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Theater Shows
Cabaret

Sex, wit, and politics.

centerstage reviewed this performanceReviewed by Centerstage!Go Chicago!

Venue:
Storefront Theatre
66 E. Randolph St.
Chicago, IL 60601 Map This Place!Map it
Cost:
$15-$25
Tickets:
www.dcatheater.org or (312) 742-TIXS

Company
The Hypocrites

Styles

Related Info:
Official website

Performances
Runs April 15, 2010-May 23, 2010

Friday7:30 p.m.
Saturday7:30 p.m
Sunday3 p.m
Thursday7:30 p.m.

Recommended a "Must See" Show

Jazz hands, eyeliner and Nazis. "Cabaret," about the denizens of a Weimar-era nightclub, is truly great and truly dark, perhaps the only musical that can make you feel the rise of fascism in a single catchy song. Director Matt Hawkins' take isn't for purists (if "Cabaret" fans can possibly be purists), but critics say that this hyper-theatrical production is as sexy as it is devastating.


reviewed performanceCenterstage Show Review
Reviewer: Zev Valancy
Saturday Apr 17, 2010

Few musicals have been altered more frequently than "Cabaret." Ever since Bob Fosse's 1972 movie radically rewrote the 1966 musical, it seems that every major production has made significant changes to the songs performed, their order, the book and more. And Matt Hawkins' new production makes some significant changes — making the Emcee into a woman (Jessie Fisher) and dividing the action into three acts, for instance. Purists could easily object, but what matters is whether the show works. And this bold, go-for-broke "Cabaret" works, spectacularly.

The story takes place in Berlin on the eve of the Nazi ascendancy: Cliff (Michael Peters), an American would-be novelist, falls in love with Sally (Lindsay Leopold), a self-destructive entertainer at the Kit Kat Club, which is overseen by the Emcee (Fisher). Their landlady (Kate Harris) falls in love with a boarder (Jim Heatherly), but politics and religion prove insurmountable boundaries.

The revolution of "Cabaret" is the way it balances traditional book songs with numbers in the club that comment on the action, and the most important reason that this production succeeds is that both halves work gorgeously. The cabaret numbers are surreal, dazzling and theatrical, and Fisher is marvelous, with a vibrant voice, wicked grin and real depth, but we also genuinely care about these people and their problems. We like the characters through the light and sexy first act and worry for them in the shadowed second, and so the third is absolutely devastating.

The cast is a huge help in this: Leopold stripping away the showbiz melodrama that sometimes accrues to the character, is particularly riveting, and the entire ensemble of cabaret girls and boys (in Alison Siple's delightful costumes) provide excellent support to Fisher and create a compelling world. There's more good to point out (and a few small flaws, including inconsistent accents and pronunciations), but I think by now the point is clear — this is an exceptional production of a great musical. Go see it.

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