Within my own bourgeois worry lies the crux of the show: Walcott and his ensemble cast seduce their audience to cross lines of decency, then deftly move those lines. However, my 14-year-old insisted that Bradshaw fell somewhere else on the LGBTQIA+ spectrum and that I should be more open-minded. I’d always understood the title character of Clifford Bradshaw (skillfully embodied by Caleb Miofsky) as a gay man who must adhere to heterosexual convention, leading to his relationship with Sally Bowles. I brought my 14-year-old with some trepidation-and a plan to discuss the show’s bawdier aspects afterwards-but the cross-generational debate that followed was unexpected. Erik Daughterman is equally good in the iconic role of the emcee, channeling both Shakespeare’s Puck and Wilder’s Stage Manager into another brazen, provocative character who never loses his underlying humanity.Ī post shared by Woodstock Playhouse between joyful hedonism and tragedies both personal and epic, the show’s themes of sexual identity, fascism, and even abortion feel prophetic rather than settled. Tassy Kirbas blazes as the brassy, off-kilter Sally Bowles belting out her famous numbers and capturing both the character’s vivaciousness and self-destructive nature.
The setting of the Woodstock Playhouse lends itself well to the intimate feeling of a slightly shoddy 1930s Berlin nightclub.
CABARET SPRINGFIELD LITTLE THEATRE FULL
Directed and choreographed by Chaz Walcott, the show rises to the production’s high expectations and is full of jubilant music and provocative dancing, but benefits from the underlying sense of urgency and even a tinge of outrage. As if we were all stuck in an eerie time loop, the 2022 company at the Woodstock Playhouse has staged an exuberant, nuanced and even defiant new production of Kander and Ebb’s classic 1960’s musical, set in a Weimar-era Germany that feels suddenly contemporary.
0 kommentar(er)
