Mary Gordon Murray as Fräulein Schneider and Scott Robertson as Herr Schultz, Photo: Joan Marcus
Jon Peterson has some choice words for those who don’t return after intermission to the searing, sexualized touring production of Kander and Ebb’s classic Cabaret.
“I’d say to them, ‘Grow the fuck up,'” laughs the 55-year-old British actor who brings the show’s iconic emcee to vivid, lascivious life. “‘Don’t you think it’s time to be a little bit more honest with yourself? Sex exists. People do it. You do it. So come on, get real.'”
This is not your standard-issue Cabaret — not by a long shot. Based on the 1998 Broadway revival, directed by Sam Mendes and co-directed Rob Marshall, the narrative cleaves closer to that of the 1966 original Broadway production, rather than Bob Fosse’s overly-familiar 1972 film. The ill-fated romance between Herr Schultz, a Jewish fruit merchant, and his landlady, Fräulein Schneider, has been fully restored, bringing added moral depth and political resonance to the underlying story of the downfall of the Wiemar Republic in 1930s Germany.
“They sing four songs,” says Mary Gordon Murray, who as Schneider, hits it out of the park nightly with the intensely charged showstopper, “What Would You Do?” “And all those songs are cut in the movie…. It’s really kind of a revelation for people that there’s this whole other storyline that’s such a big part of the evening.”
“It’s such a beautiful, tragic story within the story,” adds Peterson. “It’s just perfectly set up. Cabaret is like a little Russian doll, isn’t it? There’s a doll within a doll within a doll. It’s just gorgeous.”
Murray isn’t put off by the production’s overtly erotic tones, though her choice of words are gentler than her co-star’s.
“I certainly don’t want people to walk out,” she says. “That’s not the point of doing theater. On the other hand, I’m not dismayed that something like this is risky enough, and political enough, and has a strong enough opinion, that maybe some people aren’t gonna go for it. That’s pretty ballsy for a musical to do. I don’t think it should be something gratuitous — you certainly don’t want to alienate people. That’s not the point, but on the other hand, this is a strong cup of tea. Perhaps some people won’t care for it. Well, so be it.”
Cabaret runs to August 6, at Kennedy Center Eisenhower Theatre, Tickets are $59 to $149. Call 202-467-4600, or visit kennedy-center.org.
The fall looks primed to be a strong season of concerts by -- and appealing to -- the LGBTQ community. Among the highlights in the category of the well-known, consider Andy Bell (Lincoln), Jane Lynch (Strathmore), Renee Rapp (Merriweather), DOECHII (Anthem), and of course All Things Go (Merriweather). In the category of merely appealing, not gay per se, consider The Queens (Capital One Arena), Deborah Cox (Bethesda Theater), and Judith Hill (The Hamilton).
That barely scratches the surface. There's a lot of new -- or perhaps new to you -- queer artists out there, just waiting for you get into them including Katie Pruitt (Union Station, Rams Head), Rio Romeo (Songbyrd), Aaron Lee Tasjan (Jammin Java), Dixon Dallas (Union Stage).
Little by little, year after year, from one season to the next, there have been some subtle yet certain shifts in programming among local classical music organizations -- in both good and not-so-good ways, depending on whether you like, say, holiday sing-alongs come Christmastime. If you do, well, good for you, but boo hoo for the rest of us, because that's definitely on the uptick this season, as in previous years. Similarly, if Halloween is more your jam, you're also in luck, because there's also been a slight increase in the number of eerily inspired, scary-themed shows.
There's also more diversity all around, and in multiple senses of the term -- from slightly more female composers with works being performed around town, to more genre- and boundary-pushing works and programs overall, to seemingly more out, LGBTQ-identified people in this particular genre.
'Tis a season for celebrating significant milestones in dance, including an amazing honor for one of the most revered names ever to be associated with the art form. The Martha Graham Dance Company, appearing in 2026 at the Kennedy Center, will be marking its 100th year sharing founder Graham's singular vision of movement.
The company's major anniversary, along with many others over the 2025-26 season, offers sweet reassurance that dance is forever and shall remain. Meanwhile, a full menu of new works on tap represents what keeps dance moving forward.
Audiences can relish revisiting beloved perennials, like some of the most exciting Nutcrackers you'll find anywhere, and catch up with companies who've been doing this for decades -- from Mark Morris Dance Group and Pilobolus, visiting twice this season, to the Washington Ballet.
These are challenging times for news organizations. And yet it’s crucial we stay active and provide vital resources and information to both our local readers and the world. So won’t you please take a moment and consider supporting Metro Weekly with a membership? For as little as $5 a month, you can help ensure Metro Weekly magazine and MetroWeekly.com remain free, viable resources as we provide the best, most diverse, culturally-resonant LGBTQ coverage in both the D.C. region and around the world. Memberships come with exclusive perks and discounts, your own personal digital delivery of each week’s magazine (and an archive), access to our Member's Lounge when it launches this fall, and exclusive members-only items like Metro Weekly Membership Mugs and Tote Bags! Check out all our membership levels here and please join us today!
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