Welcome to the Kit Kat Klub, where troubles disappear as scantily-clad girls and boys prance on stage, and alcohol intoxicates the senses. But beware of what sinister realities the painted smiles and flashy costumes conceal at Carleton Musical Theatre Society’s (CMTS) production of Cabaret.
The year is 1929, when American writer Clifford Bradshaw (Kyle Villeneuve) arrives at a Berlin boarding house in hopes of finding inspiration for a new novel. He is promptly distracted by the city’s vivid nightlife, exemplified by the Kit Kat Klub, a racy cabaret headlined by the vainglorious yet charming British performer Sally Bowles (Kelsey Lee). But all is not well in Berlin—with the rise of Nazi politics, the carefree lifestyle is compromised as tensions rise amongst neighbours, friends, and lovers alike.
The CMTS’s first ever production, with artistic direction by Madison Jolliffe and music direction by Chris Santillán, was an overall success.
The elaborate costuming, effective sets, and overall energy of the cast created an era-appropriate ambiance that made for a visually exciting and immersive experience.
All performances were commendable, with many actors adhering consistently to believable German accents. Lee as Bowles displayed impressive vocal command, noted particularly during her emotional rendition of the titular number. Her character’s drawling abrasiveness provided a healthy contrast to love interest Bradshaw, who endeared with his naïve enjoyment of the fantasy of Berlin nightlife.
Fräulein Kost (Githmi Gunapala) added some comic relief as she convened with passing sailors under the disapproving eye of Fräulein Schneider (Jesse Levy), who depicted the aged boarding house owner with a poignant maturity.
However, the standout performance of the night belonged to Sam Kellerman, in the role of the volatile Emcee. Kellerman transitioned seamlessly from mischievously seductive in scenes dancing scandalously with the Kit Kat Girls (“Two Ladies”) to simultaneously sinister and haunting as a pained performer beaten and branded with the Nazi’s pink triangle (“Finale”).
The vocal skill of the cast in its entirety was strong. The refined and well-polished orchestra proved a highly-accomplished accompaniment, and their placement onstage made the music a focal point of the production.
While the dancing was not as clean-cut and cohesive as the musical elements, the choreography was dynamic and engaging. Costuming by Heather Herbert was fittingly risqué when needed, with the Kit Kat Girls dressed in a colourful array of lingerie.
Hair and makeup by Carrie Cottreau was equally impressive, with the cartoonish features of the Emcee and the wrinkled faces and whitened hair of Fräulein Schneider and Herr Schultz (Troy Arsenian) amplifying the realism of the characters.
In its entirety, Cabaret was a spectacle that was very well performed, emotionally evocative, and simply fun—an excellent first endeavour for a new society.
