“Spectacular” is the word that comes to mind in trying to describe Theatre Rhinoceros’ knock-your-socks-off production of “Cabaret.” It is almost unbelievably good. It is certainly entertaining, but it is also serious to its core.
Director John Fisher understands Bertold Brecht extraordinarily well, and this production makes use of the famous “alienation effect” with rare expertise. Too many directors confuse Brechtian “alienation” with tricks (e.g., breaking the fourth wall) and cold analysis, devoid of sentiment and evocations of empathy.
But directors of Fisher’s caliber (rare indeed) understand that you can’t have an alienation effect without first evoking empathy and sentiment from which to be alienated. All of the characters in this production are emotionally true and utterly engaging. We are amused, seduced, charmed and entertained. So when the alienation occurs (as it does repeatedly, surprising us each time) it cuts like a knife and sends shivers to the bone.
Fisher has devised a marvelous opening that connects these Berlin stories to the Fall of 2024. The play opens on the train as Cliff Bradshaw (brilliantly brought to life by Brendan Looney) is travelling to Berlin, but it is not the 1930s; it is today. As the train jostles along, there is a mysterious change of mood and lighting as the passengers freeze and the Emcee (Rudy Guerrero) manifests and begins whisper singing “Wilkommen,” drawing them into the past. We and they are being welcomed not just to the Kit Kat Club, but to prewar Berlin. It was the first of many moments that sent shivers down my spine.
On the train Cliff meets and is befriended by Ernst Ludwig, a charming German smuggler. At this meeting, we encounter the first of many astonishing “alienation” effects. Ernst (as played by the fascinating Landyn Endo) is astonishing. He is a perfectly normal appearing character, but as the scene develops Landyn transforms Ernst into a serpent. They (Landyn) slither seductively over Cliff’s lap, slide on the floor, whisper in his ear—it is horrifying, erotic, startling, and indeed alienating. The audience has to sit up and take notice that this is going to be a night of no ordinary story telling. We will be forced to analyze moment to moment what is going on beneath the surface.
This approach is continued as the story unfolds, with the main characters doubling as the performers at the Kit Kat Club. The entire company consists of only seven actors. They deliver uniformly terrific performances in every number.
Most outstanding among the outstanding is Brendan Looney as Cliff Bradshaw. His program resume, with mostly school and community theatre credits, indicates he is a relative newcomer, but you wouldn’t know it. His acting, his acrobatic dancing, his singing are more than ready for the professional stage and I expect it won’t be long before he hits New York like a thunderclap. Rudy Guerrero is a sexy, angry, and mysteriously disturbing Emcee: the perfect ghost of a host. Megan Soledad is lovely as Sally Bowles, not singing with flash, but showing Sally Bowles as the fascinating woman and less than first-rate cabaret performer that she is, unable to face the reality of her own life or the society collapsing around her, and probably doomed to misery. She is heartbreaking. Stephanie Fields is a strong and complex Fraulein Schneider, wonderful in her performance of Schneider’s anthem to survival, “So What.” The song was introduced by Lotte Lenye on Broadway, then by Judy Dench in London. Fields holds her own in that company. Yes, she really does. I mean it. As Fraulein Kost, the extremely generous lover of sailors and visiting nephews, M. C. Mendonca gets many laughs with Kost’s appealing personality that turns out to be not so nice, a character arc that Mendonca manages with conviction. And then we come to Gabriel Ross. As Herr Schultz, Ross, whose Bay area career deserves to be characterized as “distinguished,” delivers yet another meticulously crafted performance. He broke my heart. And then, in another one of this show’s fabulous alienation effects, he performed as a member of the chorus line at the Kit Kat Club with a comic finesse that could not be missed. Tim Vaughn demonstrates that he knows how to get a laugh, playing a multitude of sailors and visiting nephews of the pliable Fraulein Kost.
No spoilers here: but let me point out that one of the best things about this production deserves to be held back for you to experience yourself. I’ll just say that the ending hits hard.
Costumes, lighting design, scenic consultation, scenic art and set design by Lynell Aldafari, Colin Johnson, Gilbert Johnson, Rachael Dobos, and Aaron Simunovich (respectively) are all excellent. I should mention that the costume credit for the Emcee goes to the actor himself, Rudy Guerrero.
Music Director and pianist Armando Fox blew my mind. For a preshow, he performed jazz standards to the nth degree of professionalism including sophisticated improvisations. For the performance, his accompaniment was subtle, driving, and precise. He was supported ably by bassists Kumi Maxcon and Kyle Wong and drummer Tim Vaughn.
Adin Walker’s slippery, sexy, lithe, and acrobatic choreography is original and exciting.
While standing ovations are not unusual, the phrase “the audience sprung to their feet” is usually hyperbole. Not in this case. In fact, for myself, I seriously considered standing on my chair and would have, too, were I not so old.
Come to this Cabaret, my friends! It’d be a shame to miss out.
‘Cabaret’ continues at Theatre Rhinoceros through December 15th. Click here for further information.
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Rating: ***** (For an explanation of TheatreStorm’s rating system, click here.)
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“Cabaret” by Joe Masteroff. Based on the play by John Van Druten, & stories by Christopher Isherwood. Music by John Kander. Lyrics by Fred Ebb. Director: John Fisher. Music direction: Armando Fox. Choreography: Adin Walker. Honorary Producer: Lawrence Dillon. Set Design & Lead Builder:Aaron Smunovich. Lighting Design: Colin Johnson. Scenic Artist: Rachael Dobos. Costum Design: Lynell Aldafari. Costume Design for “Emcee”: Rudy Guerrero. Intimacy Director: Karie Donovan. Scenic Consultant: Gilbert Johnson.
Cast
Ernst Ludwig: Landyn Endo. Fraulein Schneider: Stephanie Fields. Emcee: Rudy Guerrero. Brendan Looney: Cliff Bradshaw. Fraulein Kost: M. C. Medonca. Herr Schultz: Gabriel A. Ross. Sally Bowles: Megan Soledad. Sailors and Nephews: Tim Vaughan. Ma: Armando Fox.
Additionally, all cast members appear in the musical numbers performed by the denizens of the “Kit Kat Club.”
Musicians:
Musical Director/Piano: Armando Fox. Bass: Kumi Maxcon and Kyle Wong. Drums: Tim Vaughn.
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