Image Courtesy of the Connecticut College Theater Department.
Step into the nightclub and get lost in the music, dancing, drama, and politics of Cabaret this first weekend of March. The Theater Department’s annual spring musical kicks off the grand reopening of the newly renovated Palmer Auditorium with the classic 1966 hit.
The Kander and Ebb musical, based on the book by Joe Masteroff, play by John Van Druten, and stories by Christopher Isherwood, “brings us to the Kit Kat Club where sensitive souls insist on love and self-expression in a darkening political world,” as described on the Theater Department website. Set in early 1930s Berlin as the rise of Nazism and antisemitism permeate all aspects of life, Cabaret explores complex relationships amidst the sordid, glamorous nightlife through the eyes of American novelist, Cliff Bradshaw (played by Adam Dutton ‘22). English cabaret performer Sally Bowles (played by Brielle Blood ‘24) enters his view, and an unexpected romance blooms between them along with surrounding violence, sacrifice, and political strife. The cabaret serves as a theatrical escape from the stressors and antagonism of reality just outside.
“We too look for a haven to celebrate ourselves, love who we want to love, and live without political terror because we simply express who we are and actualize who we are,” says Director and Professor Ken Prestininzi, commenting on the timeliness of performing Cabaret in 2022. “But we also need to see how the political forces are determining our future while we might be indulgently living freely without care in our own self-made bubbles.” Shifting the historical scope from the individual to the societal and vice versa is a common theme in the show, and it is challenging to reflect upon such a destructive time period. Wylie McCann ‘23, playing the Emcee, says, “It is so necessary [to reflect] as it gives us insight into our own circumstances as we navigate incredibly divisive times. Most of all, it’s a moving story, filled with energy, passion, angst, and love.”
McCann’s role may sound understated, but it is anything but that. The Emcee is traditionally played by cisgender male actors in drag, but McCann is reshaping the narrative as a female-identifying person. “Prestininzi has granted me the permission to create my own version of this character, one who can twist pain into beauty and celebrate how beautiful life can be… and one who can really pull off a pair of lederhosen,” she quips. She also reflects on the show’s inherent sexual promiscuity and how choreographer and Professor David Dorfman worked on how to abstractly emulate the period’s sexual liberation. Dorfman was inspired by the rich musical score, which he says has “so much narrative, drive, humor, and pace,” which he uses as the storytelling foundation. While the stage production and 1972 film are sources of inspiration, he doesn’t like to reference them so that they can present a fresh take on the well-known source material.
Dorfman also calls the interdisciplinary collaboration the most rewarding part of the process, specifically praising Prestininzi and musical director, Jake Cannon, for their contributions. Prestininzi concurs: “We have great performing arts departments, and to finally be in the same room with David Dorfman creating and collaborating with my colleague has made me grow as an artist and educator.” Erin Flanagan ‘24, who plays the featured Kit Kat Girl Texas, says, “The whole ensemble — performers, pit band, stage management, costume crew, all of [the] tech crew and the creative team — works so hard because we all love theater.” Professor Sabrina Notarfrancisco and the team of student costume shop workers alter and organize the racks of costumes necessary for the show, and Theater Services always excel with the technical aspects behind the scenes.
Two years since both the renovations and the pandemic began, live performances are still grappling with the standard rehearsal processes, especially moving back into the auditorium. They will not begin rehearsing in Palmer until tech week in the last week of Feb. which is standard practice. However, COVID cases have spread rapidly in the past few weeks, with 89 active student cases at the time of publication. Both student performers and faculty have struggled with the variable quarantine lengths cutting into rehearsal time; some students are even in quarantine during tech week hoping to make it out by opening night. Dorfman missed nine vital rehearsal days in February when he was in quarantine and says that “time is real currency in a project like a musical.” Flanagan adds, “Operating during the pandemic is always scary and challenging, but the show always goes on. Even in dark and scary times, getting to be a part of this show has been such a gift.”
Despite the setbacks, Dorfman is still very proud of the production and looks forward to sharing their work. “As a Jew and an ‘elder,’ this subject matter is very close to my heart. I only hope to do it some justice. Please ‘come to the Cabaret!’”
See Cabaret in Palmer Auditorium:
Fri, Mar. 4 – 7:30 PM
Sat, Mar. 5 – 7:30 PM
Sun, Mar. 6 – 2 PM
Buy your tickets at the link (Just $5 for students, $10 for CC faculty and staff):
