“Cabaret” has been performed and reimagined time and time again, uncovering new meanings as societal contexts evolve. Today, under the direction of Professor Barbara Wallace Grossman, this iconic musical takes on new urgency amidst the backdrop of President Donald Trump’s return to power, inviting audiences to reflect on its poignant relevance in our turbulent political landscape.
“The resonance between these two dark historical moments – Germany in 1929-1930 three years before Hitler became Chancellor and the start of the second Trump presidency – is as striking as it is chilling,” Grossman wrote.
While Grossman recognizes that declaring “Cabaret” a cautionary tale for our times may be overstating its purpose, she believes that staging the play in the present day can serve as an empowering call to action.
“The arts can help us not only cope, but to activate and advocate in our own way,” Grossman noted.
“Cabaret” marks the 16th campus production and seventh musical directed by Grossman, a professor in the Department of Theater, Dance, and Performance Studies. Her passion for musical theater, along with her commitment to Holocaust education, made “Cabaret” particularly enticing, especially given its relevance to the current political climate. The show is being performed at Balch Arena Theater through Sunday.
The cast of "Cabaret" is pictured in the Balch Arena Theater.
Set against the backdrop of Berlin during the waning years of the Weimar Republic — a time marked by the rise of the Nazi Party prior to Adolf Hitler’s chancellorship — the musical explores a city recovering from World War I and grappling with the harsh restrictions imposed by the Treaty of Versailles. Berlin, reminiscent of present-day New York City, was a hub of artistic, sexual and political freedom. Yet beneath its vibrant surface lay a powder keg ready to explode.
The musical follows themes of sexual freedom, anti-semitism and oppression, connecting deeply with contemporary struggles for LGBTQ+ rights, immigration justice and reproductive freedom.
Grossman directed the play in Balch with a full theatre-in-the-round staging. This unique space generates a built-in energy as the audience surrounds the stage and becomes fully immersed in the performance. To complement this, she opted for minimalist scenic design, enhancing the fluidity between the two settings of the musical: Cliff Bradshaw’s (Jake Pandina) bedroom in Fraulein Schneider’s (Katie Spiropoulos) boarding house and the lively scenes set in the Kit Kat Klub. The narrative seamlessly transitions between these two worlds, with Sally Bowles (Bella Juhaeri) and the Emcee (Nathan Elmer) being the only characters who appear in both settings. This departs from the original 1966 production, which showcased an elaborate set design by Boris Aronson.
The scenes in Cliff’s bedroom unfold on a raised platform with the pit underneath; this is the first time the pit has been situated beneath the stage in Balch. The club scenes, however, were treated environmentally, occurring in any part of the theatre — whether on staircases or around the platform. This immersive approach made the audience a part of the musical, metaphorically transforming them into visitors of the Kit Kat Klub as dancers glided down the railings, playfully teasing them with flirtatious glances.
Upon entering, the ambiance exuded a swanky allure, with dimly lit cafe tables surrounding the stage, enhanced by neon Kit Kat Klub signs hanging above. The club’s performers, known as the Kit Kat Kids, appeared in provocative outfits with striking avant-garde makeup, sensually dancing throughout the theater.
Nathan Elmer and the cast of "Cabaret" are pictured in the Balch Arena Theater.
A recurring motif in the performance is the image of a hand, prominently featured on many costumes, especially those worn by Sally. The imagery signifies the emergence of Hitler’s regime and the ominous shadow beginning to loom over Berlin. The tumultuous changes that would soon come to the city are reflected not only in the costumes but also in the music throughout the production.
The performance is enhanced by a full orchestra of 10 talented musicians, who play keyboard, saxophone, clarinet, flute, violin, guitar, banjo, trombone, trumpet, drums and double bass. This musical experience evokes emotions that transcends the spoken word, deepening the performance’s ability to inspire political change.
The song “Tomorrow Belongs to Me,” for example, is performed twice over the course of the show, transforming in significance as the political climate in Berlin evolves. In the 1998 Broadway version directed by Sam Mendes, the emcee comes out with a gramophone, sits cross-legged on the floor and puts on a record playing the song. Grossman found this decision arbitrary, and instead, she drew inspiration from the 1966 version, where four Kit Kat Klub waiters sing the song. In Tufts’ rendition of “Cabaret,” a choir of Kit Kat Kids, directed by the emcee, stand on the staircase, beautifully singing the song, evoking a sense of nostalgia for pre-Hitler Germany. The scene remains still, capturing the calm before the storm. In stark contrast, the subsequent rendition transforms into a war song, signaling the rise of the Nazi Party and the dramatic changes unfolding in Berlin.
The choreography in Tufts’ rendition of “Cabaret” diverges from earlier interpretations, particularly the 1972 film version famous for Bob Fosse’s signature jazz style, which incorporated sensual and provocative movements along with props like bowler hats, chairs and canes. Choreographer Holly Stone opted for a modern approach, blending elements of jazz with contemporary styles reflective of queer nightlife, such as vogue and waacking. This fresh perspective not only emphasizes the sexual freedom of Berlin but also highlights the current restrictions on sexual freedom in the United States.
The ending of “Cabaret” invites vast creative interpretation. Grossman seized this opportunity, drawing parallels between fascist Germany and the current political landscape in the United States. The Kit Kat Kids are portrayed as if trapped in a Jewish internment camp, suffering on stage before dragging themselves off. Above, a montage plays featuring speeches from both Hitler and Trump, a bold political statement that leaves the audience in stunned silence. Grossman’s direct comparison between the two leaders underscores her cautionary message about the alarming similarities between the rise of Nazi Germany and the current climate in the United States, emphasizing the urgent need for collective action.
Grossman echoes the sentiments of Anne Bogart, renowned theater and opera director, who reflects on the significance of Erich Korngold’s opera “Die Tote Stadt” (“The Dead City”), set in Hamburg and Cologne in the wake of World War I.
“We can stay awake together. We must stay awake together. We cannot afford to be passive, waiting until conditions improve,” Bogart said.
Tufts’ production of “Cabaret” stands as a powerful call to action, urging the community to respond to the political shifts occurring in the United States. It emphasizes the necessity for decisive action from all citizens to safeguard American democracy.
“Cabaret” is running in Balch Arena Theater until Sunday. Tickets are available on the Tufts Drama & Dance ticket website or at the Aidekman box office.
The cast of "Cabaret" is pictured in the Balch Arena Theater.
