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Almost anyone who has walked past the O'Reilly Theater in the past week or two has surely noticed the theater lobby's blacked-out windows.

The two-story glass facade of the Michael Graves-designed building was planned so that passersby might be enticed to join the activity inside while those inside could observe the street activity outside.

Now there's an aura of mystery about what's going on behind the paper-covered windows and a paper sign on the lobby door instructs visitors to enter through the box-office door.

"Everyone asks about it," says Pittsburgh Public Theater artistic director Ted Pappas. "It's creating an incredible buzz."

That's exactly what Pappas was hoping to do as the Pittsburgh Public Theater prepared for the opening of its production of "Cabaret".

"It's part advertising, part attitude, part welcoming and part ambience," says Pappas, who is also directing and choreographing the musical. "It tells the audience that something major is happening in the building. Once they're inside the building, they will be closed off from the street."

In effect, Pappas is taking a page straight out of the entertainment manual of the KitKat Club, the 1930s Berlin night spot depicted in "Cabaret."

Pappas, scenic designer James Noone, lighting designer Kirk Bookman, costume designer David R. Zyla, music director F. Wade Russo and sound designer Zach Moore are collaborating to create and atmosphere that says "Wilkommen. ... Leave your troubles outside," Pappas says.

"We have re-designed some of the auditorium so people will be plunged into the play in a dramatic way," Pappas says.

It's not just the outside windows that have been covered, says Pappas.

• The theater's light blue walls and blond curly maple wooden trim have been covered with red and black fabric.

• Rows to the right or left of the thrust stage have been replaced with seating more suitable to a night club.

• A new front row has been added to bring the audience even closer to the performers.

• Black chandeliers with round white globes more in keeping with the show's depression-era setting hang from above.

• The orchestra hovers above and at the back of the stage.

• Even the side railings along the steps have been covered in red velvet.

"It creates a lot of work and a lot of excitement," Pappas says. "We've actually gone the extra mile on this. It's period specific and cabaret night life-ish -- based on ideas from authentic cabaret performances in Germany in the '30s. It's physically the biggest produced we have ever produced. There's more scenery, lighting and costumes than we have ever done."

It's all in service to a great, classic musical, Pappas says.

It's been 40 years since Harold Prince's production "Cabaret," debuted on Broadway at the Broadhurst Theatre. With a book by Joe Masteroff that was based on Christopher Isherwood's book and John Van Druten's play with a score by composer John Kander and lyricist Fred Ebb, the show ran for three years.

"It is eternal -- really one of the great works of American musical theater," says Pappas. "It is an adult show because of where it takes place. But it still is a Broadway musical with all the fun, color and hilarity. They wrote it for a Broadway audience but snuck in the sex and politics."

The story of "Cabaret" focused on the patrons and performers who frequent a seedy, decadent nightclub and boarding house in 1930s Berlin just before the Nazis seized power.

"Every character has a solution to the approaching storm -- 'Leave your troubles outside,' 'You learn how to settle for what you get,' 'When I go, I'm going like Elsie' and 'Tomorrow belongs to me,' " Pappas says, using lines from the show's songs as illustrations.

"I think the audience will identify with various characters. Rather than holding a mirror up to the audience we are holding it up to the characters," he says.

Many know the show from the production that Sam Mendes created while he was artistic director of the Donmar Warehouse Theatre in London. The American Broadway and national touring productions of Mendes' work were co-directed and choreographed by former Squirrel Hill resident Rob Marshall.

But Pappas is basing his on the less-well-known 1987 revival.

That version contained new material written for the 1972 movie as well as songs that had been cut from the original production during out-of-town tryouts.

Familiar songs will turn up in what appear to be different contexts or sung by different characters. A new dance number has been inserted into the New Year's Eve party scene.

And as always, says Pappas, the cast of this production and the O'Reilly's thrust stage will also have their influence and impact on the show the audience sees here.

"When you see the show, it almost seems new," says Pappas. "As we often do with classical works (at the Pittsburgh Public Theater), we will bring a freshness to the material. But we are respectful of the original concepts and what has always made these pieces great. It's not about changing the show. We are about bringing it to life for today's audience."

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Classic story is still evolving

The "Cabaret" story has been told in many versions and several media during the past six decades. Here are some of its more prominent incarnations:

• "The Berlin Stories," book, by Christopher Isherwood. In 1935, author Isherwood compiled tales he had written of his 1929 travels in Germany into a single book. Among those stories was one titled "Sally Bowles" that was based on a young nightclub singer with whom he shared living space. The book is still in print in a 25th edition by New Directions Paperback,

• "I Am a Camera," play, by John Van Druten. Julie Harris played Sally Bowles in Van Druten's adaptation from Isherwood's stories that debuted on Broadway in November 1951 at the Empire Theatre, where it ran for seven months.

• "I Am a Camera," film, adapted for screen by John Collier. In this 1955 black-and-white movie, Harris reprised her role as Bowles. LaurenceHarvey played Isherwood, the aspiring writer.

• "Cabaret," musical, written by Joe Masteroff, based on Isherwood and Van Druten's works with a score by composer John Kander and lyricist Fred Ebb. Produced by Harold Prince, the musical opened on Broadway in November 1966 at the Broadhurst Theatre. It later relocated to the Imperial and then the Broadway theatres before closing in September 1969. This version introduced the part of the Kit Kat Club's Emcee which Joel Grey played. Jill Haworthplayed Bowles and Bert Convy played the Isherwood-based character that was now an American writer, Clifford Bradshaw.

  The production won eight Tony Awards including best musical. In Prince's 1987 revival, Grey returned as the Emcee in a production that starred Alyson Reed as Bowles.

• "Cabaret," film, screenplay by Jay Presson Allen credits Isherwood, Van Druten and Masteroff. Legendary choreographer Bob Fosse directed the 1972 movie musical that starred Liza Minelli as Bowles. Joel Grey reprised his signature performance as the Emcee. Michael York played the Isherwood/Bradshaw writer who was now identified as Brian Roberts.

  The movie received eight Oscar Awards including Minelli's for best actress and Grey's for best actor in a supporting role.

• "Cabaret," musical. In March 1998, a new version based on one created by director Sam Mendes at London's Donmar Warehouse Theatre opened on Broadway. The former Henry Miller Theatre that had most recently housed the nightclub, Xenon, was transformed into The KitKat Club. Eight months later, the production transferred to Studio 54, another former nightclub, where it ran until January 2004.

  This Broadway production was co-directed and choreographed by former Squirrel Hill resident Rob Marshall. It featured Alan Cumming as the Emcee and Natasha Richardson as Bowles.

  This revised and revived "Cabaret" received four Tony Awards including the one for best revival of a musical.

Sources: www.imdb.com, www.ibdb.com, www.amazon.com, www.oscars.org

-- Complied by Alice T. Carter

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