Prepare to be blown away.
Horrorshow Productions, “Toronto’s newest non-profit theatre group,” has arrived, and their calling card is the almost impossibly vibrant and daring rendition of Cabaret now playing at the Alumnae Theatre.
Directed with deftness, swagger and empathy by Jack Phoenix and Reba Pyrah, the production captures the essence of the classic musical by John Kander, Fred Ebb, and Joe Masteroff, based on Christopher Isherwood’s Goodbye to Berlin – and blends playful experimentation and crackling energy with painstaking attention to detail. With this uninhibited debut, the company — dedicated to creativity, risk-taking, and community – sticks the landing with confident élan.
Set in Berlin during the final days of the Weimar Republic, Cabaret presents a compelling portrait of a society on the brink of transformation. Against the backdrop of the rising Nazi regime, the musical explores themes of political upheaval, personal identity, and the allure of escapism through the stories of the Kit Kat Club’s eclectic and complex characters.
At the narrative’s core is the Kit Kat Club itself, a space of indulgence offering a temporary refuge from the harsh realities of the outside world. Within its smoky, pulsating confines, the enigmatic Emcee — realized with magnetic charisma and vocal panache by a smoldering Taylor Long – presides. This is a world of hedonism and freedom, where societal norms are gleefully defied, and individuality is celebrated. Long’s performance skilfully channels the decadence and menace of the era, embodying the tensions underlying the story. Of course, as the narrative progresses, the boundaries between the club’s seductive illusions and the ominous political forces outside begin to break.
The story follows Clifford Bradshaw, an American writer who arrives in Berlin searching for inspiration, and who is sympathetically portrayed by Emrik Burrows. He soon becomes entangled with the vivacious Sally Bowles, a charismatic and self-destructive English performer at the Club. Their relationship, marked by alternating moments of connection and disillusionment, mirrors the uncertainty and turbulence of the time. Bowles is realized with undeniable vocal power and cat-like allure by Jessa Richer. Her musical numbers enchant us – though occasional moments of muffled dialogue detract from her compelling presence and emotional clarity.
Alongside the central storyline is the tender and bittersweet relationship between Fräulein Schneider, a pragmatic landlady, and Herr Schultz, a kind-hearted Jewish fruit vendor, who are portrayed with warmth and poignancy by Jill Louise Léger and Cyril Johnston, and whose story is ground zero for the conflict between the Club and the malign forces massing outside it. Meanwhile, Alexandra Nuñez’s quick-witted, savvy and self-sufficient Fräulein Kost injects moments of comic relief (plus unexpected musicianship) that balance, but then catalyze the story’s darker undertones.
And wow, just wow. You won’t be able to take your eyes off the uniformly excellent cast of 14 Kit Kat Dancers. Boasting diverse body types, all costumed to maximize their sex appeal, they execute Maya Lacey’s complex, seductive and energetic choreography with an oxymoronic blend of exactness and abandon.
The production’s excellent design elements further enrich the storytelling. The two-tier set, designed by Denis Boutin, Donny Mills and Mike Gerson, effectively transforms between the Kit Kat Club and Cliff’s lodgings, making the fullest possible and most dynamic use of the Alumnae Theatre’s performance space. Emcee, the characters and the dancers slink up, down and around this space continuously, adding depth and dimension to the story and the setting. The costuming by Mickey Agnelli (which extends from the principals and dancers right to the orchestra) exquisitely captures the period’s decadence and contrasts, while Connor Price-Kelleher’s lighting design distinguishes the moods of the Club and rooming-house scenes, underscoring the emotions of key solo numbers. And the top-notch orchestra — led by Jake Schindler with Associate Music Director Adam Rosenfield – expediently flank the stage on left and right, creating an authentic cabaret feel.
Note also that this Cabaret experience begins in the lobby with a doorman who welcomes you to the Club. And an unbilled cabaret show precedes the musical, showing off more of the cast’s abundant talents. Arrive early to experience the full impact of the immersive atmosphere.
Through its layered characters, thoughtful performances, and considered design, this production of Cabaret dazzles us and challenges us to ponder the fragility of freedom, the perils of escapism, the consequences of complacency — and the importance of recognising pivotal historical moments when you’re in them. Not only is this Cabaret deeply compelling and absorbing – it’s also unsettling in its timely topicality.
Kudos to the entire team. The hours of preparation they have invested is obvious in almost every aspect of this show, including transitions, rendered with a seamless precision. This inaugural production is an outstanding achievement, which sets a very high bar for the company’s future endeavours. With Cabaret, Horrorshow Productions establishes itself as a bold, exciting – and most welcome – new voice in the Toronto theatre community. Cabaret runs at the Alumnae Theatre only until December 7, 2024. You’ll regret it if you miss it. For tickets, visit eventbright.ca.
© Arpita Ghosal, Sesaya Arts Magazine, 2024
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Arpita Ghosal is a Toronto-based arts writer. She founded Sesaya in 2004 and SesayArts Magazine in 2012.