, and a book by Joe Masteroff, Cabaret first premiered on Broadway in 1966 and was based on John Van Druten's 1951 play I Am a Camera, which was adapted from Christopher Isherwood's 1939 novel "Goodbye to Berlin." Over the decades, Cabaret has seen numerous revivals and adaptations, including the iconic 1972 Oscar winning film directed by Bob Fosse. Each iteration has made changes to the original script and brought new interpretations to the story, but the core themes of decadence, political upheaval, and the personal consequences of apathy remain constant. The version Phoenix Theatre is presenting is the one that premiered in London and on Broadway in the 1990s that streamlined the plot and cut some songs while also incorporating others that were written for the film adaptation. The revised script for the 1998 Broadway revival made book changes to incorporate the Emcee more fully into the plot, as he comments directly to the audience as the action unfolds, which works quite well to better connect the action of the musical with the audience. Director Michael Barnard is to be commended for not simply presenting a recreation of that Broadway revival which made a name of Alan Cumming, who won a Tony for playing the Emcee. That production had a scaled down set, often seeming as if the entire show was set inside the Kit Kat club, with many of the cast members also serving as the orchestra. While all of those changes worked exceptionally well for that paired down and stark Broadway revival, the Phoenix Theatre production that Barnard presents is an equally immersive one that also aligns more with a traditional, full-scale musical. There is a full off-stage orchestra and a more realistic and quite elaborate set design. Barnard's staging makes the various doors and stairs in Aaron Jackson's lush and elaborate set work very well for scenes set both inside and outside the Kit Kat Klub, which allows for seamless transitions while also deriving distinct locations. Looming over the back of the set is a large peacock scrim with eyes that are always watching. In one scene, the Emcee pulls out a peacock fan that echoes the idea that the actions of the characters are always being observed. Sally Bowles is a complex and intriguing character, and Alyssa Chiarello brings her to life with a perfect mix of charm and vulnerability. Chiarello has a solid British accent, a forceful singing voice that is bright and earthy on her many numbers, and a firm connection with everyone in the cast, which creates realistic relationships. Her portrayal captures Sally's infectious zest for life and her desperate need to escape her own insecurities while also falsely believing the invading darkness of the outside world has nothing to do with her. But it is her electric performance of the title song that you'll remember most, as it is one of the best I've seen, with a biting delivery of each lyric and a nuanced performance full of emotional layers that resembles a virtual emotional breakdown on stage. Clifford Bradshaw, the anchor of the story, is depicted with earnestness by Christopher Behmke. Clifford is a character that starts as innocent and idealistic and gradually gives way to disillusionment as he becomes more entangled with Sally and the turbulent political climate of Berlin. Behmke's portrayal is fairly safe and stagnant and could be more nuanced to better highlight Clifford's internal struggle between his love for Sally and his growing awareness of the impending danger surrounding them. That means that there are also instances where the character's development and change in emotions feel rushed. Clifford's journey from hopeful writer to a man confronted by harsh realities is one that should resonate more strongly with audiences. The Emcee is portrayed with a blend of charisma and menace by Eddie Maldonado, whose command of the stage is evident from the opening number "Willkommen," drawing the audience into the world of the cabaret with an irresistible mix of allure and foreboding. While Maldonado's depiction is less ambiguous and not truly gender-fluid as most recent productions I've seen, it's also more menacing. This harsh yet playful depiction, while always intriguing, also means it lacks some of the deeper exploration of the character's own vulnerability and perspective on the crumbling world around him. For example, the solo "I Don't Care Much" in the second act is delivered in a rough and biting tone while we watch him see Nazis hauling dancers in the club away, which makes it seem like he's not bothered by what he sees. That makes the ending of the production, when we see his future life under the Nazi regime, less impactful. As Fraulein Schneider, the aging landlady who finds love with the Jewish fruit vendor Herr Schultz, Johanna Carlisle-Zepeda provides a poignant counterpoint to the youthful exuberance of Sally and Clifford. I've seen Carlisle-Zepeda in probably over a dozen shows in town and she's always great. Here she brings a touching mix of realism and nostalgia to the role, particularly in songs like "So What?" and "It Couldn't Please Me More." Her chemistry with Mike Lawler as Herr Schultz is tender and genuine, offering a heartbreaking glimpse into the lives of ordinary people caught in the tide of history. Nick Gunnell delivers a solid portrayal of Ernst Ludwig, the charming and seemingly affable German who befriends Clifford and whose revelation of his true nature sets in motion changes in Clifford's views on life in Germany. Fraulein Kost is a lively tenant in Fraulein Schneider's boardinghouse and Shani Barrett's depiction of this opportunistic woman is bright and bold. The entire ensemble deliver performances that are seductive and forceful with singing voices that shine. Daniel Gold's choreography is an interesting mix of movement that provides both a professional sense to the production while also delivering dance sequences that you would expect to see in a run-down cabaret club. The music direction by Kevin Robert White derives fantastic notes from the cast and the large orchestra. Cari Smith's costumes are a mix of period-perfect designs and an assortment of sexually heightened outfits. The rich and evocative lighting by Tim Monson uses bright hues and shadows to ramp up the emotional impact of the impending doom. Dave Temby's sound design ensures every note and lyric is crystal clear. Cabaret remains strikingly relevant to today's political climate. The musical's exploration of how ordinary people can be complicit in the rise of a dictator resonates deeply in an era marked by political polarization and the recent revelation of the conservative policy, Project 2025. While Project 2025 may not seem as actionable and legal as what Hitler and the Nazis were able to achieve, its goal is to roll back progressive policies and protections, particularly those related to minorities and the gay community. Seeing Cabaret in this climate, and knowing how Project 2025 has caused many to take action while others remain complacent, effectively provides a cautionary tale that still eerily resonates today, almost 60 years after the musical first premiered. Cabaret runs through September 1, 2024, at The Phoenix Theatre Company, 1825 N Central Avenue, Phoenix AZ. For tickets and information, please visit phoenixtheatre.com or call 602-254-2151. Director: Michael Barnard Cast: *Members of ActorsÂ’ Equity Association, the union of professional actors & stage managers in the U.S. |
