Through 12/17

Cabaret is a musical based on a book written by Christopher Isherwood, music by John Kander and lyrics by Fred Ebb. The 1966 Broadway production became a hit, inspiring numerous subsequent productions in London and New York, as well as the 1972 film by the same name.

It is based on John Van Druten’s 1951 play I Am a Camera, which was adapted from the short novel Goodbye to Berlin (1939) by Christopher Isherwood. Set in 1931 Berlin as the Nazis are rising to power, it is based in nightlife at the seedy Kit Kat Klub, and revolves around young American writer Cliff Bradshaw and his relationship with an English cabaret performer Sally Bowles.

A subplot involves the doomed romance between German boarding house owner Fräulein Schneider and her elderly suitor Herr Schultz, a Jewish fruit vendor. Overseeing the action is the Master of Ceremonies at the Kit Kat Klub. The club serves as a metaphor for ominous political developments in late Weimar Germany.

From the onset of this production, the blistering opening number is the best opening I have ever seen at Blank Canvas. It is electric. And it is led by a brilliant Devon Turchan as the Emcee. This theatrical octopus spreads his arms and legs all over the stage and audience with his Kit Kat Club tentacles. Turchan chews more scenery that a house party of fire ants having a kegger. Turchan has definitely created one of the most exciting performances in 2016, and haircuts. Yassssssssssss.

Stuart Hoffman brings his kinetic characterization skills to Ernst Ludwig. From first meeting Cliff Bradshaw (Noah Hrbek) on the train, to not letting Cliff back out of their deal. Hoffman delivers a great arc to this character, slowly revealing a darker side that is quite alarming. Great work.

Hrbek has a hard journey to row. The role itself is an unsung hero of the piece. You hardly ever come out of a production of Cabaret talking about Cliff. Fearless, Hrbek dives in underplaying the role instead of trying to deflect attention from his more colorful collaborators. This approach is winning, but it would help with a bit more energy and an enhanced objective.

Can we talk about Fraulein Schneider (funny, poignant Bernadette Hisey) and Heir Schultz (sweet, caring John J. Polk). Both of these actors have their guns loaded. Watching the arc of their relationship is a stunning feature of Cabaret. As the others characters are a bit flamboyant, Fraulein Schneider and Heir Schultz are the two main characters that draw us to pain and suffering. The power of love does not win. And that is heartbreaking for anyone to watch. Their duets are sublime, and Hisey’s rendition of “What Would You Do” is spectacular.

Kimberly Escut as Fraulein Kost is on fire the entire production. Her sweet comedic timing switches from Kit Kat Club Fritzie, to a one-woman vagina tour led by Fraulein Kost. She kicks ass all over the stage, and also shows off her demanding stage presence by leading “Tomorrow Belongs To Me.” She does so much for the armed forces. Thank you.

Tricia Bestic brings her A game to Sally Bowles. This performance is so nuanced. Hints of drug use, alcohol abuse and life abuse are all on full display, or underplayed to perfection. She looks great and sexy, and her voice is not as brassy as you would come to expect. But her correct and textured approach is loaded with so much emotion and visceral pain, she is like the mirror while we watch ourselves traverse the bumpier times of life.

But it is Bestic’s rendition of the title song that you will remember,  a tough thing to do when Turchan just gave the performance of the year. The song “Cabaret” is turned into a blistering account of a life, which is anything like a cabaret. The way she navigates through the lyrics to expose the true account of her life is devastatingly beautiful. I have NEVER seen this song performed like this, and it is definitely worth putting your name on a wait list.

The picture above is the production number “Two Ladies”. It is a sublime hot mess of yasssssssssssss. Turchan is joined by Brandt (Lulu) and Turner (Bobby).

Special shout out to Colin Meyers (German Boy). Myers, who just got off the national tour of Ragtime, kills the stratospheric notes of a brutal song innocently announcing a horrible conversion of values.

The Kit Kat Club will most definitely win “Best Swingers Club” in the Scene Magazine’s “Best Of” edition. The group of fabulous, psychotic and flexible musical beings that are on the payroll is one appetizer menu you’ll not be soon to forget: Leslie Andrews (Texas), Tasha Brandt (Lulu), Kenzie Crtizer (Frenchie) Kimberly Eskut (Fritzie) Daryl Kelley ( Hans) Michael Knobloch (Victor) Madeline Krucek (Rosie) Evan Martin (Herman) Sarah Menser David Turner (Bobby).

This show is very strong, and right in the wheelhouse of director Patrick Ciamacco. Pace is great, design is wonderful, and it is just a blast, whether you are laughing your face off, or drying your tears.

I also applaud the confrontation of the gay issues which are usually buried. The issues are real, and a tortured reality in Cliff’s head. Dealing will them adds to the tension of what hate and fear can do to a society.

The band is fabulous, led my maestro Matthew “Truffles” Dolan. There is so much rocking brass, you could redo the pipes in your house. Choreographer Katie Zarecki  delivers full power sexy realness in all the dances. Brittany Gaul calls a tight show and adds her own dimension to creating mood and feel. The following do outstanding work: assistant director Erin Moran, sound operator Venchise Glenn, costume designer Luke Scattergood hits all the right visuals and fits. Lighting designer Cory Molner gives the right spice to the proceedings provided haunting images.

The run is sold out, but they have added another show. And they do have a wait list. Check out their website blankcanvastheatre.com. Your Velcome!

Tickets:$18 general admission

(440) 941-0458

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[Written by Kevin Kelly]

[Photo by Andy Dudik]

Cleveland, OH 44102

 

 

 

 

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