My Review: 'Cabaret' at Goodspeed
The show: The musical “Cabaret” at Goodspeed Opera House in East Haddam.
What makes it special?: It’s rare that Goodspeed presents something so seeming sexy and edgy (but really, it’s a 60-year-old musical, a hit mainstream film from 50 years ago and frankly we’ve seen more shocking things streamed into our living rooms in the last few years on the Nature Channel. ) Besides, Goodspeed’s version of sexy and shocking is tamped down anyway. Cute-sexy is not dangerous. Almost-touching is not dangerous. This production is not dangerous. But it’s tuneful and moves well.
What’s it about? American Boy meets British girl in Berlin. Boy Loses girl. Nazis take over.
How was the production?: I’ve seen quite a few productions of this musical (including the original one on Broadway) and it never fails to sends shivers, elicit gasps and evoke a tear to two at some point in the show.. Until now.
That’s harsh: Well, the songs are terrific and many are performed well. The John Kander-Fred Ebb tunes are part of the Broadway classic canon now and two tunes from the film have been inserted in recent revivals, including this one making it a show full of great songs. So there are the songs.
And the dancing? It’s the best part of this production, choreographed by Lainie Sakakura. The chorus is really tight and performs splendidly and But none in the ensemble have any individual personalities. The best revivals always create real characters in the chorus in witty ways and adds to the colors of this denizen world. The young women even have names, so it’s not like they’re anonymous. But here they are, which is a pity. Maybe it’s the size off the seven-piece band but the arrangements also sound thin and even sweetened, and just not as sharp, as if the edges were chiseled away
Of course the highlight of the dance numbers is “Mein Herr,” which uses Bob Fosse’s original choreography, which is rightfully credited in the program and it is smashing.
What went wrong?: Directed by James Vasquez the production is a hodgepodge of styles and nothing ever comes together for a coherent vision. Even the “show curtain” sends mixed signals. It has an intriguing “keyhole” circle that is cleverly used for a bit, but the bright “Kit Kat Klub” logo looks like it’s from a Warner Bros. cartoon. The costumes look like they’ve been pulled indiscriminately from Goodspeed’s warehouse. I never felt any sense of place — it’s set in 1929 Berlin — from the set which looks like it’s placed in an English men’s club, with moldings and birds-eye maple finishes, hardly the seedy underworld of Berlin, And again with the doors! (I thought Hartford Stage’s “Lost in Yonkers” filled the quota for doors on a single stage this season.) Amanda Zieve’s lighting is spot-on: various, mysterious, haunting, stark.
The performers?: Jelani Remy works hard and is devilish as the Emcee but he’s more playful than disturbing, and he is costumed confusingly. Aline Mayagoitia is Ok as Sally Bowles but neither she nor Remy are fabulous enough to take their roles to a higher level.. Bruce Landry as Cliff (as stand-in for writer’s Christopher Isherwood’s observant chronicler) is fine and his downward spiral is earned, through not entirely focused. Jennifer Smith softens Fraulean Schneider and loses something in the sweetening. (Think Helen-Hayes twinkly) and Kevin Lignon also misses the quiet poignance its he leans into big and jolly.
Who will like it?: Some die-hard fans of the show; Fosse and faux-Fosse fans; those wanting to see Goodspeed do something almost-edgy-but-safe.
Who won’t? Those who like their “Cabaret” tough, fierce, and fearless.
For the kids?: For most productions, I’d say no. This one, go ahead. They’ll think if’s cute.
Info: 6 Main Street, East Haddam. Run Time: Approximately 2 hours and 30 minutes, including intermission. : Masks are required in the theatre and lobbies, except when drinking in the bar or outside areas. No maxx cards are needed — which makes me uncomfortable in those tight spaces at Goodspeed.
VIDEO: Trailer