Cabaret
Reviewed by Socks Whitmore
Altadena Music Theatre
Through June 4
Whether you’re a passionate fan of post-Golden Age musicals or you binged Season 5 of Schitt’s Creek during the pandemic, there’s a good chance you’ve heard of Kander and Ebb’s 1967 chaotic whirlwind of song, dance, politics and sex known as Cabaret. The story is set in late 1920s Berlin and follows the lives and loves of various citizens unaware that the Nazis will soon come to power, capsizing their happy endings.
For two weekends only, Altadena Music Theatre is putting their own spin on this pandemonium on the outdoor stage of the Charles Farnsworth Amphitheater. The evening includes the opportunity to enjoy a unique outdoor dining experience in the VIP section that allows audience members to be fully immersed in the racy happenings of the Kit Kat Klub (VIP ticket holders might even find themselves sitting next to stars of the show once or twice over the course of the evening).
The nature of the venue lends this version of Cabaret an almost live concert vibe that pairs interestingly with the show’s unusual narrative structure — oscillating between a raunchy anthology led by the Kit Kat Klub’s Master of Ceremonies (aka the Emcee) and the chaptered stories of those who might be found inside the Klub’s walls. The musical is part revue, part romantic drama steeped in the subtext of hindsight. Both sides of the narrative reflect the political developments in Weimar-era Germany, including discussion of antisemitism, homophobia, and threats of violence to those who did not conform. It’s not necessarily the kind of story you’d expect on an outdoor stage, but the simple set pieces and floodlights make the piece no less of a delightful cabaret.
The main downside to the space is sound — the production’s opening night was unfortunately plagued by audio issues and there were frequent instances where dialogue was lost due to mic failure or an overly thick accent, which made it difficult to stay immersed as intended. The written material is also imperfectly structured, sometimes landing flat or making a jarring transition into the next beat. Even in the face of unreliable equipment and unconventional progressions, however, the performers never falter; from the punchy and vigorous opening to a slew of smartly choreographed numbers (“Money” is stand-out), the consistent high energy helps the two-and-a-half-hour show fly by, and the main plot is not lost amid the technical difficulties or comedic interruptions. The music is catchy and lends itself well to dancing, although there are several solo ballads that are actually lacking in motion, favoring instead to have actors stand and sing á la musical cabaret.
Directors Oliver and Sarah Azcarate display an attention to visual storytelling, using shapes, gestures, stylized make-up and distinctive costume changes to add a heavy clown flavor to the Emcee and the Kit Kat girls. Cabaret comes with a certain amount of built-in carnival-esque mayhem, but the Azcarates bring out an enhanced absurdity, one in particular that highlights the subtextual narratives surrounding homosexuality. From “If You Could See Her (The Gorilla Song)” to “I Don’t Care Much,” the libretto provides a number of veiled allusions to the experience of being gay at the time (unsurprising given that writers Fred Ebb and John Kander were both openly gay, and Cabaret’s source material traces back to Christopher Isherwood’s semi-autographical story about a gay writer swinging at Jazz Age cabarets in Berlin). The character of the Emcee has always been particularly genderqueer; Cruz St James deserves a nod for bringing a strikingly convicted, emotional and at times rivetingly demented energy to the role. Another nod goes to Emily Lopez as Sally Bowles, who also entertains by leading a uniquely maid-themed version of “Don’t Tell Mama” and delivering a soulful show-stealing moment with her rendition of the classic “Maybe This Time.”
Cabaret is only in the park for a short time, but it comes at a very critical point in history. As we consider theater’s role in the face of hateful legislation and increased political divides leading to oppression and violence, it seems apt to reflect on the moments before World War II and how in hindsight… we should have seen it coming. It was not so long ago that one could be made to wear a pink triangle on striped pajamas. The Cabaret team notes, “Politics and society can change so quickly, but so many detrimental aspects remain if we are complacent and don’t shine a light.”
Note: Newcomers to the venue should be aware that the parking lot is up the hill past the initial entrance to Charles Farnsworth Park, and plan to bring coats or blankets for the chillier parts of the night.
Altadena Music Theatre, Charles Farnsworth Amphitheater, 568 Mt Curve Ave, Altadena; Thu-Sun at 8:00 pm. https://www.altadenamusictheatre.com/cabaret2023 Running time: 2 hrs 45 minutes with one intermission
