OpenStage Theatre’s 50th season opener explores the darker side of humanity in a slick production of the classic musical
With the growing rise of fascism across the globe, theatres are remounting productions of Cabaret as a warning of sorts. Despite the glitz and glamour of the nightclub where the musical is set, the show’s themes explore the process of how a society came to accept (or, was willing to turn a blind eye to) the Nazi’s rise to power in Germany. OpenStage Theatre’s complicated production features a stellar cast and exceptional directing in an exciting remount of Cabaret.
The musical follows the workers at a shady German night spot, called the Kit Kat Klub, hosted by the mysterious Emcee (Ethan Walker), and the whirlwind romance between American writer Clifford Bradshaw (Brian Wilcox) and English cabaret performer Sally Bowles (Brikaih Floré). While working in the area, Clifford stays at a boarding house run by the tough-as-nail house owner Fräulein Schneider (Louise Thornton). Fräulein Schneider is wooed by an elderly Jewish fruit vendor, Herr Schultz (David Siever), who just wants them to be together despite the horrors around them. But, as 1930s Germany slowly surrenders to the atrocities of the Third Reich, dreams unravel and lives are demolished.
The original Broadway production opened on November 20, 1966, at the Broadhurst Theatre in New York City and became a box office hit that ran for 1,166 performances. The original production won eight Tony Awards, including Best Musical, Score, Supporting Actor, Supporting Actress, Direction, Choreography, Scenic Design, and Costumes. The musical inspired numerous productions around the world, as well as the 1972 Oscar-award-winning film of the same name. The musical has become a seminal work within the American musical theatre canon and is, unfortunately, just as relevant to today’s time as it was when it was written in 1966.
Set designer James Brookman’s two-story dressing room set was smartly constructed and immediately draws you into the seedy nightclub world. The bottom floors featured dress room tables, chairs, and mirrors for dancers to get ready. It was both visually striking and appropriate for the setting to have the orchestra on a platform raised above the hall; this also allowed for actors to climb to this second level in a few powerful moments throughout the show. Under the musical direction of Matthew Rothstein, this eight-piece orchestra played the hell out of Kander’s score. I particularly enjoyed their spirited rendition of the show’s Entr’acte after intermission.
The eight-piece band plays | Photo by Steve Finnestead Photography
Director Kenny Moten has the performers come out before the show starts and get ready onstage in the dressing room during the artistic director’s speech welcoming audiences to the theatre’s 50th season. This was a smart way to welcome us into the world while not forcing the audience to pay attention to the dancers getting ready for the performance. Moten’s direction is thoughtful, practical, and incredibly efficient. Though a few moments drag here and there, Moten’s blocking helps beautifully communicate the story.
The dancing, choreographed by Angie Simmons, is some of the finest I’ve seen in the area. Simmons’ choreography includes a spinning kick line, complex partner dances, splits, springs, lifts and more. From the great group numbers, like “Don’t Tell Mama” to smaller moments, like “Two Ladies,” the cast executes Simmons’ elaborate challenging combinations with ease. It adds to the nightclub setting and works nicely with Moten’s overall direction.
Brikaik Floré (center) along with the ‘Cabaret’ ensemble | Photo by Steve Finnestead Photography
Rebecca Spafford’s costumes skillfully bring the Kit Kat Klub characters to life with colorful corsets and several fun costume changes inside the cabaret. Spafford dresses those outside the nightclub in total contrast to the hedonist nightclub clothes and (I can’t believe I’m typing this, but it is a musical about Nazism), the sparkly Nazi patches she created were as gorgeous to look at as they were horrifying to see proudly displayed by the musical’s characters.
Walker was a compelling Emcee; his alluring facial expressions were coupled with a creepy clown physicality and lovely singing voice. Walker’s performance never lets you feel totally at ease in the world, but you believe he is confident and safe in this environment. He is a natural leader for the circus of madness that ensues and does a nice job during “Money” and “If You Could See Her.” Though the character’s sex jokes occasionally become more grating than amusing as the evening progresses, that’s just the character.
Ethan Walker as the Emcee | Photo by Steve Finnestead Photography
Floré has a great singing voice. She does a good job with the comedic elements of Sally, like her entrance in “Willkommen” and “Don’t Tell Mama”; however, her performance of the title number, “Cabaret,” felt a little too controlled. The over-blocking of this number also makes it a little difficult for Floré to connect with the audience. You’re unsure if she loves life, hates it, or is just apathetic toward everything. I wish Floré had made a slightly stronger choice because what she was feeling didn’t come across to the audience.
The relationship between Floré and Wilcox worked well. Wilcox does a nice job portraying Clifford as an outsider with a hero complex. He was very sensitive and had a chip on his shoulder. I was really rooting for the couple, but he and Sally fundamentally value different things. He likes watching; she wants to live; he is afraid of the war; she just wants to perform.
Thornton and Siever are a little more wooden than the rest of the cast, and the show slows down when we switch to their scenes as Fraulein Schneider and Herr Shultz. As Clifford’s friend Ernst Ludwig, Bas Meindertsma was endearing, which made the revelation that he was a Nazi all the more shocking and impactful. Meindertsma’s slow revelation of his true colors was hard to watch given how relaxing and pleasant he had been earlier in the musical.
Moten does a good job of balancing the intensity of the subject matter with lighter moments, so you don’t walk out of the theater too depressed and introspective. OpenStage Theatre’s Cabaret is a great production of a timely classic (and an excellent excuse for a trip to Fort Collins)!
Ethan Walker and ensemble of ‘Cabaret’ | Photo by Steve Finnestead Photography
A Colorado-based arts reporter originally from Mineola, Texas, who writes about the evolving world of theater and culture—with a focus on the financial realities of making art, emerging forms and leadership in the arts. He’s the Managing Editor of Bucket List Community Cafe, a contributor to Boulder Weekly, Denver Westword and co-host of the OnStage Colorado Podcast. He holds an MBA and an MA in Theatre & Performance Studies from CU Boulder, and his reporting and reviews combine business and artistic expertise.
Interesting take on the show, I myself can’t seem to stop watching! Going for a third time around soon. I found the cast to be mesmerizing and extremely talented. Not only did your review do a huge injustice to to performer playing Sally, who had the audience under her spell from start to finish (and who’s rendition of “Cabaret” I overheard someone post show say ‘one of the best I’ve ever seen’), but also the heart wrenching performances of Schneider and Schultz- two warm actors we rooted for deeply and were shattered by later. I am haunted by the final scene and Florès depiction of an extremely controversial subject matter as well as Ethans portrayal of fear with his final wave goodbye. Perhaps you went on a bad night but, there are so many layers of this show that continue to haunt audience members in the best of ways.
Open stage’s work here was maddeningly good, standing ovation each night I went. Heaps of heart throughout this transport to 1930’s Berlin. Emotional ranges, light and hyped in the first act, to a progressing departure into the grimacing effect on our characters world in the second half.
Supreme hats off to Moten’s work, and a cast of power and potency. A Supreme hats-off to Moten’s work, with what I’m
Sure was a carefully casted crew of power and potency.
Thank you so much for taking the time to comment about your experience with the show! I am so glad you connected so deeply with the production.
Moten’s direction of the large ensemble cast was remarkable. I appreciate you bringing in your perspective on the performances of Floré, Schneider, and Schultz. It is always valuable to hear how actors’ performances affect other audience members because the show truly is different every night. It sounds like you have seen the production more than I have, which I am definitely jealous of. I’d love to see the choreography and acting in person again! I agree with you 100% about the end of the show and the powerfulness of Walker’s final wave (I didn’t want to spoil that in the text of the review, though, so that future audience members could be as shocked by the end as I was). Overall, I really enjoyed the production and highly recommend folks check it out while they still can.
Once again, I really appreciate you taking the time to discuss OpenStage Theatre’s exceptional work in the comments with me and for drawing attention to the parts of “Cabaret” that you were moved by! I sincerely hope you enjoy your third time attending the musical :)