Auckland Theatre Company
Salon Perdu, Spiegeltent
28 October - 18 December
By Ren Kirk
Wilkommem... Bienvenue... Welcome to the sexy and salacious world of Cabaret at the Salon Perdu Spiegeltent, with Auckland Theatre Company’s very own Kit Kat Klub in residence.
And what a welcome it is! Upon entering the Spiegeltent (Dutch for ‘mirror tent’) each person is thrust straight into the sumptuous and decadent world of Berlin in the 1930s. The lights are low, the music’s playing and the pre-show entertainment is centre stage.
Scantily clad, Will Barling and Hannah Tasker-Poland immediately demand all attention with a dynamic and erotically-charged burlesque number. Displaying skill, grace and plenty of flesh there’s no turning back.
After another cleverly choreographed slap and tap number from Ebon Grayman (ex Cirque Du Soleil performer no less) and Barling, the tragic tale begins to unfold.
Based on the play by John Van Druten and stories from Christopher Isherwood, Cabaret sees a young American writer Cliff Bradshaw (Tyran Parke) arriving in Berlin. He is introduced to the hedonistic and giddy delights of the Kit Kat Club and falls for the club’s leading lady, Sally Bowles (Amanda Billing).
Ultimately, this is a story of love that cannot be and the abrupt and life-changing affects of religious extremism. Contrasted against the thrilling ecstasy of club life, the Nazi ideology starts to infiltrate the characters’ lives and dramatically contributes to the destruction of life as they know it.
Themes such as freedom of expression, reactionary politics, greed and the lust for power are expressed. These themes are still relevant in today’s world and deliver a sharp reminder of what the results of these fundamentalist ideas can be.
Michael Hurst's direction is fantastic, embracing the social and political ideas but not losing sight of the bawdy fun, the shimmer and shine, the action. There is plenty to see and a cumulatively huge energy and powerful chemistry between the cast. This helps to portray the drunken excesses in a delightful and endearing manner.
The revolving stage is used to good effect throughout and ensures the audience is intimately involved with each of the cast.... and even more so for those with aisle or front-row seats! Those seats are not for the prudish or the faint-hearted.
Shona McCullagh's choreography contributes hugely to the risqué razzle-dazzle of the evening as do the sequined and provocative costumes designed by Nic Smilie. Grant Winterburn’s musical direction is superb, along with the band behind the beaded curtain, and Bryan Caldwell’s lighting is appropriately moody and ambient.
The cast are all multi-talented with plenty of brilliant singing, dancing and acting skills on display. Songs are sung well, lines and accents believable, but the true star of the show is the dancing.
The sheer physicality of the entire performance is astounding and the energy never lets up. There is no subtlety in the cheeky cabaret acts yet the overt sexuality of it all is tastefully delivered and quite captivating. This is not just because the cast and crew are rather a good-looking bunch but more a credit to the skill and dexterity they display.
A particularly breath-taking and amusing routine comes at the start of the second half when a muscular Negro (Grayman) has a screaming blonde girl in his clutches. Thankfully a magnificently built blond German (Mike Edward) arrives to save the day and the two men fight each other while wowing the audience with some amazing acrobatics.
All in all a terrific and powerful production that is very hard to fault. The Auckland Theatre Company has put together a truly tasty little treat with this one, entertaining, thrilling... a little bit naughty and damn good fun!
This sensory spectacle should not be missed, after all, “What good is sitting alone in your room? Come hear the music play. Life is a cabaret, old chum, come to the cabaret.”