Willkommen! Bienvenue! Welcome! Im Cabaret, Au Cabaret, To Cabaret!
In less than forty-eight hours, American University's Department of Performing Arts opens up their inaugural musical performance at the Greenberg Theater with Cabaret, a spectacular of dancing, singing and acting.
Director Gail Humphries Mardirosian brings "Cabaret" back to American University for the second time, the first being in 1987 where it won the Most Outstanding Play at the American College Theatre Festival. The DPA rarely ever repeats a production but according to Mardirosian, the musical is phenomenal.
This season's first theatrical production promises to be as splendid as its name. Based on the book "The Berlin Stories," by Christopher Isherwood, "Cabaret" tells the tale of Clifford Bradshaw, a young English writer who is visiting Berlin to find inspiration to complete his novel. What he finds instead is himself falling in love with the lovely cabaret dancer, Sally Bowles, from the Kit Kat Club. During his visit, the Nazis begin to occupy Germany, and the affects of their rise to power is evident throughout the play.
The Emcee introduces the audience to the Kit Kat Club, and foreshadows consistently the sinister plot changes ahead. As the play progresses, the character of the Emcee grows darker, reflecting the actual turmoil that Berlin was going through at that time, according to Philip Stewart, who plays the Emcee.
Since the play takes place in Berlin 1929, every role in the play is German, with the exception of Bradshaw, and Bowles, who are English and American. Given that the majority of students cast in the play are not German, they had to learn, and practice, German dialect for their respective roles.
"I had actually began to prepare for my role over the summer since we were cast last spring; I read The Berlin Story, and learned the German dialect," stated Michael Saznovo, who also plays the Emcee.
One of the more interesting aspects of this production is the double-casting. There are two Emcees and two Sally Bowles.
"I had two talented kids audition for each part, and decided that they all should have a chance to showcase their talent," said Mardirosian.
Since they are double-casted, each person is plays the role of a conspirator when not playing their principle roles.
"I enjoy being double-casted, since everyone gets to participate, and I think it's a good idea for an educational atmosphere," said Jennie Lutz, one of the two Sally Bowles.
"Cabaret" also has the honor of working with James Krozner, an award-winning set designer, who is well known within the Washington, D.C. area.
"It's the job of the director and set designer to interpret the play and make the characters in the situation go from real to live on stage, to imaginary representation at times," Mardirosian said.
Krozner designed a set that was easy to take apart and to assemble yet still splendid in its own accord.
"There were so many scenes to do, and it was a bit of a challenge to put the right set together. The chosen set was not only designed to look pretty, but was done hand-in-hand with the lighting to leave the underlying tone of darkness and anger, which stems from the arrival of the Nazi Party," Krozner explained.
Lighting Designer, Emily Becher chose red lighting and spot lights to accentuate the message of "Cabaret."
"Life in the shadows... that was my goal," Becher said. "'Cabaret' was set in a disturbing time period, and I'm just trying to recreate the menace of it through lighting."
Black is also used a lot of shadows, and it is the absence of color that works as a subtle reference to the lack of compassion during the time period.
"Cabaret" is a historically-based musical, and actually occurred.
"The fact that this story actual happened to someone made me appreciate the role even more," said Margo Seibert, who plays the other Sally Bowles.
All the dance numbers, and the movement on stage are historically accurate with the time period, and can be credited to alumni Katie DeVries, the choreographer and movement coach.
"All the steps chosen for the dance sequences are authentic to 1929 and fitted to the style of the performer," DeVries said. "I spent about two months researching the historical background of 'Cabaret' before I even thought about putting dance numbers together. The actual choreography only took two weeks. Historical accuracy is a huge factor in 'Cabaret.'"
Mardirosian agrees: "That's why I hope the audience embraces the message of 'Cabaret,' and enjoys themselves while watching it."
To emphasis the feeling of the show, the cast of the play went back and recorded a CD containing sound effects, authentic cabaret music and speeches from 1929. The CD is played along side the band and the cast as they perform to highlight the feeling.
"The cast recorded everything on their own, and we use the old cabaret music to fill in the gaps during intervals to give an extra ambiance," explained Robyn Raley, one of the sound technicians.
"Cabaret" promises to be the DPA's best performance yet. Since the beginning of October when dress rehearsals for "Cabaret" began, the cast has grown into a family of theatrically talented people that can only amaze during a performance.
"Everyone should come!" exclaimed Seibert. "It's not just a silly love story, it has substance, history, sensuality and is fun!"
So, what good is sittin' alone in your room come hear the music play, life is a cabaret, old chum, come to the cabaret... on October 17-18, 22-25 at 8:00 p.m. and
October 25 at 2:00 p.m. at the Harold & Sylvia Greenberg Theatre. Tickets are $15 General Admission and $8 AU Community & Seniors. Call 202-885-2587 for tickets and more information, or visit www.american.edu/perf_arts.
