Kander and Ebb Musical Revue Dazzles at Olney

Harris Milgrim, Nova Y. Patton, Kevin S. McAllister
Natascia Diaz & Karen Vincent

The songwriting duo of Kander and Ebb may not have the same name recognition in musical theatre and film as legends Rodgers and Hammerstein, Rodgers and Hart, Lerner and Loewe even Tim Rice and Elton John. But it should.

John Kander and the late Fred Ebb have collaborated on a mountain of songs—many quite familiar—that earned them numerous accolades, Tony’s and Oscars for their efforts. Spanning six decades, the team penned the music for such classic musicals as Cabaret, Chicago, Kiss of the Spiderwoman and The Scottsboro Boys to name a few. And did you know that they wrote the colossally famous song “New York, New York” for the film with the same name? Neither did I.

Fortunately, the works of Kander and Ebb are being celebrated in a scintillating revue taking place at the Olney Theatre Center in a partnership with ArtsCentic and Everyman Theatre. With a striking set, a superb orchestra and an incredibly talented company of five, 31 songs are showcased in a two-act revue that brings to life some of the Kander and Ebb fine catalogue.

The revue is titled “The World Goes ‘Round,” an updated version of the 1991 off-Broadway production “And the World Goes Round” that was originally created by Scott Ellis, Susan Stroman and David Thompson.  (On a personal level, the title is ironic given I was battling the effects of vertigo during the few days leading up to opening night. Those who have experienced this condition could relate. But enough of me. Back to the review of the revue.)

Kander and Ebb were known to be ahead of their time. While certain topics were considered off-limits, Kander and Ebb confronted dark issues like Nazism in Cabaret, for instance, and social injustice. They dealt with the marginalized in society like the incarcerated. They dealt with racism, female sexuality, queerness and gender fluidity.  But their songs do not necessarily reflect darkness. Kander and Ebb have also created snappy buoyant melodies and joyful, even humorous lyrics. The eclectic mix performed during the revue range from tuneful, emotion-packed torch songs to comical numbers.

The quintet performing these selections consists of a multi-talented and experienced troupe: Natascia Diaz (Broadway’s Man of La Mancha and the Olney Theatre/Round House production of In The Heights); Kevin S. McAllister, who also directs this revue (Broadway's Caroline...Or Change and Come From Away); Harris Milgrim (Broadway’s Cats); Nova Y. Payton (Signature Theatre’s Into the Woods and The Color Purple); and Karen Vincent (Ford’s Theatre’s Ragtime and Into the Woods).

Natascia Diaz and Harris Milgrim

The members of this group can sing up a storm; they can dance gracefully; they do comedy well; and they can “roller skate.” Well, maybe not so much the latter as they hilariously demonstrate those skills in “The Rink” from the show with the same title.

Under the direction of Mr. McAllister, who is no stranger to directing revues at Olney as he helmed the sparkling “The Most Wonderful Time of the Year” this past winter, the show is well-paced and expertly staged.  Music director and maestro Christopher Youstra with his fabulous seven-piece orchestra playing upstage throughout the show, provide the performers with superb backing and do the Kander score proud.

Each member of the company has a turn in singing solos with about half of the selections sung in combination with others or the entire company. As individuals, their vocals shine; in combination with others, they soar.

Nova Y. Payton, with her astoundingly big voice, gets the show off on a high note with her rendition of “And the World Goes ‘Round” from the film New York, New York. Another solo “Maybe This Time” from Cabaret is a showstopper. It should be noted that this ballad was not written by Kander and Ebb specifically for Cabaret but was included in the 1972 film version. It had been written in 1964 for Liza Minnelli’s debut album Liza! Liza!

As mentioned previously, director Kevin S. McAllister also performs in the troupe. Possessing a burly tenor voice, Mr. McAllister demonstrates his strong vocals in the title song from the lesser known 60’s musical The Happy Time as well as “I Don’t Remember.” His rendition of “She’s a Woman” from Kiss of the Spiderwoman is outstanding.

Karen Vincent has a lush voice and performs well throughout. Her two solos, “Colored Lights” from The Rink and “Isn’t This Better?” from Funny Lady are spot on. In a comical number “Sara Lee” that was popularized by Liza Minnelli, Ms. Vincent joins Ms. Payton and Harris Milgrim. It is a pure delight as costume designer Moyenda Kulemeka fitted the ladies in garb resembling pastries. Ms. Kulemeka did a fabulous job in outfitting the troupe in a wide variety of costumes that coincide with the applicable period.

Ms. Vincent also performs in “How Lucky Can You Get” from Funny Lady with Mr. Harris and Mr. McAllister and “There Goes The Ballgame” from New York, New York with Natascia Diaz and Ms. Payton.

Mr. Milgrim takes on many of the revue’s comedic moments and hits them out of the park. The lithe, athletic performer reminds me of a modern-day Tommy Tune. He literally shows off his fit physique in the amusing “Arthur in the Afternoon” from The Act, which is splendidly sung by Natascia Diaz.  An accomplished dancer to be sure, Mr. Milgrim has a solid tenor singing voice and can hold a note longer than an airport line.  He shines in “Sometimes a Day Goes By” from Woman of the Year, an exceptional rendition of “Mister Cellophane” from Chicago and “Marry Me” from The Rink.

Besides “Arthur in the Afternoon,” Natascia Diaz with her rich vocals performs adroitly in “A Quiet Thing” from Flora, The Red Menace. This show happened to be Kander and Ebb’s first collaboration and launched the career of Liza Minnelli who won a Tony for Best Actress in a Musical for the 1965 production. Ms. Diaz takes the lead in the outstanding dance number “And All That Jazz,” one of the highlights from Chicago and performs a beautifully performed extended dance number “When It All Comes True” with Mr. Milgrim.

There are a number of well-executed dance numbers that rev up the tempo of the revue. Choreographer Shalyce Hemby guides the company with precise and fluid movements in such songs as “Coffee In A Cardboard Cup” from 70, Girls, 70, “Me and My Baby” from Chicago, and “Money, Money” from Cabaret. “The Rink” concludes the first act with a roller skating “exhibition” from four of the five members of the company that is pure fun. Ms. Payton was wise to stay off the wheels for this one as she took on a different and safer role during the number.

Scenic Designer Daniel Ettinger allows the performers to do their thing in a gorgeous, colorful setting. The orchestra is upstage but in certain numbers, the platform moves towards the front. There are several rectangular panels on the wall that serve as screens for projections designed by Patrick W. Lord. These projections contain a wide assortment of images that coincide with a particular song. Several personalities are seen offering tributes to Kander and Ebb. They include Chita Rivera and Dame Judi Dench among others.

Lighting Designer Aja M. Jackson adds rich hues to the optics. As a great touch, strings of footlights frame the stage, the wall panels and even the platform where the orchestra is mounted to give off a cool theatre vibe. Well done!

One does not need to be familiar with all the Kander and Ebb songs to enjoy this wonderful musical experience. More likely than not, you will recognize the real popular ones and enjoy the interpretation that is applied. For example, the production number “Cabaret” has been “jazzed up” with an enjoyable result. And there’s the surprise finale “New York, New York” with a new twist.

This production is an extraordinary tribute to the team of Kander and Ebb. Outstanding performers and orchestra with stellar work from the technical crew all under the guiding hand of Kevin S. McAllister make this a don’t miss show. Life is indeed a cabaret.

Running time. Two hours and 15 minutes with an intermission

The World Goes ‘Round plays through May 21, 2023, at the Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832. Tickets may be purchased by calling 301-924-3400 or by visiting here.

Photos by Teresa Castracane Photography

With ‘Cabaret’ at Olney, Even the Orchestra is Beautiful

Mason Alexander Park as the Emcee surrounded by the Kit Kat Girls
Photo: Stan Barouh

Over the past few years, white nationalism, anti-Semitism and hate-motivated crimes in the U.S. and around the world have been on the uptick.  Little has been done so far to stem the tide, which is disturbing if not frightening as we view this phenomenon through the lens of the rise of Nazi Germany in the early 1930’s.  The population at the time, unknowing of the horror that would eventually take hold, stood by and watched it happen. When it reached its pinnacle in the early 1940’s it was already too late.  #hocoarts

Today’s virulent partisan divide in our nation is allowing this ever-growing movement to fester. The question on many people’s minds is, could history repeat itself? 

With the superlative, near flawless production of Cabaret kicking off the Olney Theatre Center’s 2019-2020 season, we take a glimpse into that ghastly period in history where the darkness of evil seeped through the escapist veneer of frolicking decadence and burlesque.  

Under the astute direction of Alan Paul, making his Olney Theatre Center debut, the musical starts off sunny enough with lightheartedness, clever retorts and high camp.  Gradually the clouds metaphorically thicken, and by the end, the skies have blackened with the gloom from the inevitable Nazi takeover.  The final moments of the show are downright chilling. 

Says Mr. Paul, “It is about complicity, and what happens when citizens of 1930’s Berlin turn a blind eye to the rise of the Nazis. It has huge political overtones now as we think about what it means to be a citizen in this incredibly partisan and political moment.”

The plot that encompasses several sets of relationships among disparate individuals takes place with stirring drama.  The Kit Kat Klub, a decadent nightclub in 1931 Berlin, provides the escape, albeit temporarily, from the inescapable reality: the ominous political changes which are engulfing Germany. 

“Leave your troubles outside, exclaims the naughty Emcee in the opening number “Willkommen.” “So, life is disappointing? Forget it!  In here, life is beautiful... The girls are beautiful... Even the orchestra is beautiful.”  

Outside?  Not so much. 

Cabaret, a multiple Tony Award winner in 1967 including Best Musical, spawned many revivals on Broadway and London in addition to numerous tours and the popular 1972 movie.  With music by John Kander and lyrics by Fred Ebb, Cabaret, which was ultimately adapted from the book Goodbye to Berlin (1939) by Christopher Isherwood, is distinguished by its stylistically diverse catalogue of music. 

Well-known songs, such as the aforementioned “Willkommen” along with “Maybe This Time,” “Money,”  “Tomorrow Belongs to Me,” and, of course, the title song, have made the show endearing, and with Mr. Paul at the helm, the production at Olney is no exception.  It excels in an intricately staged, brilliantly costumed spectacle that showcases an abundance of outstanding performances by the leads and the ensemble. 

Bravo to Musical Director and Conductor Christopher Youstra and the talented musicians for their outstanding renditions of Kander’s score and to Katie Spelman for her creative choreography.

Wilson Chin designed an ornate set depicting the Kit Kat Klub that serves as the hub for all the action. Six large sparkling chandeliers adorn the stage with a large pentagon-shaped mirror reflecting Colin K.  Bills’ first-rate lighting effects affixed to a stage-wide crimson curtain the upstage. In front of it but still upstage, the aforementioned “beautiful” tuxedo-clad 11-piece orchestra is seated in a formal bandstand mode reminiscent of the swing and jazz bands of Benny Goodman and the Dorsey Brothers.

Downstage there is a series of lit steps that effectively expands the performing area and adds depth to the action.  Scene changes through the use of moveable set pieces are accomplished seamlessly.  Several members of the audience sit at tables right on the stage to simulate the nightclub.

Gregory Maheu as Clifford Bradshaw
and Alexandre Silber as Sally Bowles
Photo: Stan Barouh

(I was told by a member of the production team that the set was designed in this manner after extensive research took place on how the typical Berlin nightclub of that era appeared to foster authenticity.)

The leads and ensemble are called upon to don countless period costumes in a vast array of styles—from ordinary house dresses to suits to pastel gowns to suggestive and gaudy burlesque costumes to Nazi uniforms. The Emcee alone wears at least a dozen creative pieces.  Costume Designer Kendra Rai was more than up to the task and should receive formal recognition for her exceptional work.

Aside from the eye-pleasing aesthetics and solid sound design by Matt Rowe, the entire cast makes this production soar with their acting and vocal talents. The show’s lead is Mason Alexander Park as the puckish Emcee of the Kit Kat Klub. Wearing macabre makeup and flamboyant and at times revealing costumes, the Emcee, the personification of unfettered sexual freedom, is inserted in multiple scenes to offer his take on events mainly through song. And it is clear that the mood of this commentary gets progressively darker over time to coincide with the plot. 

[Watch Mr. Park apply his makeup--a 2-hour process--condensed in 4 minutes at the end of the review.]

Mr. Park possesses an excellent singing voice and shines in the opening number “Willkommen,” the hilarious “Two Ladies,” the lively standard “Money,” and the melancholy “I Don’t Care Much.”  He does a wonderful job in this role though I believe he can take the character even a little further over the top. 

"...an intricately staged, brilliantly costumed spectacle..."

Another lead is Alexandra Silber as Sally Bowles as the headlining British singer at the Kit Kat Klub.  Despite her singing adroitness, Sally seems to hold a job only if she sleeps with someone.  Sally meets an American writer Clifford Bradshaw who was traveling to Berlin and then fall in love, it but doesn’t end well.

Ms. Silber performs two iconic solos, “Maybe This Time” and “Cabaret” with a resoundingly sweet voice.

Perfectly cast in the role of Clifford, Gregory Maheu, fresh off of his sterling performance in Once at Olney, is convincing both in his acting and singing as he commands the stage with his voice and movements.  Mr. Maheu’s singing prowess comes to the fore in the duet with Ms. Silber in “Perfectly Marvelous.”

Another love affair takes place between Fräulein Schneider, played by Donna Migliaccio, an elderly owner of the boarding house where Clifford resides and Herr Schultz (Mitchell Hébert), an elderly optimistic fruit shop owner.  Things go adoringly well until Fräulein Schneider learns that her beau is Jewish and the conditions in Germany are too dangerous to consider marriage.  A brick thrown through his store’s window was the last straw and sadly, she breaks off the engagement. 

They play their roles with sensitivity and charm, and their performance of “Married” is done tenderly. Ms. Migliaccio is an outstanding vocalist and is one of the show’s highlights. Her renditions of “So What,” “It Couldn’t Please Me More” and “What Would You Do?” are emotionally performed with superb range.

For comic relief there is Fräulein Kost (Jessica Lauren Ball), a prostitute who rents from Fräulein Schneider where no member of the German Navy is safe from her lure. Ms. Ball does a fine job in portraying the character with the right touch of humor.

Tom Story as Ernst Ludwig, a man who had met Clifford on a train to Berlin and recommended him to the boarding house, is very effective in his role. He is later revealed as a Nazi and who warns Fräulein Schneider to drop her marriage plans. Mr. Story had turned in a wonderful performance in Olney’s recent production of Roald Dahl’s Matilda the Musical.

Then there are the gender-bending Kit Kat Girls (Katy Tabb, Jessica Bennett, Lina Lee, Bridget Riley, Jessica Lauren Ball, and Louisa Tringali) and Kit Kat Boys (Connor James Reilly, Andre Hinds, Ben Gunderson, and Rick Westerkamp) who playfully sing and dance throughout, play other roles, and ably contribute visible energy to the show. 

Photo: Stan Barouh

While there isn’t an abundance of dancing in this musical with most of the work carried out by the Kit Kat Girls and Boys, the number “Mein Herr” with Ms. Silber and the Kit Kat Girls is a standout.

Surprisingly, this was the first time the Olney Theatre Center presented Cabaret considering the theatre’s 82-year existence and the popularity of the musical. It is an enjoyable musical on many levels that presents exceptional performances by the well-directed talented cast and ably supported by the technical and design teams.

Do come to the Cabaret, old chum, and leave your problems outside at least for a while. But please do not turn a blind eye to those problems looming outside lest history will indeed repeat itself.

Running time: Two hours and 30 minutes with an intermission.

Cabaret runs through October 6 at the Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832. Tickets may be purchased by calling 301-924-3400 or by visiting online.  

Come to the Cabaret at the Hippodrome

Like many successful musicals, Cabaret, which is now playing on the Hippodrome stage, entertains with excellent songs and staging, but navigates through a layer of darkness as part of the plot.  Historical events or serious social issues are frequent backdrops to these types of productions.  The Sound of Music, Rent, Avenue Q, Carousel and Spring Awakening come to mind as other examples.

Randy Harrison (center) stars as the Emcee Photo: Joan Marcus

In Cabaret, we have the onset of Nazi Germany hovering over the story just as the naughty Emcee of the Kit Kat Klub, played extraordinarily by Randy Harrison, frequently hovers over the action from a catwalk above the stage.  All the action transpires under his watchful eye and  at times is injected into various points throughout.  It’s an interesting concept that links the story lines together. #hocoarts

The plot that encompasses several sets of relationships among disparate individuals takes place with stirring drama while the Kit Kat Klub, a seedy nightclub in 1931 Berlin provides the escape, albeit temporarily, from the stark reality, which is engulfing Germany and ultimately the world beyond its doors. 

“Leave your troubles outside, exclaims the Emcee in the opening number “Willkommen.” “ So, life is disappointing? Forget it!  We have no troubles here!  Here life is beautiful... The girls are beautiful... Even the orchestra, is beautiful.” 

Outside?  Not so much.  Not with the ominous political changes poised to occur.

Cabaret is a six-time Tony Award winner in 1967 that spawned many revivals on Broadway and London in addition to numerous tours (this production is being presented by the Roundabout Theatre Company) and the popular 1972 movie.  With music by John Kander and lyrics by Fred Ebb, Cabaret, which was ultimately adapted from the book Goodbye to Berlin (1939) by Christopher Isherwood, is distinguished by its sterling catalogue of music. 

Well-known songs, such as the aforementioned “Willkommen” as well as “Maybe This Time,” “Tomorrow Belongs to Me,” and, of course, the title song, have made the show endearing, and the production at the Hippodrome is no exception.  

Under the direction of BT McNicholl and original direction from Sam Mendes and Rob Marshall, the Hippodrome mounting excels in an intricately staged spectacle that showcases an abundance of outstanding performances by the leads and the ensemble.

Robert Brill’s set design is not as aesthetically gorgeous as one would see in many musicals but it is very clever and functional in its simplicity.  A stage-wide but narrow-in-depth set represents the boarding house with several doors in a row denoting the main entrance and individual rooms outside of which most of the action takes place.  Other scenes away from the boarding house also occur on that portion of the stage thanks to effective lighting design by Peggy Eisenhauer and Mike Baldassari. 

The illumination, except for several cabaret numbers performed by the talented and limber Kit Kat Girls and Kit Kat Boys where a bright spotlight shines, is often maintained at a rather dim level to symbolize the reality of the characters’ relationships and the looming darkness of the world outside.

Above the stage is a catwalk with two spiral staircases on each side where performers use to descend to the lower stage.  That is the locale for the orchestra/Kit Kat Klub band, which is comprised, in part, of ensemble performers who double as musicians. 

In the middle of that level is a large transparent box, which serves as a frame for cabaret-style blinking lights. That box is deliberately tilted, which, in my view, signifies the world is askew and off center.  It also figures prominently in “Entr’ Acte,” a number that kicks off the second act where most of the Kit Kat Band crams the box to perform.

Unquestionably, the entire cast makes this production soar with their acting and vocal talents. The show’s lead is Randy Harrison as the puckish Emcee of the Kit Kat Klub.  Audience members may recall his role as Justin on Showtime’s Queer as Folk from 2000-2005. 

Matured but still youthful and more buff since those days, Mr. Harrison gives a tour de force performance with his astonishingly strong vocals (“Wilkommen,” “Two Ladies,” “Money,” “I Don’t Care Much”) and comedic moves including ambling into the audience at the beginning of the second act to playfully dance with a couple of audience members.   

Wearing ghoulish eye make-up and bright crimson lipstick, Mr. Harrison is called upon to don a wide array of William Ivey Long’s creative costumes from undershirt/boxers garb, to a storm trooper outfit, to drag, for his burlesque-style character.  He performs the role with relish.

Co-starring is Andrea Goss as Sally Bowles as the headlining British singer at the Klub.  Despite her singing prowess, she seems to hold a job only if she sleeps with someone.  Sally meets an American writer Clifford Bradshaw and then fall in love, it but doesn’t end well.

Ms. Goss performs two major numbers, “Maybe This Time” and “Cabaret” with a resoundingly sweet voice.

As Clifford, Lee Aaron Rosen is convincing both in his acting and singing.  His muscular vocals come to the fore in the duet with Ms. Goss, “Perfectly Marvelous.”

Another love affair takes place between Fräulein Schneider, played by Shannon Cochran, an elderly owner of the boarding house where Clifford resides and Herr Schultz (Mark Nelson), an elderly fruit shop owner.  Things go adoringly well until Fräulein Schneider learns that her beau is Jewish and the conditions in Germany are too dangerous to consider marriage.  A brick thrown through his store’s window was the last straw and sadly, she breaks off the engagement. 

They play their roles with sensitivity and charm, and their performance of “Married” is done movingly.

For comic relief there is Fräulein Kost (Alisin Ewing), a prostitute who rents from Fräulein Schneider where no member of the Navy is safe from her lure. Ms. Ewing does a fine job in portraying the character with the right touch of humor.

Also, Ned Noyes as Ernst Ludwig, a man who had met Clifford and recommended him to the boarding house, does well in his role. He later is revealed as a Nazi and who warns Fräulein Schneider to drop her marriage plans.

Then there are the Kit Kat Girls and the Kit Kat Boys who sing, dance, and play instruments throughout and ably contribute visible energy to the show.  Kudos go to Michael Gibson for overseeing the orchestrations.

This is an enjoyable musical on many levels that presents outstanding performances by the well-directed talented cast and ably supported by the technical and design teams.  

So come to the Cabaret and leave your problems outside.

Running time: Two hours and 35 minutes with an intermission.

Cabaret runs through May 1 at the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, call Ticketmaster at 800-982-ARTS or visit Ticketmaster or the Hippodrome Theatre. .