Keep your eyes and ears open for LCC’s ‘Cabaret’

With eyes closed, you might think you’re listening to a professional soundtrack recording of “Cabaret.”  The band and singing are that good.

But you’ll want to keep your eyes open wide to see the dazzling aspects of Lansing Community College Performing Arts’ production of the bawdy — and troubling — musical.

Jeff English directs an eight-piece band that has the force of a full orchestra.  His keyboard playing and Tim Thelen’s drumming add particular power to the music in LCC’s “Cabaret.”

Despite repeated microphone failures on opening night, potent voices by the entire cast penetrated even the farthest seats in the Dart Auditorium during the two-and-a-half-hour-with-intermission show.  When singers bellowed any of the 19 songs — including some cut from other versions — jaws dropped.

For the eyes, dramatic and fluid choreography by Lauren Mudry adds spectacle.  Lead and ensemble dancers execute complex moves with precision, style and sometimes burlesque finesse.  

A universal, two-level, multi-layered set designed by Michael Beyer transforms into the infamous Kit Kat Klub, boarding house, courtyard and more.  The center-stage construction does leave distracting exits and in-the-wings movements exposed.  The set also gives actors a wide playground to scamper around, including beyond the front edge of the stage.

Costumes by Chelle Peterson are colorful, gaud, and appropriate for a 1929 Berlin.  Most of the nightclub outfits in LCC’s “Cabaret” are toned down from other, more risqué productions.  It was refreshing to see costumed dancers with a variety of body shapes and ambiguous genders.

Conner Kelly’s Emcee can be appreciated for his over-the-top narrations.  His chameleon voice is part Rocky Horror, part Pee Wee Herman and part early Danny Elfman. Visually, Kelly’s outrageous outfits and make-up — and facial expressions and elastic movements — are decadently delightful. 

Meghan Malusek doesn’t just suit the role of Sally Bowles because she is a true Brit. Malusek has the vocal pipes, flair and star quality to fill the part Liza Minnelli occupied in the 1972 “Cabaret” movie.  As Sally, Malusek sets a high bar for others to follow.

Other standouts include the scene-stealing performances of Judith Evans as Fraulein Schneider and Doak Bloss as Herr Schultz.  The love-struck, older couple act and sing in perfect harmony.

Drew Clark as Clifford Bradshaw shows just the right naiveté as the American newcomer when called for.  But when Bradshaw reacts with strong emotions, Clark makes them seem real.

For Fraulein Kost’s vocal solo, Sally Hecksel shines.  She doesn’t portray merely a cartoonish version of the prostitute known for catering to German sailors.  Hecksel’s Kost reveals the sadder and darker side of the profession — and of Germany’s growing antisemitism. 

Director Mark Colson spotlights the dark elements of the rise of Nazism and the evil of fascism in his “Cabaret.”  Of the three based-on-true-events Broadway adaptations, Colson chose Broadway’s bleaker, 1998 version.

Colson’s interpretation is full of more heartache and disturbing scenes than earlier productions, including the Bob Fosse movie.  LCC’s “Cabaret” is less focused on the decadence of the Kit Kat Klub. 

In his “Director’s Notes,” Colson mentions our current divisions and extremism —and suggests valid current parallels with Germany’s rise to fascism.   The musical, Colson suggests, is a warning of where our own country is heading — if we don’t keep our eyes and ears open.

“Cabaret”

February 25-26 @ 8 p.m.

$5-$15

LCC Dart Auditorium

Masks are required for all attendees

150 pre-sale tickets will be sold online

100 tickets will be sold at the door (cash only)

www.lcc.edu/mall

(517) 483-1122