By Melissa Griegel . . . 

Watching Josh Rhodes’ version of Cabaret is like drinking a full-bodied glass of red wine, aged to perfection, rich, and filled with subtle notes of complex aromas. It has legs. This is the Cabaret that everyone should see. It began its run at San Diego’s Old Globe theater on September 1 and ends on October 15.

I have seen so many different versions of Cabaret over the years and each one is unique. I loved the 1988 Broadway revival and the recent Barrington Stage production directed by Alan Paul. The Old Globe’s take on this classic show, directed and choreographed by the brilliant Josh Rhodes, takes all of the best parts from every re-telling I have seen, and enhances them to make this the most complete and engaging rendition that is at once light-hearted and fun, and yet also highly impactful, shocking, and on-point.

One of the most enjoyable aspects of this Cabaret was watching the love story unfold between Fräulein Schneider (Kelly Lester) and Herr Schultz (Bruce Sabath). In the past I, like so many others, have focused my attention more on the relationship between Cliff Bradshaw and Sally Bowles. This time the love story between the fiercely independent Schneider and the Jewish grocer is the heart of the story, reminding us why this show exists—to tell the story of the rise of the Nazis in 1931 Berlin. Kelly Lester gives a commanding performance and Bruce Sabath was born to play this role. Their chemistry was palatable and made you invested in their story. They are, by far, my favorite Fräulein Schneider and Herr Schultz.

Lincoln Clauss was a masterful Emcee. Having loved Joel Grey and Alan Cumming, I have strong opinions about this role. Lincoln mastered all of the nuances the Emcee needs to embody. He was charming, playful, serious, funny, angry—everything he needed to be at the moment that emotion was required of him. His costuming was magnificent throughout and felt just right. Clauss’ body language, facial expressions, and interaction with the audience struck exactly the right balance and made him a very believable Emcee. 

Joanna A. Jones, as Sally Bowles, seemed like Sally. She nailed the lilting, frivolous Sally, unaware of the troubles of the outside world, and also the inherent loneliness and sadness of the character. Each Kit Kat Klub number was a masterpiece in itself and included very “cabaret” staging, such as Sally descending from a crescent moon. They also did a good job weaving the front-of-house with the backstage. Sally’s songs were stand-outs. “Maybe This Time” made me feel her inner turmoil, and “Cabaret” solidified her thoughts, showing the fragile hurt side of the character, gathering strength and confidence as she belts the latter half of the song. The costume design by Alejo Vietti, along with Michelle Hart’s hair, wig, and makeup design, perfectly suited each character.

Cliff Bradshaw (Alan Chandler), Earnst Ludwig (Alex Gibson), and Fräulein Kost (Abby Church) were equally magnificent. Chandler brought depth to the American writer looking for a good time in Germany and then realizing, earlier than most, that the dangers were real and were not going away. More than in other versions I have seen, I felt his love for Sally, and I also felt his anger towards his friend Ludwig as he discovers who he really is. Gibson balanced the role of the fun-loving friend and the harsh Nazi. Church was absolutely delightful as the prostitute and boarding house resident Fräulein Kost.

Each cast member was a vital part of the show. The dancing was superb with gorgeous choreography by Rhodes and the beautiful Fosse moves we all love. This was my favorite Cabaret set. It seamlessly turned from the boarding house to the Kit Kat Klub, with each set fully bringing you into that space. I was lucky enough to sit at one of the cabaret tables in front of the stage and truly felt transported into the club. The actors interacted with us, weaving through the tables, whispering in our ears, serving (prop) drinks, and dancing in front of us. 

Every choice that director Josh Rhodes made was exactly right, rounding out the story and tying pieces together. In every instance, he fleshed out the scene, adding details that brought the message home. In “Tomorrow Belongs to Me,” the use of a ventriloquist dummy dressed in green lederhosen made it clearer that this song was supposed to be similar to the folk songs sung by the Nazi youth. When Fräulein Kost reprises this song at the engagement party, clad in a green dress, it solidifies this message. “I Don’t Care Much” was the most unique and beautiful version of this song I have witnessed. “Money” sometimes seems to come out of nowhere, but by combining the Emcee and dancers taking center stage as Cliff Bradshaw is seen taking multiple trips to Paris, picking up suitcase after suitcase and getting paid by Ludwig, the viewer sees the connection at once. Another brilliant staging was when Sally, holding Cliff’s hands on the bed while immersed in conversation about her abortion, rises to a center spotlight for “Maybe This Time,” leaving Cliff frozen in position; and then returns to the bed and his hands at the conclusion of the song.

For me, the ending is the most important part of the story. It is at that moment that we are struck with the absolute horror of the Holocaust. I have seen this done many different ways. Some versions did this beautifully, bringing the message home, while others watered down the ending. Under Rhodes’ direction, this was the most powerful ending I have witnessed. It ties together the opening scene when we are introduced to the Emcee with his long trench coat, descending from the ceiling with a similar descent in the final scene. I don’t want to give away the details for those who will be seeing the show before it ends its run, but I will say that the ending reinforces that six million Jews, and many others in marginalized groups, were murdered during the Holocaust in the most horrific ways. I felt my body go cold as the final scene was revealed and the stage went black. This is a Cabaret not to be missed. 

Cabaret. Through October 15 at the Old Globe Theater (Balboa Park, San Diego, California). www.theoldglobe.org 

Photos: Jim Cox