Two shows recently opened both set in the 1930s. MusicalFare offers Cabaret, a musical classic, based on Christopher Isherwood's remarkable Berlin Diaries, a collection of fictionalized reminiscences of the giddy, mad, bad days of the early 1930s before thing got grim, more mad and much worse.
Willkomen: Cabaret
The world created in MusicalFare's production of Cabaret is very dismal. The set designed by Chris Schenk effectively evokes Albert Speer, a Third Reich strategist known as "Hitler's own architect". In tandem with Chris Cavanaugh's austere lighting the stage provides opportunity for any number of striking images in light, shadow and silhouette.
MusicalFare's prevailingly bleak vision, which is justifiable, sacrifices the allure of Weimar Berlin. The sex, the bacchanalia, the cosmopolitan glamour and the adventure of being young in this thrilling world are only momentary distractions in the threatening mire.
Emphasizing the historic influence of the Third Reich rather than the libertine mood of Berlin, impacts the romances depicted in Cabaret. While it diminishes the story of Sally Bowles spell over Cliff Bradshaw (a stand-in for Isherwood himself) and makes more vivid the pragmatic relationship between Fraulein Schneider and her patient beau, the Jewish grocer Herr Schultz. Robert Insana is poignant with each attempt to convince that love is more enduring than the temporary circumstances of politics. Sadly, history proved him wrong.
While the Schneider-Schultz romance is grounded in details, the Cliff-Sally infatuation does not ignite in the gloomy mood. However, before the evening is over Kelly Jakiel delivers a triumphant version of the song "Cabaret" that lights up the night.
Also commendable in this production is a dance interlude staged by Michael Walline which starts Act Two. Merry as a carousel and just as mechanical, it soon evolves into a march. It is as if he has condensed the entire Cabaret narrative into a five minute dance. Walline's choreography for "Two Ladies", a coy ode to ménages à trios, is hardly sexy but amusing as he manipulates the performers like daft marionettes.
John Fredo portrays the emcee, the role originated and indelibly shaped by Joel Grey. To his good credit, Fredo provides a different and insidious. At his best, Fredo strolls amongst the characters as if he were the curator in some museum of human horrors and they were his pitiable displays.
What a round about path this material has had. The Isherwood novella, now 65 years old, first arrived on stage I Am A Camera (1951), a trimmed down telling by John van Druten. The film version of ...Camera (1955) further twisted the original story but it was still potent enough to received a "condemned" rating from the Catholic Legion of Decency.
Back on Broadway, Cabaret, the musical, debuted and in the 1972 film Bob Fosse removed many of its songs. Revivals in London and New York added new songs, took out old ones, and played roulette with some of the characters. The most adjusted has been Christoher/Cliff, dragged back and forth over the Kinsey spectrum from straight to gay and back again.
A friend suggested that Cabaret is one of the most perfectly constructed Broadway musicals. I asked if it is so perfectly constructed, why do so many feel the need to reconstruct it every few years? However, each staging, including MusicalFare's present one, proves the durability and the appeal of the material regardless of how it is molded, which only fails if done with less than honesty.
Who might like Cabaret: Anyone who wants to hear a strong and smashing version of the title number as sung by Kelly Jakiel.
Did you see Cabaret?
Tell Buffalo Rising readers what you thought.
Cabaret (through December 12) starring Sheila Connors, Steve Copps, Philip Farugia, John Fredo, Robert Insana, Kelly Jakiel, Tara Kaczorowski and others in a musical by Joseph Masteroff, John Kander and Fred Ebb directed by Randall Kramer, choreographed by Michael Walline with musical direction by Theresa Quinn for MusicalFare Theatre, 4380 Main Street (on the Daemen College campus), Amherst (716) 839-8540 or MusicalFare.org.
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Willkomen: Cabaret
The world created in MusicalFare's production of Cabaret is very dismal. The set designed by Chris Schenk effectively evokes Albert Speer, a Third Reich strategist known as "Hitler's own architect". In tandem with Chris Cavanaugh's austere lighting the stage provides opportunity for any number of striking images in light, shadow and silhouette.
MusicalFare's prevailingly bleak vision, which is justifiable, sacrifices the allure of Weimar Berlin. The sex, the bacchanalia, the cosmopolitan glamour and the adventure of being young in this thrilling world are only momentary distractions in the threatening mire.
Emphasizing the historic influence of the Third Reich rather than the libertine mood of Berlin, impacts the romances depicted in Cabaret. While it diminishes the story of Sally Bowles spell over Cliff Bradshaw (a stand-in for Isherwood himself) and makes more vivid the pragmatic relationship between Fraulein Schneider and her patient beau, the Jewish grocer Herr Schultz. Robert Insana is poignant with each attempt to convince that love is more enduring than the temporary circumstances of politics. Sadly, history proved him wrong.
While the Schneider-Schultz romance is grounded in details, the Cliff-Sally infatuation does not ignite in the gloomy mood. However, before the evening is over Kelly Jakiel delivers a triumphant version of the song "Cabaret" that lights up the night.
Also commendable in this production is a dance interlude staged by Michael Walline which starts Act Two. Merry as a carousel and just as mechanical, it soon evolves into a march. It is as if he has condensed the entire Cabaret narrative into a five minute dance. Walline's choreography for "Two Ladies", a coy ode to ménages à trios, is hardly sexy but amusing as he manipulates the performers like daft marionettes.
John Fredo portrays the emcee, the role originated and indelibly shaped by Joel Grey. To his good credit, Fredo provides a different and insidious. At his best, Fredo strolls amongst the characters as if he were the curator in some museum of human horrors and they were his pitiable displays.
What a round about path this material has had. The Isherwood novella, now 65 years old, first arrived on stage I Am A Camera (1951), a trimmed down telling by John van Druten. The film version of ...Camera (1955) further twisted the original story but it was still potent enough to received a "condemned" rating from the Catholic Legion of Decency.
Back on Broadway, Cabaret, the musical, debuted and in the 1972 film Bob Fosse removed many of its songs. Revivals in London and New York added new songs, took out old ones, and played roulette with some of the characters. The most adjusted has been Christoher/Cliff, dragged back and forth over the Kinsey spectrum from straight to gay and back again.
A friend suggested that Cabaret is one of the most perfectly constructed Broadway musicals. I asked if it is so perfectly constructed, why do so many feel the need to reconstruct it every few years? However, each staging, including MusicalFare's present one, proves the durability and the appeal of the material regardless of how it is molded, which only fails if done with less than honesty.
Who might like Cabaret: Anyone who wants to hear a strong and smashing version of the title number as sung by Kelly Jakiel.
Did you see Cabaret?
Tell Buffalo Rising readers what you thought.
___ Must see for all!
___ I liked it. You might, too.
___ Well, I liked it.
___ Not for me.
Cabaret (through December 12) starring Sheila Connors, Steve Copps, Philip Farugia, John Fredo, Robert Insana, Kelly Jakiel, Tara Kaczorowski and others in a musical by Joseph Masteroff, John Kander and Fred Ebb directed by Randall Kramer, choreographed by Michael Walline with musical direction by Theresa Quinn for MusicalFare Theatre, 4380 Main Street (on the Daemen College campus), Amherst (716) 839-8540 or MusicalFare.org.
The correct link for tickets is www.musicalfare.com
Duly noted. Thank you, maestra.