By Venus Zarris

The Hypocrites prove that a production can be extremely entertaining as well as disjointed and emotionally immature with their enthusiastic rendition of Cabaret. The show is attractive and the talented cast is working overtime to delight the audience but the play never comes together as a fluid piece of story telling.

We are treated to excellent incidental jazz by the exceptional band as we take our seats. The show begins. Lighting, costumes, adaptation of the unique space at the Storefront Theatre and the cast all look great. Jessie Fisher is solid and engaging as the Emcee but lacks the omnipotent confidence and otherworldly seduction needed to set the opening tone for the location of the Kit Kat Club and establish the character as an atmospheric story thread. We’re enticed but not dazzled.

The musical numbers are fun but the show starts out playing the shtick, going for the humor but not yielding enough of it and looking very sexy but lacking sexual chemistry. We are shown delightful depravity and decadence but we don’t feel it. This establishes an emotional and sexual immaturity to the production that makes it difficult to believe the characters beneath the surface of their performances. Most of the drama is played as melodrama and so were never fully invested.

“Tomorrow Belongs to Me” finally gives us something to sink our teeth into. The choral work is beguiling. Then the heavy-handed tactics begin. Instead of establishing the pending Nazi take-over of pre-WWII Germany as a menacing part of the climate throughout, we are beaten over the head with it abruptly and then repeatedly. The Nazi threat is delivered with shocking scenes that culminate in a brutal finale. If we could take the rest of the show seriously this might work but the lack of the production’s dramatic depth and tension make these scenes seem forced. Act 3 is so dark that it plays like the third act of a completely different production.

There is a lot to like about the show. Mike Przygoda’s musical direction and Marissa Mortiz’s choreography are excellent. Alison Siple’s costume design is thrilling. The Emcee’s costume for the musical number “Money” is whimsically wonderful. The cast is steadfast and charming. Everyone delivers exceptional performances. Dana Tretta is outstanding in the chorus. Kate Harris, as Fraulein Schneider, and Jim Heatherly, as Herr Schultz, create the most honest characters in the production. Harris’s rendition of “What Would You Do?” is a powerfully compelling highlight.

Matt Hawkins is a brilliant director. His Red Noses at Strawdog Theatre and Hatfield & McCoy at The House Theatre of Chicago stand as some of the most incredible productions seen on Chicago stages in the past few years. He makes some interesting conceptual choices and creates an enjoyable evening that is well worth your time but this Cabaret lacks the subtlety, nuance and dramatic continuity to reach its extraordinary potential. You’ll like it. You just won’t believe it.

2 ½ STARS

(“Cabaretruns through May 23 at the Storefront Theater, 66 E. Randolph St. 312-742-8497)

Cabaret | DCA Theater - Chicago Dept. of Cultural Affairs

The Hypocrites We Make Theater

Cabaret production photos by John W. Sisson.

Cabaret

Featuring sexy, witty and politically-charged musical numbers, Cabaret highlights the impact global conflicts bear on the lives of everyday people. Set in Weimar Berlin just prior to Nazi rule, the play follows the unlikely romance between two young people from very different worlds. Circumventing the indulgent tradition of musicals, Guest Director Matt Hawkins’ staging strongly favors a more intimate and immediate approach, powerfully depicting people struggling with the moments that define who they are to become.

Read the review here: Cabaret – REVIEW - Chicago Stage Review

Presented by The Hypocrites

Previews: Apr 15 - Apr 16, 2010

Regular Run: Apr 17 - May 23, 2010

@ Storefront Theater

66 E. Randolph St, Chicago

Show Type: Musical

Box Office: 312-742-8497

Cabaret | DCA Theater - Chicago Dept. of Cultural Affairs

The Hypocrites We Make Theater |

By J. Scott Hill

Sometimes, before I watch and review a show, I worry that the show might suck.

Anyone who enjoys musical theatre already has a relationship with Cabaret — maybe they fell in love with Liza’s Sally Bowles in Bob Fosse’s 1972 film adaptation, maybe they were mesmerized by Alan Cumming’s Emcee in the Sam Mendes 1998 Broadway revival and subsequent tour. Cabaret is almost universally adored, yet it shouldn’t work at all; story wise, it’s something akin to having Bettie Page star in Sophie’s Choice. Pass…no thank you…right? In inexpert hands, Cabaret holds huge potential for epic failure. Thank goodness that Drury Lane Oakbrook’s production of Cabaret is in such expert hands.

The entire ensemble glows and vibrates under the seasoned direction and choreography of Jim Corti. The girls really are beautiful; the orchestra — under Musical Director Doug Peck and Conductor Maria Honigschnabel — sounds beautiful.

Brian Sidney Bembridge proves again that he is perhaps the most talented scenic designer working in Chicago theatre right now. His innovative set for History Boys at the TimeLine is no small part of that show’s continued success through extended run after extended run. Likewise, Bembridge’s set for Cabaret wows. It seems to be made of scaffolding, parts of a steel bridge, or maybe a train trestle — as if the Drury Lane were inside a loft apartment in a barely converted warehouse. There is a hint, a prediction of the industrial decay of the Eastern Bloc that will control part of Berlin not long after the action of the play.

Cabaret is a musical that actors crave to be in, and everybody wants to play the Emcee. Contemporary revivals of Cabaret have opened the door for gender bending in casting and performance. Patrick Andrews is dynamic and borderline amazing as the Emcee. Sometimes he is a straightforward, Joel Grey-type of Emcee. He performs at times in drag, at times barely clothed, at times in a topcoat and lingerie. His vocal performance has a deliberately buzzing or grating quality, like Lucas Cruikshank in his popular “Fred” videos on YouTube — somewhere between Joe Pesci and Jennifer Tilly. But then Patrick Andrews smiles. His smile is captivating and infectious and honest and earnest. Patrick Andrews shows us that he loves us, even if he is going to screw with us for a little bit. We are happy to be there in no small part because he is happy to Wilkommen us there.

Zarah Mahler’s Sally and Jim Weitzler’s Cliff perfectly complement one another. When Sally is worldly, Cliff is naïve. When Cliff is idealistic, Sally is pragmatic. When Sally is suffering existential ennui, Cliff is Candide-ish.

In the beginning, Brandon Dalhlquist is so endearing, so likeable as Ernst Ludwig that he is able to remain subtle and elegant, as his more sinister leanings are made plain. As Fraulein Kost, Christine Sherrill is a one-woman German analogue to the USO, always more patriot than whore.

The performances that really outshine these other brilliant performances are David Lively as Herr Schultz and Rebecca Finnegan as Fraulein Schneider. Lively’s big musical number, “Meeskite,” and Finnegan’s big musical number, “So What,” are highlights of the show. Their big number together, “It Couldn’t Please Me More,” was incredibly warm and wonderful. For a moment Cliff and Sally don’t matter, the burlesque show doesn’t matter; only the late chance at love between Herr Schultz and Fraulein Schneider matter when Lively and Finnegan are on stage together.

My apprehension was completely baseless. Jim Corti guides a talented ensemble through a vibrant, living production of Cabaret on Brian Sidney Bembridge’s glorious armature of a set. Extraordinary performances are given by all of the actors in major roles — particularly Patrick Andrews, David Lively, and Rebecca Finnegan. Cabaret, at Drury Lane in Oakbrook Terrace, is a wonderful evening at the theatre — a must-see.

4 STARS

(“Cabaretruns through Oct 11, 2009 at Drury Lane - Oakbrook, 100 Drury Lane, Oakbrook Terrace. 630-530-0111.)

Drury Lane Oakbrook - Now Playing at Drury Lane Theatre

Cabaret production photos by Johnny Knight

Cabaret

Set in the sexy, sultry Kit Kat Klub in late 1920s Berlin before the Nazis rise to power, Cabaret is a provocative tale of love and war. The mesmerizing show depicts the intertwined stories of an English cabaret singer, an American writer, a rich German politician, a Jewish fruit vendor and the denizens of Berlin who are caught in a tumultuous changing society. Both a thrilling, decadent dramatic masterpiece and edgy political commentary, Cabaret has long been considered one of the best musicals of all time.

Regular Run: Aug 19 - Oct 11, 2009

@ Drury Lane- Oakbrook

100 Drury Lane, Oakbrook Terrace

Show Type: Musical

Box Office: 630-530-0111

Welcome To Drury Lane Oakbrook Terrace