Willkommen! Bienvenue! Welcome! Im Cabaret, Au Cabaret, To Cabaret!
In less than 48 hours, AU's Department of Performing Arts opens its inaugural musical performance at the Greenberg Theater with "Cabaret," a musical about dancing, sex and Nazi oppression.
Director Gail Humphries Mardirosian brings "Cabaret" to AU for the second time, the first being in 1987 when it won the Most Outstanding Play at the American College Theatre Festival. The DPA rarely repeats a production but according to Mardirosian, the musical is phenomenal.
Based on the book "The Berlin Stories," by Christopher Isherwood, "Cabaret" tells the tale of Clifford Bradshaw, a young English writer visiting Berlin to find inspiration to complete his novel. Instead, he finds himself falling in love with an American cabaret dancer, Sally Bowles, from the Kit Kat Club. During his visit, the Nazis begin to exert power in Germany, the effects of which become more evident as the play progresses
The character of the emcee introduces the audience to the Kit Kat Club, and consistently foreshadows the plot changes. As the play goes on, the emcee grows darker, reflecting the turmoil that Berlin experienced, according to CAS student Philip Stewart, who plays the role.
The play takes place in Berlin 1929, so most of the 28-student cast had to learn to speak with a German accent.
"I had actually begun to prepare for my role over the summer since we were cast last spring. I read The Berlin Story, and learned the German dialect," said SIS student Michael Sazonov who also plays the emcee.
Studying the historical basis of "Cabaret" inspired some of the performers.
"The fact that this story actual happened to someone made me appreciate the role even more," said Margo Seibert, SIS, one of two students who plays the character of Sally Bowles.
The DPA cast two emcees and two Sally Bowles for this production.
"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-cast, each person plays the role of a conspirator when not playing their principle roles.
"I enjoy being double-cast, since everyone gets to participate, and I think it's a good idea for an educational atmosphere," said Jennie Lutz, CAS. the other Sally Bowles.
Other stand-out aspects of AU's production include sound by SOC artist-in-residence and AU alumnus Russell Williams, who won Academy Awards for his work on the films "Glory" and "Dances With Wolves," and set design by award-winning set designer James Krozner, who is well known in D.C., Mardirosian said.
Krozner designed a set that was easy to take apart and to assemble yet still expressive.
"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 lights 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."
The shadows and absence of color work as a subtle reference to the lack of compassion during the time period.
"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. The time period is also represented by the dance numbers, which are historically accurate according to alumna 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 agreed when it came to the historical significance of the musical, saying: "That's why I hope the audience embraces the message of 'Cabaret,' and enjoys themselves while watching it."
The cast also hopes to emphasize an authentic feeling of the time period with their CD recording of sound effects, cabaret music and speeches from 1929. The CD is played at times to highlight the band and the cast as they perform.
"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 junior Robyn Raley, CAS, the sound board operator.
"Cabaret" looks to be the DPA's best performance of the year. 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," said Seibert. "It's not just a silly love story, it has substance, history, sensuality - and it's fun"
