I saw Cabaret at Music Circus in Sacramento last Sunday.
Francis Jue (Bay Area Critic Circle Award recipient) as emcee, Nat Chandler (Raoul in the national POTO tour) as Clifford, and Nancy Ringham (performed with Joel Gray in Cabaret tour) as Sally. Let me tell you, Francis was fabulous! He has a beautiful voice that makes you want to listen to him forever. The direction of this production was much more towards to Joel Gray version, and "Willkomen" was much shorter version. In this production, emcee was not portrayed as strong as Broadway Revival. But he appeared at the important scenes like mysterious shadow, such as the first scene when Ernst meets Cliff (eye to eye contact with Ernst), at Frau Schneider's room-to-let place (making sure that Cliff would stay at Frau Schneider's room, sending a strong karma to Frau Schneider), and when Sally returns from the doctor (carrying her fur coat around).

The circular stage set in the middle of the huge tent (all the productions at Music Circus are performed under the tent) with a raised stage for Kit Kat Club, which has a floor that is lit from below. This lighting itself had set the tone of each scene, sometimes it was very comical and sometimes it was very authoritative; overall, it was very effective. There were four cabaret tables and chairs at the each corner of the raised stage as accent. As the stage is circular, there is no "wing" but four entrance/exit walkways where numerous scenes were also performed. During the scene change, the staff had to run in and out from the stage with the furniture, but they made sure that there was some kind of performance at the walkway so that the audience will be distracted from the stage.

Sally was okay (still I loved her rendition of "Maybe This Time") but Cliff lacked the excitement. Unfortunately, Nat came out very bland, giving me the impression that he is not suitable for this kind of edgy show. He'd be good at a traditional musical such as Show Boat, Oklahoma!, or the Desert Song (he starred last year at Music Circus) but not for a show requires a certain tension all the time between the actors like this. Surprisingly, the scenes between Frau Schneider and Herr Schultz were much more memorable and tender. Music Circus provides a signed production on Sundays (how wonderful), and I was watching the sign interpreter during "So What?." I found the sign language itself was like choreography, and I really enjoyed it. I wonder how much it cost to provide a signed production? I'm really big on bringing people who usually don't have access to a theatre (children, inner city youth, etc), so I really was happy to see Music Circus is doing this.

One thing I was annoyed was that the German accent was inconsistent among the actors. Ernst and Frau Schneider had mastered English with German accent, but many other actors hadn't; thus, they were not convincing. The choreography was sort of hit-and-miss. I loved the tap dancing in "Money" but the dance during "Telephone Number" seemed tacky because the actor and actress danced while kissing each other most of the time. Many audience thought it was clever choreography, but it lacked smoothness in their movement. "If you can see through my eyes" was done very nice with Gorilla in tutu. When emcee says at the end of the number, "She doesn't look Jewish at all," Alan Cumming says it in almost whisper, but Francis sort of shouted it. I like Alan's version better because it makes you wonder "Did he just say what I thought he'd say?" I loved the male acappella version of "Tomorrow Belongs to Me" was really beautiful and yet eerily. I'm amazed Ebb and Kander's talent to write such a surreal song as German Anthem in the show.

Nancy's rendition of "Cabaret" was not as powerful as Natasha or as painful as Jane Harrock (Donmar Wharehouse). She came across rather weak at the beginning because her Sally was still confused, but I think Natasha performs like she already made up her mind before she started to sing.

The endings of each Act were very haunting. At the end of Act One, after "Tomorrow Belongs To Me," we hear actual Hitler's speech for a minute or two. Then the entire cast (except four principles) on the stage saluted to Hitler, which made the audience uncomfortable. Then at the end of Act Two, after emcee sang good bye, four Nazi flags were hung down from each exit, which made the audience much more uncomfortable. Some of them did not know if they should applaud or not. The curtain call was nicely done, no music, no smile or wave, just bows, leaving the audience to digest what they just saw. These lines "if you are not against it (Nazi), you are for it might as well" (Cliff) and "it (Nazi) will pass... I know I'm right, after all, what am I? I'm a German" (Herr Schultz), were lingering my mind as I left the theatre.

Despite of some problems, I liked the show and I'm looking forward to seeing the revival on Broadway (better be open when I get to NYC!). Also remember Francis Jue, you will hear his name again and again! �