Review: CABARET at Blackfriars Theatre

One of theatre’s many powers is its ability to reflect the happenings of the outside world, illuminating events and societal trends, and even portending things to come. When “Cabaret” was written in 1966 we were only one generation removed from the biggest global conflict in world history, in which America and much of Europe battled down the forces of fascism and tyranny. The show explores the period leading to this tumultuous era, and now in 2024 as American democracy once again feels fragile and antisemitism is on the rise around the world, “Cabaret” is, unfortunately, quite topical.

"Cabaret" is a captivating musical set in 1931 Berlin amidst the rise of the Nazi regime. The story revolves around the intertwining lives of an American writer named Cliff Bradshaw (Philip Detrick) and a British cabaret performer named Sally Bowles (Jess Ruby). They meet at the seedy Kit Kat Klub, a decadent haven for artists and misfits, where the enigmatic Master of Ceremonies (Drew Jensen) presides over the chaotic performances.

As Cliff and Sally's relationship deepens, they become entangled in the complex and turbulent social dynamics of pre-war Germany. Meanwhile, the Kit Kat Klub serves as a microcosm of the societal changes occurring outside its doors, with its flamboyant performers using their art to both entertain and critique the political unrest surrounding them.

Amidst the backdrop of the club's glamorous facade, the rise of fascism becomes increasingly evident, leading to devastating consequences for the characters. The musical explores themes of love, desire, political upheaval, and the struggle to maintain one's humanity in the face of oppression.

“Cabaret” is a complex show to bring to the stage, because it captures a lot of very disparate ideas; you could say the vibes are all over the place. While the heavier themes of rising authoritarianism are present throughout, the show’s first act is largely centered on the decadence and debauchery of the Kit Kat Klub, with songs like “Willkommen” and “Don’t Tell Mama” providing plenty of glamour and sex appeal for the audience. The end of Act I and much of Act II, however, are bone-chilling; violence and Nazi imagery take center stage, and the hedonism of the show’s first half is nowhere to be found. Blackfriars’ production does justice to both, providing the audience with the silly and the sexy in Act I, but also the intensity in Act II.   

The character most closely associated with “Cabaret” in the wider culture is the Emcee, a zany , unhinged narrator who acts as the poster boy for the story’s decadence but also its frightening second act. Drew Jensen is superb in the role, leading the cast through glamorous dance numbers and terrifying brutality in equal measure.

While their storyline isn’t always centerstage in the overall arc of “Cabaret”, the cast’s standouts are Mary Krickmore (Fraulein Schneider) and Donald Sheffrin (Herr Schultz), who have authentic and believable chemistry with each other but also have individual moments of humor, tenderness, and joy. Sheffrin, in particular, takes a searing pivot from Act I into Act II, in which his boisterousness is palpably replaced with terror and fear.

Blackfriars Theatre’s production of “Cabaret” is equal parts wild and debaucherous, gripping and intense. It’s playing until May 26th and tickets are selling fast, so get them while you still can! Click here for more information. 

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