Since it’s one of the most-produced shows of the 20th century, it’s difficult to bring something new to Cabaret, but in the current Ryerson production, Michael Shamata both preserves the compelling story and music of the original and with set designer Tamara Kucheran transforms the setting to a railway car for a new take on the stage classic.
In a story that explores sexuality amid the growing tensions of 1930s Berlin, the musical is all about spectacle. The libido-driven choreography features writhing and humping that would do the Brass Rail proud, but elevated by how enjoyable the dancers make such lasciviousness look.
Choreographer Tracey Flye found ingenious ways to use the set design as a prop in the dance sequences, particularly in a number explaining the advantages of threesomes. Groups of lovers appeared at different doors of the railway car, pulling down the shades of one door to be found later at another, caressing someone else. Flye also used a lot of “train”-like dancing, beginning a scene with something as simple as a formal waltz and extending it to a writhing conga line of cheap feels.
Erin VanderBurgh was good as Sally Bowles, the main attraction at the Kit Kat Klub, with her strong voice and irrepressible energy (although her British accent seemed a little suspect at times).
And although Jordan Kanner as the M.C. was slightly lacking in the flamboyance and decadence so central to the role, he gave an admirable performance.
The period costumes were intricate and wonderfully imagined, and the ensemble of cabaret dancers romped enthusiastically. The cast also revels in the play’s inherent sexual ambiguity, with straight pairs, same-sex pairs and transvestites all sharing the stage. The band was strong as well, although it was disappointing to find they weren’t dressed as women as they are in the well-known Liza Minelli film version.
Cabaret is the final performance for Ryerson’s first graduating acting class, and it puts the players through their paces in the entire range of performance arts.
But the ensemble rose to the challenge, making the audience forget the rough edges of most student productions and instead letting them surround themselves in the spectacle.
