"...a crowd pleaser"

June 30, 2004 performance reviewed by Pat Nichols

Someone came up with the idea of having a cabaret when the season-ending musical of the 1972 Williamstown Theatre Festival was canceled because of economic distress. A little review pacified disappointed patrons.

In 1973, a real version of a Cabaret succeeded immediately and became part of the schedule, winning over theater goers and performers. This year, a full-fledged Cabaret and Main combined to kick off the season and celebrate the 50th Anniversary of the theater with an evening of music, songs, and comedy, which come together to make a crowd pleaser.

The set for Cabaret reaches up to the high ceiling to emulate a backstage look at a theater ready for a show. Ladders and stairs reflect the red and blue lights to enhance the theatricality of the set.

An audience sits just off stage front at small tables with lighting. Squares of pink and gray lights illuminate the walls of the real theater. Actors and stagehands hang out on the runaway.

The company comes on stage and belts out "Hey We’re 50" to put the show in motion.

Comedian Lewis Black takes over front stage and offers a very funny monologue that loosens up the audience with topical comments about cell phones and why you can’t use them in the Berkshires (not enough towers) and other local and big city problems, such as health care and soybean milk.

As he finished up he introduces Carol Woods who follows it with a strong interpretation of "I am a Woman" and the fast-paced entertainment starts rolling with the energetic cast. Billy Porter’s emotional "Let It Sing," Dana Reeves’s "Some Enchanted Evening," followed by David Hyde Pierce, who takes a step away from his nervous, fidgety character Nils of the Fraiser tv show to sing about stress and how laughter helps ease the pain of the day’s headlines.

One act after another keeps the pace changing, from the intense, torchy "Fever" sung by Alix Corey, Janine LaManna and Sara Ramirez who take turns shifting into center on a small stage that extends into the audience. After James Naughton’s "Loving You," Ramirez returns to pour gentle sadness into her rendition of "The Man Who Got Away."

Terrance Mann plays the piano and the apprentices sing in perfect coordination to end Act 1 on a high note with "Taking It To The Streets." After intermission Black returns with more comedy and some very funny political comments, Christopher Fitzgerald with his sensitive version of "One For My Baby" takes the audience back to another era.

A very funny skit about a coffee shop and who loves whom, then Dana Reeve’s reflective "Angels," and Billy Porter’s musing "Time" usher in David Hyde Pierce who recounts with the awful truth his thank you letter to the hostess from hell.

Christopher Ashley Directed, Michael Ritchie produced the show with Jenny Gersten as Associate Producer. Michael Carnahan, Sets, Jessica Wegener, costumes, Rui Rita, Lighting, and Mathew Burton, sound brought the evening to fruition.

Add Daniel Pelzig, choreography and Musical Director James Sampliner and the harmony of many different musical renditions was obvious.