Len Mozzi

Footlite hosts incredible ‘Cabaret’

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By John Lyle Belden

Theatre so often holds up a mirror to the current mood, so we find ourselves with a new production of the Tony and Oscar-winning sensation, John Kander and Fred Ebb’s musical “Cabaret” at Footlite Musicals, directed by Isaac Becker-Chamberlin.

In 1930s Berlin, many deal with the growing social and political tensions with hedonistic pursuits. Welcome – “wilkommen” – to the Kit Kat Club, where a living cypher of an Emcee (Lucy Fields) has a story to show you. “Leave your troubles outside!” These characters will have plenty of their own.

American writer Cliff Bradshaw (Derek Savick-Hesser) encounters a friendly local, Ernst Ludwig (Bobby Haley) who sends him to a friendly boarding house run by Fraulein Schneider (Marie Beason) and to the very friendly Kit Kat, where he encounters English singer Sally Bowles (Addison Koehler). We also meet Fraulein Kost (Emily Gaddy), a young woman seemingly “related” to half the German navy; as well as older gentleman Herr Schultz (Len Mozzi), who runs a fruit stand and is sweet on Schneider.

The club’s “Beautiful!” dancers are played by Tajeyon Bohannon (Victor), Logan Laflin (Hans), Halle Massingale (Frenchie), Amy Matters (Fritzie), Nicole Sherlock (Rosie), Louis Soria (Bobby), Nate Taillon (Herman), Linda Thomson (Texas), Katie Van Den Heuvel (LuLu), and Kennedy Wilson (Helga).

The familiar story plays out of people in a city distracting itself from the oncoming madness, finding everyday pursuits – love, family, marriage, and making a little money – all becoming tainted by this atmosphere. The songs advance the plot as well as entertain, from fun numbers like “Don’t Tell Mama” and “Two Ladies” to the defiant melancholy of the title song.

You’ve seen it before, perhaps, but not like this. Diverse casting, including plus-sizes, makes this Berlin dive look a bit more authentic, but still loaded with talent.

Koehler is amazing, playing Sally as a gritty survivor, always one step ahead of any sense of failure, thus never wanting the party to stop. Beason and Mozzi are so adorable, you really do want to see Schneider and Schultz together. Haley keeps Ernst so darn likable – until he’s not. Savick-Hesser is a charming audience proxy, our emissary to this very foreign world. His Cliff is an interesting soul, sorting out his feelings for men, and Sally, while both savoring Europe and missing Pennsylvania.

Key to the unique nature of this “Cabaret” is Fields’ outstanding performance as the Emcee. Being a trans woman allows her to present a perplexingly androgynous character. Essential to the role is the notion that this person is in charge, ever crafting expectations and pulling the strings on the narrative you are meant to see. Absolute control over their look and presentation, coupled with the clown jester’s license to confront you with dark truth while wearing a big smile, as well as being a near-constant presence, helps Fields emphasize that what they show you is important. In the end, after all, it’s life and death.

Choreography is by Conner Becker-Chamberlain and Emily Theurer. Wild and appropriate costumes designed by Marina Turner. Stage manager is Jeremy Crouch. And the “Beautiful!” orchestra is led by Kristin Cutler.

Come to the “Cabaret” through Oct. 6 at Hedback Theater, 1847 N. Alabama, downtown Indianapolis. Get tickets and info at footlite.org.

ALT: Big issues in small-town meeting

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By Wendy Carson

Small town politics is much more important than it appears. As we see in “The Minutes,” by Tracy Letts, a lot can happen in a single meeting, and missing it could change your whole standing within the community itself.

Such is the plight of Mr. Peel (Josh Ramsey), who missed last week’s City Council meeting to attend to his dying mom. He knows something major occurred from overhearing the others talk but only discovers it resulted in the removal of Mr. Carp (Charles Goad) from the council.

His queries to Mayor Superba (Stephen Roger Kitts II) and clerk Ms. Johnson (Susannah Quinn) get him nowhere. However, Mr. Hanratty (Scot Greenwell) is willing to help him shed a little light on the matter in return for support towards his proposal.

The council is filled with a plethora of quirky characters. Mr. Blake (Ian Cruz) is a paranoid schemer who is overly confident of the success of his bill regardless of its practicality. Mr. Breeding (Raymond Kester) is “The Weathervane” of the town but has no desire to make waves of his own. Ms. Innes (Suzanne Fleenor) has some good points to make but buries them inside a tangle of poetry and nonsense that annoys even the most even-tempered in the room. Mr. Oldfield (Len Mozzi), who served on the council the longest, has a tendency to ramble and forget things. Mr. Assalone (Tristan Ross) is “The Junkyard Dog” of the group and made even more imposing by his brother being Town Sheriff. Finally, Ms. Metz (Paige Scott), while physically present, pops so many pills that we have no idea where her mind actually is.

With the Big Cherry Heritage Festival rapidly approaching and its planning the most important thing that the Council actually does, Mr. Peel finds the unexplained absence of last week’s minutes – as well as where Mr. Carp is – to be of far greater import.

Directed by Chris Saunders for American Lives Theatre, this comic drama shows Letts’ ability to connect with and in a relatable manner reflect the personalities of small-town America. While there is much hilarity within these scenes, there is an equal amount of reality as to the inner workings of city government.

The talent level of the cast is spectacular and under Saunders’ steady hand, none of them overshadow each other and perform as a well-oiled machine.

So, who is the real hero of The Battle of Mackie Creek? What is more important, truth or the status quo? Why is the town named Big Cherry? These questions and much, much more will be answered (mostly) at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., Indianapolis, through Feb. 11. For tickets and information, visit phoenixtheatre.org or americanlivestheatre.org.