A & E

This lavishly and carefully conceived staging showcases Joe Masteroff, John Kander and Fred Ebb's nearly perfect musical center stage thanks to a thoroughly winning cast, an emotionally and musically supportive orchestra headed by F. Wade Russo and an imaginative creative team.

It shines as darkly and sharply as a piece of polished obsidian, the dark glass-like substance that forms when lava is spewed from a volcano.

Many already know the story that's set in the decadent and decaying splendor of 1930s Berlin as Germany slid toward Nazi rule and World War II. Its tale centers on the inhabitants of an inexpensive rooming house and an anything-goes nightclub.

As the devilishly seductive Emcee, Harris Doran's show-opening "Wilkommen" number sets the tone with sexually suggestive hints of the tale of decadence, cynicism and moral and political compromise that's about to unfold before us.

As directed and choreographed by Pappas, it showcases a diverse assemblage of personalities coping with adversity, inflation, disappointment and despair. Some cope, others surrender and some simply choose to ignore the all-too apparent gathering storm.

For this production, Pappas, scenic designer James Noone and lighting designer Kirk Bookman have transformed Michael Graves' bright, contemporary auditorium into a 1930s nightclub: red velour, strips of black plastic, dramatic lighting, a huge, dark and arching metal proscenium that fills the back wall. Patrons at the side of the stage sit at tiny tables with tiny shade-covered lamps. The usual mature, conservatively and contemporarily dressed ushers have been replaced by younger ushers whose provocative garb enhances the decadent atmosphere.

That atmosphere and ambiance creeps out to the lobby where covered windows, carpeting and dim, moody red lighting continue the other-world feel during intermission.

The brooding Brechtian atmosphere is enhanced by Kander and Ebb's affecting score of heartbreaking songs such as "Maybe This Time" sung by Tari Kelly's Sally Bowles and "What Would You Do?" well rendered by Brooks Almy's Fraulein Schneider.

The darkness is relieved from time to time by other Kander and Ebb tunes both romantic -- "Married" and "It Couldn't Please Me More" -- and energizingly amusing -- "Don't Tell Mama," "Two Ladies" plus a young energetic ensemble of dancers who serve as the Kit Kat Girls. As Fraulein Kost, Lenora Nemetz gets a star turn moment performing "I Don't Care Much."

Proceedings also are considerably brightened by David R. Zyla's abundance of period-perfect and imaginative costumes, especially the multiple outfits worn by the Kit Kat Girls. Those worn by Sally Bowles are almost too luxurious and stylish for an actress scraping by on her wits.

Daniel Krell heads the cast in an impressive and moving performance as Clifford Bradshaw, the sexually ambivalent young writer who arrives in Berlin looking for something to write about and becomes involved with young cabaret performer Bowles. As Bowles, Kelly is a first-rate, engaging performer. Her concluding number, "Cabaret," is a strong statement of defiance. The only problem is that she's such a polished and attractive performer that you can't help but wonder why she's stuck performing at the seedy Kit Kat Klub.

The production also gets its money's worth out of male ensemble members Marcus Stevens, Joseph Domencic, Nicholas Ardell and Greg Roderick, all of whom spend the entire evening transforming themselves into sailors, waiters, Nazis, lecherous cabaret patrons and other identities.

There's little to no overt sex and no nudity -- except for exposed breasts of the free-wheeling damsels in an upstage mural. But there's always some who will find offense in the show's matter-of-fact acceptance of sexual license, prostitution and busty female dancers in skimpy panties and garter belts.

For the rest of us, this lovingly and thoughtfully created production is good reason to put down the knitting, the book and the broom and come to this "Cabaret."

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