Grand Prairie Arts Council Presents “Cabaret”
Book by Joe Masteroff
Based on the play by John Van Druten and
Stories by Christopher Isherwood
Music by John Kander and Fred Ebb
Directed by Alex Krus
My thoughts on GPAC’s Cabaret or put down the knitting, the book, and the broom and get to Grand Prairie ASAP.
One of the greatest thrills as a theatergoer is to enter a theater with little or no expectations and to emerge from that theater with your head spinning from being thoroughly entertained and surprised by what you have seen. Such is the case with the Alex Krus helmed Cabaret at GPAC. To be completely honest, I was not looking forward to this production. I have seen some excellent mountings of Cabaret, so why would I want to schlep all the way to Grand Prairie to see another one? I had tickets from two years ago when it was shut down by Covid before opening, so I decided to take a chance. That decision turned out to be one of the best of my theater going career as this fresh look at the classic tale of Berlin just before the rise of the Nazi regime is practically flawless. Krus somehow remains faithful to the original, while filling his Cabaret with surprises and subtle changes that make this Cabaret unique, exciting, and unforgettable.
The multi-level set by Matt Betz has a vaguely Art Deco feel and there is a central staircase that allows for dramatic entrances and exits. Betz’s set makes the Kit Kat Club look a bit more upscale than in past productions, but it works wonderfully, and Music Director Ian Mead Moore’s on-stage band completes the nightclub atmosphere. Eric Eric J. Criner supplies the period appropriate costumes and some truly provocative outfits for the Kit Kat Club girls and boys who look amazing performing Victoria Lee-Bratcher’s remarkably sexy and fluid choreography, which is sensuous and seductive with an occasional nod to Fosse. The entire show is enhanced by the lighting design of Kyle Harris who bathes the stage with color and highlights all the songs and dances performed by the outstanding cast.
Every show must have a villain, and Greg Hullett makes an ideal one as Ernst Ludwig. He’s a Nazi in sheep’s clothing and Hullett transitions skillfully from “friend” to thug. Liz Woodcock Krus is an appealing Fraulein Kost, the hooker who is always looking to pay her rent. Krus has a lovely voice and when she sings “Married” in German while the newly engaged couple dances on the floor beneath her, it is one of the most beautiful moments in the show. Evan Faris, also an excellent singer, is touching as Herr Schultz, the Jewish fruit merchant who refuses to see the threat of the Nazis. As his love interest and landlord Fraulein Schneider, Kristal Seid is extraordinary. With her incredible voice and expressive face, Seid gives an emotional depth to Fraulein Schneider that makes her always compelling to watch and hear. The splendid Dakota James is Clifford Bradshaw, the sexually confused young English teacher who falls in love with Sally Bowles. Whether in lighthearted moments or deeply dramatic ones, the accomplished James makes Bradshaw a flesh and blood character who wins our sympathy. Ally Van Deuren is a dynamic Sally Bowles. With her impeccable British accent adding authenticity to her character, Van Deuren sings, dances, and charms her way into our hearts. Van Deuren is a masterful actor and her Sally changes, grows, and hardens over the course of the evening. It is almost imperceptible at first, but by the time she delivers the title song in a manner that is both forceful and chilling, you realize that this is not the same Sally we met in Act I. This is a Sally unlike any I have seen before. Our host for the evening is Rodney M. Morris as the Emcee and from the moment he opens his mouth to welcome us with “Willkommen,” we are under his spell. Morris makes his Emcee a sexual powerhouse who can turn from comic to wicked with the raise of an eyebrow. His voice fills the auditorium and Morris shines in every number. He can have you laughing with the comedic numbers like “Two Ladies” or leave you stunned by a more serious song like ‘I Don’t Care Much” which he builds and builds to a tremendous conclusion. Morris has an overwhelming stage presence that is impossible to turn away from. Whether performing one of his naughty dances or simply lurking in the background, Morris has our complete attention. This is a bravura performance. Broadway here he comes.
I also want to acknowledge the ensemble of the Kit Kat Club girls and boys. These talented singer/dancer/actors almost never leave the stage and create various roles throughout the evening. Justin Konopka, Braiden Fisher, Asaysha Mckenzee Hearns, Sam Kirchdorfer, Meghan Maclellan, Rachel Nieder, Jenna Williamson, Dayton L. Wilson, and Lyndi Wade without you there would not be a Cabaret.
Cabaret will never be a happy play, but it is an important one. Director Krus expertly builds the characters here and the audience becomes invested in their journey. Cabaret is at once bawdy, joyful, heartfelt, and dark and, if you love theater, you owe it to yourself to come to this reimagined and thought-provoking Cabaret. Right this way, your table’s waiting.
