"Cabaret"
Directed by Molly Smith Starring Glenn Seven Allen, Megan Gillentine Arena Stage 1101 6th St. S.W. Runs through Oct. 29 Grade: B+
The orchestra pianist looked refined and gentlemanly with his wire-rim glasses, black top hat and neatly trimmed graying hair and beard- not to mention his double-strand pearl necklace and sparkling black dress. Welcome, ladies and gentlemen, to "Cabaret."
The show has its own quirks that relate to the current atmosphere in America - the jokes about war, security and even homosexuality in 1930s Germany seemed oddly poignant. In fact, homosexuality seems to be highlighted in a rendition where almost all of the cast cross-dress and Cliff (Glenn Seven Allen) is discreetly responsive to the advances of other men, keeping the audience questioning.
The show is raunchy enough to make a straight-laced American feel a little uncomfortable, but it isn't over the top. The cabaret girls and guys, in their torn fishnets and m?lange of tattered lingerie, leaned over the railings into the crowd. "Watch that for me, darling," one whispered to an elderly woman while she draped her boa across the rail.
The stage is in the center of the intimate Fichandler Theater, bringing the visitor close to all the action. The dancers run in and out of aisles between the seats, pop up in back rows and clamber along the banisters. However, it is impossible to see everything that happens from any particular side of the stage, and unfortunately that means some of the performance is lost. Seats on the east or south side of the stage seem to have the best view of the action and seats higher up in the theater may have a better total perspective.
The Master of Ceremonies (Brad Oscar), a D.C. native, is prominent and entertaining without stealing the entire show, though his makeup and bald head are slightly reminiscent of Uncle Fester of "The Addams Family." Nor does any single part of the story dominate the show, although the relationship between the aging Fr?ulein Schneider (Dorothy Stanley) and Herr Schulz (Walter Charles) has true charm and chemistry. Fr?ulein Kost (Sherri L. Edelen) also makes a strong impression on the audience and garners a lot of laughs as the squealing, stumbling prostitute, but she also makes a major contribution to the second half by singing a drunken yet significant Nazi anthem, "Tomorrow Belongs to Me."
Musically, lead actress Sally Bowles (Meg Gillentine) does not disappoint. Nor does the Master of Ceremonies, and Herr Schulz brings a strong, emotional voice to the stage. Fr?ulein Schneider, on the other hand, has a tendency to speak lines when they could have been sung, and Cliff Bradshaw doesn't truly shine.
The costuming is wilder than expected, from dingy sailor suits to Hawaiian grass skirts to Japanese and Grecian robes covered in fake coins. The Master of Ceremonies alone wears close to 10 different ensembles. This seems to be too much at first, but the contrast between the glitz of the first act and the somber second act makes it all worth it.
Sadly, the finale is also tainted by overzealous effects, preventing the understated last scene from leaving a sobering effect on the audience. But overall, these are small problems, and a good night at the Cabaret can be had by all.
Arena Stage's "Cabaret" is playing every night but Mondays until Oct. 29. Patrons between the ages of 5 and 25 can buy $10 tickets by calling the theater the day of the show, but supplies are limited. Cabaret-style seating is available for an extra price at certain shows. There will be a special "Out at Arena" night for gay and lesbian audiences on Oct. 6 at 8 p.m., including a discussion and reception with cast members after the show.
