Love and survival in the Weimar Republic.

In a country with strict rules and authoritarian government, where does one find peace, comfort and release? The answer to that lies in the freedom of a club, offering a safe space for self-expression, for entertainment at the end of a long day, and perhaps even to learn something new, as encapsulated in Kander and Ebb’s classic musical Cabaret.

Presented by SIng’theatre and directed by Hossan Leong, Cabaret is set during the tail end of the Weimar Republic, in Berlin in 1929, surrounding the life of the staff and performers in the underground Kit Kat Club. Seedy and sensual, the club represents a safe space fo the release of forbidden desires and discreet pleasures, one we open our eyes to from the moment we enter the space and find ourselves immersed in the Kit Kat Club.

Dancers are at the ready, and as the spotlight falls on our charismatic Emcee (Dwayne Lau), we are greeted by a ‘Wilkommen’, and welcomed to the cabaret. The sense of immersion is further enhanced by the presence of glass fixtures and even a chandelier in the space, taking us back to an older era, and with the light reflecting off them, we know that it oozes the facade of luxury, designed specially for patrons with the money to afford it.

Choreographed by Lisa Keegan, Cabaret‘s always feels like a naughty affair, sometimes raunchy, sometimes tongue-in-cheek, but always with a little flirtatious wink that they know exactly what they’re doing. In the opening number, we already see a horde of female ensemble members prance to show off their bodies, confident in their sexuality as they let us know our we are already well into the experience.

Coming together in perfect harmony, the ensemble shows us that it takes a village to run the entire show, all of them working together to bring up the energy and put their all into each step and twirl. These numbers are more than just nice to look at – they show off the ensemble’s professionalism and how well they work together, allowing every number to be performed without a hitch.

Cabaret is a show that takes a while to get into the groove, but the reason for that is simple – to fully draw us into its dark sensual atmosphere and make us feel completely transported to 1920s Berlin. Once it’s done that, it tantalises us with its storyline, brought out by its performers delivering drama with plenty of heart and a compelling narrative. You feel almost everything the characters do, such as how wne of the earliest scenes introduces us to American writer Clifford Bradshaw (Vester Ng) and German smuggler Ernst Ludwig (Keegan Kang).

Seeing the world of Berlin through Clifford’s eyes, there is a sense of excitement and wonder as he becomes enthralled by Ernst’s vivid descriptions, giving Keegana chance to show off his charm and persona onstage, acting as the know-it-all guide while Vester plays the naive, fresh-faced young man. You can’t help but feel that same thrill as Keegan utilises a clever sleight of hand to trick the conductor, a portent that even more hijinks await on this adventure, as we are formally welcomed into Berlin.

For a show that features so many different nationalities, the accuracy of accents is important, and to that end, accent coach Petrina Kow has taught them well, with clear enunciation collectively nailed by the entire cast, be it a heavy German accent, British or American to better accentuate their characters. This becomes ever more important with the large cast of characters, as we’re soon introduced to innkeeper Fräulein Schneider (Siti Khalijah Zainal).

Siti’s role is ripe for comedy, one that she takes on with gusto as Clifford tries to barter for a better deal on the room, leading her to eventually, exasperatedly give in and deliver the number ‘So What’. Siti takes on a larger than life personality here, insistent but grumbly as she eventually gives in for the sake of survival, the audience completely taken in and entertained by her performance. Meanwhile, Vanessa Kee brings both humour and social commentary even with her limited time onstage, where as the prostitute Fraulein Kost, she maintains the demeanour of an elegant lady, even when dressed only in a negligee. Her heavy makeup almost feels like a mask trying to hide her sadness, and helps us understand the trying circumstances everyone in Berlin found themselves in to make ends meet.

Now that Clifford is properly settled, this is where Cabaret finally gets to the meat of its story, as he attempts to set himself up as a famous novelist. Returning to the Kit Kat Club, we are treated to yet another over the top number, the ladies relishing every moment of the choreography, while the Emcee pushes his energy even further, before we are introduced to the belle of the ball – Sally Bowles.

Armed with arrestingly soulful eyes, thanks to the smoky makeup, Kimberly Chan’s version of Sally is given a visage of porcelain perfection, flirtatious while still brimming with innocence and hope. Yet at the same time, there is a sadness inside her, one that makes it all so natural that she would seek out Clifford as a beacon of hope something to perhaps finally rescue her from this club that keeps her caged.

Love is in the air, and while Kimberly and Vester take some time to warm up to each other, we also have Siti Khalijah’s Fräulein Schneider falling in love with Matt Grey’s Jewish fruit-seller Herr Schultz, who find genuine, believable chemistry in their interactions. As much as there is humour, there is a realness to the way Siti completely softens her brash demeanour in Schultz’s presence, and their love is felt resonating through the entire audience, up to their engagement party.

The first half of Cabaret then is almost entirely celebratory, giving us joy as we watch the over-the-top numbers, the dancers clad in bright costumes (designed by Max Tan) and performing silly, tongue-in-cheek numbers that put a smile on our face. It is impressive how the ensemble makes such complex choreography look easy, working together to uplift the audience’s mood. But alas, all good things must come to an end, and Cabaret takes on a considerably darker tone in its second half, as the looming threat of fascism begins to rear its ugly head.

It is also at this point that the choreography takes on a very strong stance and sense of purpose, carrying with it key messages and concerns through the guise of the performing arts. From tight leather outfits that are both kinky but imply restriction, to a number with a gorilla suit that speaks of discrimination and anti-Semitism, to an entire number about the importance of money during these trying times, the dancers of the club know that their art speaks volumes, going beyond mere entertainment.

At its crux, this is precisely what Cabaret is about – art’s ability to bring comfort and joy during trying times, but also its power in pushing for shifts in mindsets and delivering hard truths. Even when times are hard, art finds a way to persist and carry on, to still be there to entertain and educate even when it seems like darkness is all around, as they remain courageous in the face of evil that tries to destroy hope.

By its end, Cabaret reaches a much more serious note, as characters make difficult decisions for themselves, often choosing between doing terrible things to ensure their survival, or uphold their own personal values while keeping a low profile. Clifford and Sally’s relationship ultimately takes a hit from these mounting pressures, and culminates in the most impressive song of the night – Kimberly’s performance of the titular ‘Cabaret’, her voice ringing true and hitting all the notes, crescendos and decrescendos to perfection. There is a distinct look of fear in her eyes when she confesses to Clifford, and Cabaret, in a sense, ends unhappily, but dramatically.

As we watch Clifford leave Berlin, the Emcee and his dancers return for one last reprise of ‘Wilkommen’, now with messy makeup and completely exhausted, like rag dolls in stitches. They are tired, and it seems to mark the end of our journey into the wonderland that is the Kit Kat Club, as smoke fills the air and the entire stage feels plunged into a nightmarish state, while an ominous flag heralds far worse things to come. The fate of the dancers is left unknown as we fade to black, and it is all we can do to hope that their lives are not so easily snuffed out, maintaining that same bravery and energy they once displayed even as the fascist state becomes chilling reality.

Cabaret is a surreal journey into the dark underbelly of what it means to sacrifice everything for the sake of survival and what one believes in, reminding us of the horrors of fascism and how easily a haven can become a nightmare when it falls into the wrong hands. Cabaret is a challenging play that few would get a chance to see played in Southeast Asia, and for Sing’theatre to have dared and succeeded at bringing this challenging piece to life is a marvel in and of itself.

Thanks to Hossan Leong’s understanding and knowledge of the musical’s context and having a clear vision as to how he wants to deliver it to the stage, his direction is taut and the best of each of his cast members comes out onstage. Together with choreographer Lisa, the team has accomplished a fine balance in both its drama and its humour in strong doses, excelling particularly in its innovative, brazen and sassy dance numbers that capture the musical’s spirit and the nuances of the story. The Kit Kat Club will be an experience that reminds you of the highs and lows of what humans are capable of, and keep you mesmerised by its dreamy narrative all the way.

Photos Credit: Yu Khing Poh

Cabaret plays from 5th to 15th October 2023 at the Drama Centre Theatre. Tickets available from SISTIC

Production Credits:

Director: Hossan Leong Music and Lyrics: John Kander and Fred Ebb Book: Joe Masteroff Musical Director: Elaine Chan Cast: Dwayne Lau, Kimberly Chan, Vester Ng, Siti Khalijah Zainal, Vanessa Kee, Matt Grey, Keagan Kang, Gaby Rae, Chamain Ho, Farah Dawood De Morais, Ferris Yao, Francesca Harriman, Gino Floredeliza, Gino Babagay, Hafeez Hassan, Koh Jia Sheng, Kevin Tristan, Rocio Yap, Sarah Smith Choreographer: Lisa Keegan Set Designer: Wong Chee Wai Costume Designer: Max Tan Hair Designer: Leong Lim Vocal Coach: TJ Taylor Lighting Designer: Reuben Ong Sound Designer: Shah Tahir Make Up Designer: Bobbie Ng (The Make-Up Room) Producer: Nathalie Ribette