REVIEW: Trustus Theatre's CABARET by Jane Turner Peterson

Come hear the music play!

Trustus Theatre’s production of the famous musical Cabaret grabs you from the beginning. The set is magical, with a perfect nod to the time period. It’s flashy and impressively transformative—big kudos to scenic designer Heather Hawfield and technical director Corey Langley for providing the perfect atmosphere. Director and choreographer Terrence Henderson has a huge hit on his hands. His direction and choreography are fluid and enchanting, and the dancing captures the bawdy spirit of the Kit Kat Club in1920s Berlin. Don’t go expecting the film version. This one is true to the original musical, and it’s fabulous.

Cabaret is based on the play by John Van Druten and stories by Christopher Isherwood. It was later adapted into a musical by Joe Masteroff. The story, masterfully narrated by Walter Graham (Master of Ceremonies), takes place in 1920s Berlin. It explores the difficult times the characters live in as Germany slowly bows to the Third Reich and its antisemitism. The use of multimedia to reinforce this issue and mirror it with today’s political climate was very effective and chilling.

Walter Graham as the Emcee

Then there are the love stories: Cliff, the young American writer, beautifully portrayed by Olan Domer, and Sally Bowles, the young British Kit Kat Club performer with a little “side hustle,” delightfully played by Elaine Werren.

Cabaret’s music is so iconic, and the vocals in this production did not disappoint. Walter Graham opens the show with a show-stopping version of “Willkommen,” giving the audience a taste of what is to come. Elaine Werren and the ensemble’s “Don’t Tell Mama” was powerful and fabulously choreographed. “Two Ladies,” sung by Werren and Domer, and “Money” were other favorites of the night, as was the best-known number, “Cabaret,” a rather sad rendition near the end of the show.

Robin Gottlieb and Hunter Boyle

The vocals in this production were amazing. It is impossible to pick a favorite. However, some of the best performances of the night came from long-time Trustus favorites Robin Gottlieb and Hunter Boyle, as the boarding house owner Fräulein Schneider and Herr Schultz, a mild-mannered fruit seller who happens to be Jewish. Both couple’s relationships are deeply affected by the horrors of the German occupation and the rise of the Nazis. Their scenes were dynamic and heartfelt. Lauren Lawson, as the “ever-entertaining” tenant at the boarding house, was perfectly delightful, with powerful vocals and a great sense of comic timing. Trustus’ technical director, Corey Langley, gave us the pleasure of seeing his acting chops with a very strong performance as the Nazi sympathizer Ernst Ludwig.

The entire cast was mesmerizing, with extremely strong dance skills and splendidly blended vocals. The ensemble includes Véronique Chayer, Carly Alexis, Te’Jah Beaton, Katherine Brown, Scarlett Heaton, Taylor McCullough, John Ballard, Chandler Musgrove, Collins McBeth, Billy McNeil, Hurshel Tanner, and Jarron Guy. Each performer had a strong, distinctive character, helping to make the story even more riveting.

Cabaret runs through October 25. Tickets are available online at trustus.org or by phone at 803-254-9732.

Although the show is a little long—nearly three hours—the time flies by. Make plans today before tickets are gone. You won’t be disappointed!

REVIEW: Antigone at USC's Longstreet Theatre by Libby Campbell

Sophocles’ Antigone, written in the 5th Century BCE  is the final chapter of the Oedipus Trilogy. Our story starts in the city of Thebes. Didem Ruhi’s beautiful lamentation provides the perfect beginning to this tragic tale.

Oedipus’ sons, Polyneices and Eteocles, have killed each other in battle during a civil war fought over succession to Oedipus’ throne. Antigone and Ismene, sisters of the fallen soldiers, reside in the city of Thebes where their uncle, Creon, reigns as king by default. Polyneices attacked the city defended by Eteocles. Creon decrees that Polyneices proved himself a traitor, an enemy of the crown, and vows that Polyneices shall remain unburied, to be devoured by dogs and vultures. He warns the citizens that anyone disobeying his command will be punished.

Antigone mourns the loss of her brother and determines to give Polyneices the burial he deserves. Her sister, Ismene, warns her of  the price she will pay for disobeying the crown. Thereby hangs a tale…

Antigone, portrayed by Elaine Werren, is a strong-willed woman determined to stand up to the demands of her uncle. More than once women are referred to as “mere women” whose words are to be dismissed. Antigone refuses to back down from the misogyny of men in power and buries her brother, punishment be damned.

What a marvelous production. Director Lauren Wilson has done an excellent job of emphasizing the feminism inherent in the script. As we all know, the themes explored by the ancient Greek philosophers and playwrights still ring true today (more’s the pity). Wilson brought together a good, strong cast and crew to tell this story. Werren is a strong, unbending Antigone, willing to pay the price of her defiance. Kyleigh McComish’s Ismene is a hesitant heroine at first, begging her sister not to rebel against Uncle Creon then growing sympathetic to Antigone’s decision. Olan Domer gave a strong portrayal of Teresias, the blind seer. His impassioned warning to Creon of the price he will pay should he execute Antigone was one of the most moving scenes of the evening. (His costume and makeup were outstanding).

There is not a weak link to be seen in the cast. Dominic DeLong-Rodgers’ Creon is unbending and unforgiving in his power. He is a commanding presence. The chorus was beautifully choreographed, using their voices and movement to drive the action of the play. Haemon, Creon’s only surviving son and fiancé, is played by Carlos Turner. He brings a rationality and composure to the story and is put in the position of having to choose between loyalty to his father or loyalty to Antigone. He implores his father to listen to the wisdom of others, to no avail. Mel Driggers’ sentry is fearful of Creon yet sympathetic to Antigone; Driggers does a great job of portraying the tug-of-war between these two emotions.

The set is absolutely beautiful. Andy Mills’ scenic design combined with Jim Hunter’s lighting design and Danielle Wilson’s sound design come together to create what to me is the perfect setting. Kristy Hall’s costumes are timeless. My only quibble with this production is with the costuming. The costumes are   timeless, however, when Creon enters in his uniform, barefoot as is the rest of the cast, it looks as if he heard his cue and dashed onstage without putting his shoes on. And that’s the extent of “things I didn’t like about this show.”

Antigone runs October 9 – 11 at 7:30 pm, and October 12 at 3:00 p.m. and 7:30 p.m. at Longstreet Theatre. The show runs a bit less than 90 minutes without intermission. Tickets range from $15.00 to $22.00. It’s worth every cent. Parking is at a premium, as usual. There is parking beside Drayton Hall; some street parking is available along Greene St.