Be Glad We're Not There, Old Chum All Marin's a Stage

Larkspur Café Theatre’s new show takes place in a skewed world whose inhabitants lie, smuggle, prostitute themselves, but still celebrate the New Year. And if some friends are becoming Nazis, well, that’s just politics. As Fraulein Schneider says, “So vot?” We settle. We adapt. We cast off what (or who) we don’t need. For relief, there’s always the cabaret.

Jointly produced by Independent Cabaret Productions and Shakespeare at Stinson, “Cabaret,” the 1966 hit musical, has been revived at historic American Legion Hall in Larkspur. It’s a big show with six dancers, six actors and a four-piece band; all are experienced close up in the Café Theatre’s small space, now transformed into a 1931 Berlin nightclub. The theatrical experience is intense.

The show’s emcee, a part originated by Joel Grey, is a key player and a mysterious figure. Is he a clown? A Greek chorus? A conscience? The emcee is played by Jeremy Vik, who wisely chose not to emulate Grey. Vik’s performance is entirely his own, but every bit as menacing.

One of his club’s entertainers, Sally Bowles (Corinne Proctor,) sees herself as a star and has extravagant plans to make it big in this seedy environment. Nothing, not even the prospect of going to America with Cliff to make a new life, disturbs her fantasy.

Cliff, an American writer (played by Ivan Hardin,) has come to Berlin to explore its underside. The character of Cliff is based on the experiences and diaries of British/American author Christopher Isherwood, who went to explore the sexual possibilities there and fell in love with a German named Heinz, who was later imprisoned. “Cabaret’s” Cliff is also exploring attractions to men.

Ellen Brooks as Fraulein Schneider brings a professional voice to her character and a visual contrast to others onstage. Schneider seems normal, approachable, though she will turn out to be flawed. Her lovely duet with Malcolm Rodgers’ Schultz, “Married,” imagines a union of two old friends, a hope the audience knows is doomed when the foreboding emcee appears in the wings.

Diego Emir Garcia directs the band and proves that John Kander’s music and Fred Ebb’s lyrics are still compelling. Audiences leave “Cabaret” humming “Willkommen,” “Money” and the title song, whose heavy beat degenerates into a goose-stepping march near the end.

It’s a well-crafted production, but hard-edged, even raunchy at times. Though an intimate view of history, it’s probably not for youngsters.

Cera Byer choreographed the dance numbers. Ms. Byer makes good use of the small space, but arrangements and gestures become repetitious at times. Tammy Berlin’s costumes reflect the ‘30s and the decadent mood of the city. Rose Ann Raphael designed the set and its glittering curtain.

“Cabaret” will be at the Larkspur Café Theatre, 500 Magnolia, in Larkspur through April 15. Performances are Fridays and Saturdays at 8pm and Sundays at 7pm. (There will be no performance on Easter Sunday.) Doors open at 7pm, and refreshments are available for purchase. Tables inside the theatre may be reserved.
Tickets are $25 to $45. To reserve, call the box office at 381-1638 or see cabaretsf@gmail.com.

College of Marin’s Drama Department has been beset the last few months. Plagued by construction delays, relocated in a wind-whipped tent, saddled with limited parking, the Department has nevertheless soldiered on and assembled a delightful production of Shakespeare’s “As You Like It.” If there was ever an example of theatrical grace under pressure, this show is it.

Jim Dunn, who founded the Drama Department here in 1964, directs. Mr. Dunn knows how to use a performance space, and staging this large-cast production in the intimate Studio Theatre downstairs turns out to be the perfect venue for the Bard’s pastoral comedy. The Director explains that this set (by Ronald Krempetz) is similar to the “Black Friars” indoor theatres of Shakespeare’s time. Here the Arden forest is represented by a simple alcove with a painted tree, and in this limited showcase, characters work out their entanglements in conversational voices and within handshake -- or body slam -- distance from the audience.

“As You Like It” is presented by a large cast of outstanding actors, most of them local, but only one of whom – Charles Isen as melancholy Jaques – is an Equity professional. To him belongs the well-known “All the world’s a stage” address in the first act.
The forest as a dramatic device was familiar to English audiences who’d grown up in the Robin Hood tradition. Here social hierarchy was suspended; nobles and courtiers shared space with country folk, outlaws and beasts. Here too remarkable things could happen; romance, reconciliation, forgiveness and justice all had their place. Harmonious ballads ( Billie Cox) give hope that this is possible.

While still at Duke Frederick’s court, the players glitter in Patricia Polen’s costumes, especially Rosalind (Rose Pearson) and her cousin Celia (Olivia Harrison.) The women’s elegance before exile and their plainness after underscores their change in fortune, even more because Rosalind, for safety, is now disguised as a young man. (The doublet and breeches seem to have their effect on her personality, as well.) Simple garb is also worn by the rightful heir’s younger brother, Orlando, also displaced and forced into exile.

Rose Pearson has the antic and demanding role of Rosalind, a character who is almost always on stage. Christopher Loverro plays her sweetheart, Orlando, who (suspend your disbelief here) does not recognize her once she’s dressed as a man. Mark Toepfer is Orlando’s trusted old servant, Adam.

Rosalind’s cousin Celia, another noblewoman, joins her in exile dressed as a simple country woman. Together, they’re accompanied by Touchstone, the court clown (Robert Garcia.) Freed from his duties as a fool, Touchstone reveals himself to be a wily and helpful companion. Ross Berger of Tiburon has the role of William, (“Willem,”) a country fellow with a Cockney accent.

Shepherds Corin and Silvius (Frederick Lein and Daniel Labov Dunne) remind us that we’re in the presence of beasts with actor dog, Aztec. (Aztec pleases the audience by yawning on cue during Touchstone’s speech and by forming an attachment to a lady in the front row.)

Back at the court, Duke Frederick (Daniel Bort) maintains his wrongful place along with a pair of haughty, fan-snapping courtiers, portrayed by Annette Roggenbuck and Leilani Meng.

It all ends happily. The rightful Duke, played by Steve Price, is eventually found in the forest and reunited with his daughter and his property – all through the skills of a promising young 16th Century playwright and his 21st Century players at College of Marin.

“As You Like It” will be at the Performing Arts Theatre in Kentfield Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. until March 18. For additional information or for questions about disabled access, please call the Drama Department at 485-9555.