All that glitters: Serious social lessons lurk in Barn's showy 'Cabaret'

THE GRAND RAPIDS PRESS
Wednesday, August 27, 2003
BY SUE MERRELL

Cabaret" is such a standard of musical theater that it's easy to see two or three different productions every season. The snappy yet thoughtful version that opened Tuesday for a full house of about 500 at The Barn Theatre in Augusta is the best interpretation I've seen in many years.

Director Joe Aiello has styled the show to look much like Sam Mendes' 1993 Broadway revival, but, unlike that version, which showed the characters becoming more hateful and disgusting by the minute, Aiello's warm, likable characters become more desperate and afraid as the story progresses.

Set in Berlin in 1930, just before the Nazis come to power, "Cabaret" uses a seedy nightclub as a metaphor for society's uncanny ability to fiddle while Rome burns. The worse reality gets, the more we want to escape into fantasy.

In the story, American would-be writer Clifford Bradshaw falls in love with British singer Sally Bowles, who performs at the Kit Kat Klub.

Scott Burkell, a regular comic presence at The Barn, has a wonderful romp as the Emcee character, who ties the scenes together with witty commentary and some of the most famous Kander and Ebb songs in the show, including "Wilkommen," "Money" and "If You Could See Her."

Wearing whiteface and blackened eyes, Burkell hooks the audience with his wry little smile. But he also shows off some torchy vocals in "I Don't Care Much" and some impressive cancan in "Kickline."

In the role of Sally Bowles, Barbara Helms is as electric as the running lights that rim the stage. Her smile crackles with contagious energy. She also has a powerful voice and easily commands the stage in sassy numbers such as "Perfectly Marvelous" and the showpiece "Cabaret."

Eric Parker creates a strong Clifford Bradshaw, fun-loving and playful, but tender in his rapport with Sally and resolute in his opposition to Nazism. Iris Lieberman is a standout as landlady Fraulein Schneider, tough on the outside but a marshmallow within. She is very believable in her relationship with Herr Schultz, portrayed with impish charm by Howard McBride.

The Kit Kat Girls and Boys provide excellent ensemble work, especially Trevor Southworth as one of the girls in "Two Ladies."

The costumes are purposely bizarre -- a long-tailed tuxedo coat worn with shorts, no shirt and garters holding up socks. The Kit Kat Girls seldom wear more than underwear. And Sally's Madonna-like Catholic schoolgirl outfit for "Don't Tell Mama" was perfect.

Choreographer Dee Dee Sandt has created some nice ensemble movements, from the Fosse-like mobile mass in "Money" to a kicky ballroom piece for the engagement party.

There were a few minor technical difficulties at Tuesday's two-and-a-half-hour opening show, including a slow spotlight and a squealing sound system. The put-on German accent -- "v" instead of "w," "s" instead of "f" -- got a little tiresome.

A two-story metal frame set with three doors provided a versatile backdrop for the production.

Glittery fabrics hanging from the frame were stripped away one at a time as the truth of Nazism became better known.

On the whole, The Barn's "Cabaret" combines beautiful music and dance with believable characters and artistic symbolism.

So, as Sally would say, come to the cabaret.

Barn's 'Cabaret' showcases fine singers

KALAMAZOO GAZETTE
Wednesday, August 27, 2003
BY C.J. GIANAKARIS

AUGUSTA -- Director Joe Aiello guided a fine cast into the darker reaches of Kander and Ebb's hit musical "Cabaret" at Tuesday night's opening at the Barn Theatre.

The recipient of 10 nominations and eight 1967 Tony Awards when it first premiered, "Cabaret" has evolved through several fine tunings. In the recent New York revival, which took four 1998 Tonys, "Cabaret" was played more forbiddingly than before. Aiello's production tilts toward the recent darker texture.

Music and song are its calling cards, of course, and this Barn production presented many fine singers, starting with the show's master of ceremonies, played by Scott Burkell. Joining him in the opening "Willkommen" number were a sparkling Barbara Helms as Sally Bowles and the Kat Club Girls and Boys. Choreography by Dee Dee Sandt here was smart, smooth and clearly well-rehearsed. Burkell shone in other numbers, too, including an effective "Sitting Pretty" with the Kit Kat Girls. He excelled in the comical yet sad "If You Could See Her With My Eyes," in which he dances with a figure in a gorilla costume. His part in "The Money Song" was arch enough, although the piece as a whole seemed flat.

Other standout musical numbers formed the core entertainment in the show. Early on, "Don't Tell Mama" underscored Helms' exceptional musical talent, led by truly fine singing and great agility in movement and dancing. Moreover, her spotlight number, "Cabaret," near the end was performed and sung brilliantly. She revealed her character's conflicts through physical mannerisms and effective vocal shadings. Her scenes of straight acting, especially with Eric Parker as American Clifford Bradshaw, exhibited strong acting ability to go along with her excellent singing.

Parker offered his usual good acting, despite a role lacking much space for character development. His duet with Sally, "Perfectly Marvelous," exuded much charm. Eric Petersen's straight acting role as the Nazi Ernst Ludwig provided some illuminating moments, as did Roy Brown's Max, owner of the decadent nightclub where Sally performs.

Iris Lieberman acted and sang a strong Fraulein Schneider. Her "What Would You Do?" passionately conveyed the character's tragic decision not to marry the Jewish Herr Schultz, well acted by Howard McBride. Amy Sousy's performance as Fraulein Kost was on the money, projecting the powerlessness of her social position but also an innate personal meanness that motivated her to retaliate against Fraulein Schneider.

A sense of constriction results from a lackluster set in the minimalist tradition with very few stage props or furniture. Little on stage, either in color or shape, pleases the spectator's eye. A nine-piece pit band, led by music director Ian Eisendrath, performed below stage; their music sounded raw at times and even threatened to drown out the microphoned singers.

Aiello's pacing was happily brisk and appropriate. His direction explored the gay dimensions of Berlin at the time. Given the show's songs -- which stick in your mind like peanut butter on the tongue -- it's odd that the Barn has staged "Cabaret" only once before. It's a musical well worth doing regularly.

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