‘Cabaret’ review: The Croswell’s alluring and timely production is a deeply moving experience
Courtesy of The Croswell Opera House
For the first time ever, The Croswell Opera House is transporting local audiences to Berlin circa 1930, immersing them in the seedy confines of the infamous Kit Kat Klub where inhibitions are forgotten and no questions are asked in John Kander and Fred Ebb’s more relevant than ever “Cabaret.” Compared to The Croswell’s season, which includes uplifting productions like “Newsies,” the irreverent “Young Frankenstein,” and “The Spongebob Squarepants Musical,” “Cabaret”—with its bleak ending, stern political stances, and edgy musical numbers—stands out as perhaps the most significant show in the lineup. It’s challenging, thought-provoking, and, regrettably, eerily relevant in today’s contentious and politically divided climate. The Croswell deserves commendation for taking this bold step. Outfitted with an exceptional ensemble of dancers and character performers, and marked by refreshing artistic choices in staging and scenic design, this Broadway-caliber rendition of the iconic musical is the hottest ticket in town.
Director Erica Wyman Abrahamson creates an immersive experience, adding an enigmatic twist to the beloved show that is likely to present Croswell audiences with something they have never seen before. We begin our journey at the twilight of the Jazz Age, on the brink of World War II, where the Nazi Party is gaining strength. We are taken inside the Kit Kat Klub, a place of tasteful debauchery where David Blackburn’s rowdy Emcee welcomes and introduces us to a world where, at least on the surface, you are not judged for your sinful thoughts and can forget the turmoil outside.
During this opening sequence, Blackburn delivers a sensational performance of “Wilkommen,” as the stunning Kit Kat Girls (played with fierce, sexy energy by Anjalie-Nicole Coates, Sabriyah Davis, Abby Dotz, Molly Humphries, Aubrie Lauren, Clara Losey, Danielle Moseley, and Hallie Yuen) command the stage. It takes only five minutes for them to captivate the audience. The Kit Kat Boys (Dom Glover, David Roden, and Tanner Strock) are equally mesmerizing.
Also dominating the stage is Love Ruddell, making their Croswell debut as the formidable Sally Bowles, a young, iconoclastic English nightclub singer who becomes infatuated with Cliff Bradshaw (Matthew Porter—terrific), a struggling novelist who has just arrived in the city to work on his new book. Both actors exhibit sizzling chemistry as they navigate their complex relationship, with Joe Masteroff’s book providing ample material. Sally embodies a kind of blind and willful ignorance, while Cliff’s ambitions reflect a new breed of American activist who refuses to stand idly by as the government encroaches on people's rights.
The Croswell has opted to produce the 1998 version of “Cabaret,” which offers a markedly different rendition from the 1972 Oscar-winning film starring Liza Minnelli. This version is more anxiety-inducing, particularly in Act II, where Cliff and Sally must navigate their uncertain future amid a city overtaken by German soldiers and a propagandist message of hate. It also gives more prominence to the relationship between Fraulein Schneider, the boarding house owner where Cliff and Sally reside, and Herr Schultz (played pitch perfectly by real-life married couple Julia and Jared Hoffert), which deepens the show’s narrative.
This focus is significant because their relationship is more profoundly affected by the rise of Nazi power than Cliff and Sally’s, creating simmering tension as their friend Ernst Ludwig (a diabolical Chris Stack) reveals his true colors. Additionally, Kyler Mattoon nearly steals every scene as Fraulein Kost, one of Schneider’s free-spirited tenants, with a hidden arc that delivers a shocking reveal.
Abrahamson skillfully balances these complex characters against Crosby Slupe’s beautifully lit backdrop, employing shadows and lighting cues crafted for maximum impact. Doug Miller’s impressive scenic design complements the dancers' needs, while choreographer Dom Glover, pulling double duty, creates stunning routines and mechanics that the ensemble crush (especially during the Act 1 stunner “Money,”). Music director Todd Schreiber and costume designer Alexandria Szczotka also rise to the occasion, ensuring every element contributes to the show’s cohesive atmosphere.
The production culminates in one of the most emotionally charged endings I’ve seen on The Croswell stage. It doesn’t leave you feeling hopeful but rather reflective about how far we’ve come and the risks of societal regression. When the actors took their curtain call without music, the audience was visibly shaken, confronted with their own emotions and the show’s deeper implications. In these divisive times, “Cabaret” may seem like a challenging choice with its themes of sexuality, identity, and political provocation, but it’s arguably the one we need. This show made waves during its original run in the sixties and now graces The Croswell for the very first time with a renewed sense of urgency and an insane cast. The bar has been set for future productions.
The Croswell’s production of CABARET continues through September 22nd. Tickets can be purchased at Croswell.org.
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