Cabaret
at St. Andrew's Episcopal School

Reviewed on February 25, 2017

Jess Scarano
McLean High School
Submitted for publication to Cappies News

Shimmering style. Sultry seduction. Shining smiles. Life is a cabaret . . . but is it? In St. Andrew's Episcopal School's production of Cabaret, we are forced to reflect on the vagaries of life when politics, religion and human desire converge. Willkommen to both a dream and a nightmare.

Cabaret is based on John Van Druten's play I Am a Camera and Christopher Isherwood's novel Goodbye to Berlin. The musical came together in 1966 when it opened on Broadway with music and lyrics by John Kander and Fred Ebb and a book by Joe Masteroff. The production begins in 1930s Berlin as the nightlife atmosphere flourishes and political tension burgeons with the rise of the Nazis. During this societal awakening and unrest, American writer Cliff Bradshaw finds himself falling for Sally Bowles, a young and beautiful cabaret performer.

Ashley Webb (Sally Bowles) carried the production with her boundless energy and dazzling vocals. She entranced the audience with her first sensual entrance during "Don't Tell Mama" and commanded the stage with vivid facial expressions and emotional reactions. Webb matched the talent of her marvelous acting with her memorable vocals, most poignantly during her vulnerable solo number "Cabaret." Alongside the flirtatious Bowles was Louis Poirot in the role of Clifford Bradshaw. Poirot's all-American character was believable and genuine, and his chemistry with the other actors onstage was engaging and purposeful.

Another spirited force was the Kit Kat Girl ensemble. They brought dance numbers to life with their synchronized movements and clean execution of choreography. One standout in the group was Lulu (Devin Lucas) who made excellent character choices and used her whole body to emote during lively group numbers. As the host of the production, Justin Harmon played the role of the Emcee with vigor and esteem. Harmon displayed a clear character transformation, beginning with an uplifting comedy routine and ending with a dark, depressing twist. Another character that underscored the more disturbing themes of the show was Ernst Ludwig (played by Max Mento).

Anna Fiscarelli-Mintz stepped into the role of Fraulein Schneider, the kind landlady, with confidence. Fiscarelli-Mintz demonstrated enjoyable interaction with her love interest (Herr Schultz played by Ross Monk) and demonstrated admirable vocals during the number "So What?" One of Fraulein Schneider's more mischievous tenants, the provocative Fraulein Kost played by Jennifer Clogg, had excellent comedic timing and made the most out of her few appearances onstage.

Complementing the actors were equally commendable technical elements. The multi-level set featured a second story for the orchestra as well as multiple entrances throughout the space. The set was expertly painted using texture to add dimension to the stage. On the top level, the orchestra did a fantastic job of interacting with the various cast members, which enhanced the audience's experience overall. The sound crew did a commendable job of balancing multiple microphones.

From the opening number where Berlin comes alive with parties and fun to the closing number where characters are beginning to realize their fate in Nazi Germany, St. Andrew's Episcopal School's enthralling production of Cabaret demonstrated that life is not always an occasion to celebrate; in fact, it can quickly take an ugly, fatal turn.

Lydia Gompper
George Mason High School
Submitted for publication to Cappies News 2

Mein Damen und Herren, Mesdames et Messieurs, Ladies and Gentlemen! Put down the knitting, the book, and the broom – "Cabaret" has arrived on the St. Andrew's Episcopal School stage.

Based on Christopher Isherwood's 1939 novel "Goodbye to Berlin" and John Van Druten's subsequent play "I Am a Camera," "Cabaret" has been enticing audiences since its Broadway premiere in 1966. Adapted to film in 1972, the musical has undergone three Broadway revivals and has garnered a total of twelve Tony Awards. Set against the backdrop of the decadence and sensuality of early 1930s Berlin, the story follows American writer Clifford Bradshaw as he travels to Germany in the hopes of finding inspiration for his novel and instead becomes tangled up in the life of the vivacious, mysterious cabaret singer Sally Bowles. Meanwhile, "politics" slowly seeps into the characters' lives as Nazism begins to gain prevalence throughout the German state.

The students of St. Andrew's Episcopal School have delivered a commendable production of this mature show – a difficult task for performers so young. They succeeded in depicting both the fun and frivolity of the Berlin nightlife and the insidious seriousness of the growth of anti-Semitism – a theme particularly relevant today, considering the recent surge of anti-Semitic acts in our own country.

The production found a clear highlight in Ashley Webb, who gave life to self-described "rover" Sally Bowles. From the moment she slinked onto the stage in her first musical number, "Don't Tell Mama," Webb's energy was striking and her vocals were fantastic, with a powerful, emotive belt. She perfectly executed Bowles's unique blend of free-wheeling confidence and vulnerability, successfully transitioning between the lighthearted Sally of the first act and the pained Sally of the show's end. This could best be seen in the stark contrast between Webb's first phenomenal rendition of "Cabaret" and its darker, quietly tragic reprise.

Several other performers made similarly lasting impressions. Senior Justin Harmon shimmied his hips into the audience's hearts as the energetic – yet strangely eerie – Emcee. His was among the most genuinely fun characters to watch, jauntily sashaying throughout the stage and lifting his knees for a sailor kick line. Meanwhile, the production received a dual dose of sweetness and tragedy through the courting and ultimate parting of elderly couple Fräulein Schneider and Herr Schultz, played by Anna Fiscarelli-Mintz and Ross Monk. Their relationship was as sweet as their ending was heart-wrenching. Monk himself, meanwhile, demonstrated strong, smooth bass vocals, standing out in musical numbers such as "Married."

Yet another major strength of this production lay in its pit band. Not only did many members of the band successfully play multiple instruments over the course of the show, but they also engaged with the onstage action, sitting on top of the set in full period costume and occasionally even venturing down to interact with the actors. Meanwhile, the production found notable success in its use of props, coordinated by Will Franzen. Items such as the 1930s-appropriate telephones in the nightclub made the onstage world feel complete.

The students of St. Andrew's Episcopal School have created an accomplished production of "Cabaret." While mindful of maintaining the veneer of joviality inherent to the story, the cast and crew presented a show that hit at the true calamity of the rise of Nazi Germany.

Emily Lachow
McLean High School
Submitted for publication to Patch.com

"Life is a cabaret, old chum" crooned a glamorous nightclub singer on an empty stage, continuing her flashy facade as the world crumbled behind her. St. Andrew's Episcopal School's perfectly marvelous, thrillingly scandalous, and chillingly ominous Cabaret captured both the gloom and glamour of 1930's Berlin.

This critically-acclaimed musical first debuted on Broadway in 1966, based on the 1951 play "I am a Camera." Through its titillating musical score and captivating story line, Cabaret has remained culturally relevant for over 50 years, with several London and Broadway revivals. The show revolves around the run-down Kit Kat Klub, and follows young American writer Clifford Bradshaw's relationship with cabaret performer Sally Bowles in 1931 Berlin. As their budding romance is interspersed with bursts of song and dance, Nazi sentiments threaten to tear apart friends and lovers alike. St. Andrew's Episcopal School did a commendable job balancing the vibrancy of cabaret numbers and the dark undertones of a budding war.

Ashley Webb as Sally Bowles delivered a truly and consistently remarkable performance. Not only did she command the stage at every moment, but she also demonstrated emotional dexterity, deftly evolving from coolly confident to deeply saddened. Webb's lovely singing voice displayed a similar flexibility, shifting in dynamics and tone to accurately match each song. Her relationship with Clifford Bradshaw (Louis Poirot) was refreshingly realistic, and, in the end, heartbreakingly tragic.

The Emcee (Justin Harmon) was a captivating and glamorous leader of the Kit Kat Klub, with bold facial expressions and sharp physicality. Harmon's commitment to his character was reflected in his raw emotion during the final scene. Adding consistently comedic moments to the production was Jennifer Clogg's Fräulein Kost; her confidence and poise onstage was magnetic. Fräulein Schneider (Anna Fiscarelli-Mintz) and Herr Schultz (Ross Monk) both commendably tackled their task of portraying elderly German lovers. Devin Lucas, as Lulu of the Kit Kat Girl ensemble, stood out from the crowd with her expressive dancing and sweet singing voice.

No musical is complete without its orchestra, and the musicians of St. Andrew's Episcopal School were no exception. They were seamless in their navigation of the music, with some even playing multiple instruments. The set design was polished and adaptable; the textured painting of the walls added dimension, and the double staircase was well-suited to accommodate the flashier cabaret numbers. Overall, the technical elements laudably enhanced the quality of the production.

With passion and dedication, St. Andrew's Episcopal School's Cabaret gracefully shifted from vibrant bursts of song to the heartbreak of shattered hope. Glamour and poignancy intertwined in this stunning production, proving that life is indeed a cabaret.

Alayna Lee
Chantilly High School
Submitted for publication to Maryland Theater Guide

There was a cabaret, and there was a master of ceremonies ... and there was a city called Berlin, in a country called Germany ... and it was the end of the world.

This dire background is the setting for St. Andrew's Episcopal School's production of Cabaret, a musical based on John Van Druten's 1951 play I Am a Camera. Although made famous by the 1972 film version, it has had numerous Broadway revivals since its original production in 1966. Set in Berlin in 1931 just as the Nazi party is beginning to rise to power, the plot revolves around the relationship between a young American writer, Cliff Bradshaw, and the cabaret performer Sally Bowles. As political strife becomes more pronounced in a budding Nazi Germany, the Kit Kat Club, where much of the action occurs, becomes increasingly affected by the ominous political developments.

Life is a cabaret, old chum. That is Sally Bowle's mantra in life, and it is illustrated beautifully by Ashley Webb's portrayal of the beguiling British singer. With constantly swaying hips, a mischievous glint to the eye, and a bewitching voice, Webb's performance of Bowles stunned the audience. Cabaret, as a show full of sexual and political intrigue, requires intense energy and effort, and Webb continually demonstrated that she could fulfill and outdo any expectations. Near the show's end, she cast a shadow on the play with a chilling confession of her character's abortion. Webb's unique vulnerability brought a duality in the character previously unseen in any of the actors onstage, and let loose the desperation felt by Bowles in the song "Cabaret" for a simpler, carefree life. Arms stretched and eyes gazed towards the future, her voice rang crystal clear to the audience as she once again concluded that life is a cabaret, old chum.

Also standing out was the Emcee, played by Justin Harmon. Overseeing the entirety of the actions, Harmon brought an entertaining flamboyance to the production that added life to an ensemble lacking in energy. By literally flipping and sliding onstage, Harmon charmed the audience with his vivacious and bold choices. Fraulein Schneider as well, performed by Anna Fiscarelli-Mintz, gained the audience's attention with her poignant portrayal of an old woman torn between the possibility of love and the guarantee of a safe future. Although the interaction between love interests during this show often lacked intimacy, Schneider's relationship with Herr Schultz was authentic in its gentle affection.

The minute details in the set and props of St. Andrew's production added a unique appeal. Through textured paintings on walls and genuine period telephones featured on every table, each scene was complimented by a realistic tone that helped distract from issues with sound and mics. Also impressive, were the dual capabilities of the show band of the cabaret. Although just one instrument is already difficult, several members of the band played two and switched between them during the performance.

There was a cabaret, and there was a master of ceremonies ... and there was a city called Berlin, in a country called Germany ... and it was the end of St. Andrew's Episcopal School's well-received production of Cabaret.