The theatre world is obsessed with Cabaret. But even after seeing numerous productions and performing in one myself, it wasn’t until seeing Raincity Theatre’s version that I finally really understood the show. This production hits in all the right ways, getting to the heart of what Cabaret is all about. It’s an up-close-and-personal experience that provokes thought, rips at your emotions, and completely captivates you.
Cabaret, which first premiered on Broadway in 1966, is a Tony Award-winning musical with music by John Kander, lyrics by Fred Ebb, and book by Joe Masteroff. It was adapted from Goodbye to Berlin, a semi-autobiographical novel by Christopher Isherwood that drew upon his experiences in Berlin on the brink of World War 2. The musical was adapted into the 1972 Academy Award-winning film starring Liza Minnelli, and directed by Bob Fosse.
Sexuality and individualism, set in the twilight of the Jazz Age and the impending Nazi takeover, is what Cabaret is all about. That’s a very hard vibe to nail, but Raincity Theatre indeed nails it. Director Chris Adams and choreographer Nicol Spinola have turned a Gastown venue into the Kit Kat Klub. When you walk in, you enter a dimly-lit space with a long rectangular stage that runs down the middle of the room, with tables and other seating on three sides of the stage. The room has exposed brick, pillars, and a beautiful chandelier at the bar. There are late 1920’s German show posters stuck to the pillars and a giant clock overlooking everything. The Kit Kat dancers mingle with the audience. You feel like you really are in the Kit Kat Klub.
Throughout the show, the audience will continue to be immersed in the action, with the The Kit Kat dancers frequently performing within the audience space. The actors make use of the entire room, including the bar in the corner, as well as entering in and out of the front doors. There’s a spotlight that lights all the Kit Kat Klub performances, further making us feel we’re in the actual Klub. The sizeable and impressive orchestra, under the masterful musical direction of Kevin Woo, is stationed high on a balcony. And the actors frequently make drinks, collect props, and do other forms of business from tables positioned within the audience.
Graham Coffeng as the Emcee. Photo credit: Nicol Spinola
Serving as host is Graham Coffeng, playing the Emcee. Coffeng is phenomenal, oozing with playful charisma and sexuality, with hints of madness and darkness to increasingly foreshadow what’s to come. He’s athletic in his movements and dancing, extremely energetic, sings very well, and has a commanding presence. In the theatre world, it’s the norm to portray the Emcee as a creepy, androgynous individual with a white makeup-covered face, thanks to Joel Grey’s origination of the role on Broadway and in the film. Never had I ever seen a handsome, dashing version of the Emcee—but why not? With Coffeng in this role, we finally get to see this.
Speaking of iconic, so is the role of Sally Bowles, whom many people associate with Minnelli. I was really hoping for a fresh take on Sally, performed with strong singing and dance ability—and Alex Gullason absolutely delivered. From the moment she enters for “Don’t Tell Mama”, you can’t take your eyes off Gullason. With a dancer’s poise, killer vocals, charm, vulnerability, comedic timing, and the overly hyper and anxious behaviour of Sally, Gullason fully embodies the character. She slays as the centre piece of such production numbers as “Don’t Tell Mama” and “Mein Herr’, while showing her vulnerability in “Maybe This Time”. How is Gullason’s portrayal of Sally unique? Watch her performance of the title song, “Cabaret” near the end of the second act. That’s when she fully reveals her character (and her vocal ability), after building up to it for the entire show. Her performance of this number is impressive, emotional, disturbing, and unforgettable.
Alex Gullason as Sally Bowles. Photo credit: Nicol Spinola
I was surprised at how invested I was in the character of Cliff Bradshaw, thanks to Nick Fontaine’s excellent performance. In Fontaine’s portrayal, I truly saw Cliff fall in love with Sally throughout the show. I’ve never seen a Cliff care for Sally so much, and Fontaine’s performance is wonderfully poignant.
Caitriona Murphy’s portrayal as Fraulein Schneider is a true highlight of the show. She’s sweet, funny, and really makes you feel for her character’s struggles. Her performance of “What Would You Do” is very touching. Also delivering fine performances in principal roles are Sylvia Zaradic as Fraulein Kost, Kamyar Pazandeh as Ernst Ludwig, Sanders Whiting as Herr Schultz, and Joaquin Little as Bobby.
Let’s talk choreography and dance. Spinola has done a fine job of assembling a cast of Kit Kat performers who dance with sass, playfulness, individuality, and presence. “Don’t Tell Mama” is cute and has a Charleston influence. The number also makes creative use of nun habits that are black on one side, and white on the other. This comes in handy at one point with song’s lyrics.
I also thank Spinola for two things. First, for keeping Bob Fosse’s influence alive in “Mein Herr”, as seen by the leggy choreography; quirky, rhythmic movements; and the use of black chairs. Secondly, I’m thrilled someone has finally gotten “Two Ladies” right. In all previous productions I’ve experienced, the Emcee performs “Two Ladies” with two Kit Kat girls, and then midway through, Kit Kat dancer boy Bobby (Little) appears. The coordination for Bobby’s surprise appearance is always cumbersome, and I never find the connotation behind this (that the Emcee is also sleeping with a boy) funny. So, I’m glad that in this production, Spinola just cuts to the chase, and “Two Ladies” is performed by Emcee, a Kit Kat girl (Fritzie, played by Madeleine Suddaby) and Bobby. Let’s hope future productions keep this concept.
Nick Fontaine as Cliff Bradshaw with Gullason. Photo credit: Nicol Spinola
The “Entr’acte” is always a mixed bag, with some productions having the Kit Kat dancers do a kick line. In this production, all the Kit Kat girls get to do their own solo, followed by a section involving the Emcee. I loved this approach because I felt like I was watching an English beer hall performance, where the audience is part of the action, cheering as dancers do things like going into the splits and drinking a shot (like Texas, played by Steffanie Davis does).
“If You Could See Her” goes over well with the audience in this production, as it usually does. And Sierra Brewerton is first-rate in dancing the gorilla role. She’s exceptional throughout the entire show, slaying all the choreography and offering some fabulous moments of her own, such as a side tilt in “Money” and an upside down splits position on her chair in “Mein Herr”.
The Kit Kat girls all shine throughout the show, but I wish the Kit Kat boys had more of an opportunity to do so as well. Their choreography is minimal as is their stage time. Bobby gets the most stage time, but even he is absent from most of the Kit Kat group numbers.
Consiglio and Little. Photo credit: Nicol Spinola
Most productions of Cabaret will cast a young boy (or a girl to play a boy), just for the “Tomorrow Belongs to Me” number. In this version, Adams and Spinola have used their creativity to find a way to make the scene work without having to enlist a child, and I really like this choice—it’s dramatic, foreshadowing, and fits the vibe of the show.
Adams and Spinola really get Cabaret. Never before have I seen the telephone scene involving Cliff, Sally, and Bobby work so well. In this production, the telephones are placed on tables in the audience area, and the characters squeeze themselves through to use the phones. In “Mein Herr”, when Sally sings, “And I’m through. Toodeloo”, while waving to Max, the Kit Kat Klub owner who just fired her, it makes sense. And the show’s final moments are unforgettably chilling.
At the end of the show, when Coffeng says “Where are your troubles now? Forgotten?” the answer for me was yes—at least up until that moment. The show was so captivating I had been completely drawn in. A large part of this is due to Robert Sondergaard’s lighting and set design. I felt I was a in a dream the whole time.
Raincity Theatre’s Cabaret is mesmerizing. It seduces you into its world—a world of gin, wild parties, and sex—showing how easy it was (and still is) for people to be fast asleep from the real world until it’s too late. Like I said, this production really nails it. In the title song, Sally beckons “Come to the cabaret”. I think you should.
Cabaret, presented by Raincity Theatre runs at the “Kit Kat Klub” at 191 Alexander Street in Vancouver until November 5. Visit the Raincity Theatre site for information.