REVIEW: Theatre Ancaster's CABARET: A Powerhouse Production
Dark. Brooding. Atmospheric. As the audience entered the vast auditorium of Theatre Ancaster, there was an immediate sense of something forbidden and enticing we were about to witness. That feeling that we were privy to a seedy club where we could leave our troubles behind and watch beautiful people dance, entertain and enrapture us for a few hours. How right these feelings were and also, how foolish to think that’s all we were about to witness.
The magnificent orchestra welcomes us with a coy vamp as eccentric and scantily clad performers of the infamous Kit Kat Klub take the stage. Our Master of Ceremonies (Emcee) beams at the audience like they have a very dirty secret and they can’t wait to tell us: Welcome to the Cabaret. You aren’t ready for what we have to show you.
Once I saw the diversity, body positivity, vocal prowess and cast of characters who were dripping with sensuality and giving it their all in the first ten minutes, I knew that this show was going to be something very special.
Director Nupi Gokhale explained the importance of socially responsible theatre especially in our current political climate. Why Cabaret? Why does this particular musical still resonate so much when its subject matter is about Depression Era Germany? Look carefully and open any legitimate news source and you’ll see why. The themes of sexuality, political discourse, heinous acts of hatred, poverty and deciding whether or not to be unaffected or to escape (if your privilege allows) are as relevant now as they were almost a hundred years ago. That speaks volumes to the lasting impact of Cabaret and why it has been so successful throughout its long musical theatre history. The entire production team, under the skillful and precise direction of Gokhale, understood this and ensured the audience would never forget it.
Back to the show itself. Our Emcee is performed by the incredible Riley Daniel Macnab who is commanding, coy and in absolute control in the first act. Macnab watches gleefully with just a touch of playful malice throughout every scene, even when they are not the focal point. A talented dancer with a phenomenal tenor voice, Macnab wowed audiences in the first act especially in the opening number Willkommen, Two Ladies (joined by equally impressive ensemble members and a see-saw in a gender-bent romp on stage and through the audience), Money and then broke them in the second act with numbers such as I Don’t Care Much and of course, the dissonant and chilling Finale. Their dehumanization was displayed so powerfully that by the end of the show, I was in tears (and I do not cry publicly). An absolute powerhouse performance.
Our other leads and supporting characters also showcase impressive amounts of talent. Our lost and aspiring writer, thrown into a world he doesn’t quite understand, Cliff Bradshaw is portrayed by Owen Lapsley who not only acts as the audience’s counterpart throughout but Lapsley also designed the immense and stunning set pieces and was involved in several other aspects of the show’s overall production. Lapsley is very well cast here with a great understanding for the nuances in his performance and explores his sexuality in a way that respects queerness, especially by today’s standards.
His complete opposite is the charismatic, manic and breathtaking Giselle Magie as Sally Bowles. In a refreshing change, Magie does not emulate the Sally Bowles of the past (Minelli, Richardson) but captivates us with her unique interpretation of Sally’s naivety, hopeful vulnerability, lust for life and complete desperation by the time she performs the eleven o’clock number and title song Cabaret. Magie was meant for the stage and this role cements that. Her dynamic and chemistry with Lapsley is believable but ultimately, tenuous. Their romance in the second act is shattered by the dramatic turn of events and how Sally’s clinging to the past will ultimately bring her demise. Both performances at the end are heartbreaking and deserved every moment of applause from the audience.
Continuing through our cast of characters are the slightly more subdued but realistic characters of doomed couple Fraulein Schneider (performed by Laura Almeida) and Herr Schulz (performed by Bailey Robb). These two exude endearing charm and a sweet romance in songs like Couldn’t Please Me More and Married. These moments are then crushed by the growing threats surrounding them. Their story is less flashy but is absolutely gut-wrenching as Schneider belts out about needing to survive even if it means sacrificing her love in What Would You Do? Powerful stuff.
Finally, I would be completely remiss to not give the highest praise to the supporting cast and phenomenal ensemble and crew. Fraulein Kost (Andrea Bairdado) is a delightful wench with beautiful solo moments in Married and Tomorrow Belongs to Me (reprise). Herr Ernst (Rylie Santo) is a carefully constructed and fist-clenching villain. The ensemble is jaw-droppingly impressive with their deep respect to Fosse and the precise choreography that made the movie version so memorable (their staging of Mein Herr was perfection). There are even unexpected moments of acrobatics, ballet and tap throughout. It is very sensual, raunchy and the amount of trust these dancers place in one another is incredible. Their vocals added chills to numbers such as Tomorrow Belongs to Me (both versions) and the combined efforts of cast and crew ensured every set piece was moved quickly and despite a few snags, very effectively. The entire production should be proud of all their efforts in bringing this show to the stage.
If it wasn’t obvious by now, Cabaret has a deep significance in my life. I have seen numerous productions over the years and each one (including one I stage managed in 2008), has a special place in my heart. The story, the music/lyrics, the politics, and the showmanship are just a few reasons why this show is as successful as it is. It carries with it a history that refuses to be forgotten and each interpretation of the show has gravitas and weight that will stay with an audience long after the lights snap out on stage. I cannot stress how much audiences need to experience the joys and heartbreaks of Theatre Ancaster’s Cabaret. I feel compelled to see it at least once more during its run. Go to the Cabaret, old chums. Life is truly a cabaret.
