Immediately upon entering the small theater located above the ARTfactory in Historic Manassas, I was transported through time and space to the hottest spot in 1930s Berlin — the Kit Kat Club. Every element of the evening, beginning well before the advertised show, is carefully curated to create a world that engulfs the audience, allowing you to step into an era of desire, destitution, and escalating political domination. The world of Cabaret truly came alive last night.
As through a portal through time, you ascend the staircase, distressed posters advertising the Kit Kat Club lining the walls. Stationed at the threshold leading into the club, a bouncer checks names off a list instead of merely scanning tickets. Dimmed art-deco chandeliers hang from the ceiling. The band positioned at the back is beautifully led by Music Director Ahryel Tinker. Tables (available for purchase for the evening) are decorated in the style of the Kit Kat Club, encircling the stage, leading you even deeper into the immersive experience. Every element lends itself to the fully formed world. Even the occasional train whistle, courtesy of the station outside, invites the illusion of being transported back to 1930s Berlin.
Cabaret’s themes are timeless and remain relevant in today’s political and social climate. Although Cabaret was originally based on the 1939 novel Goodbye to Berlin by Christopher Isherwood, it has served as an artistic inspiration for decades. At its core, Cabaret is said to be a warning, a reminder to challenge political complacency and shine a light on generational trauma. Goodbye to Berlin was adapted in 1951 by John Van Druten as a play, then turned into a musical in 1966 by Joe Masteroff, John Kander, and Fred Ebb. And now, it’s playing at the Wind River Theater, directed by Kimberly Kemp and presented by Actors Theatre at the ARTfactory.
Cabaret centers around the tatty, taboo Kit Kat Club, where singer Sally Bowles (Mel Gumina) meets and falls for American novelist Clifford Bradshaw (Joshua Mutterperl). Together, they find fleeting hope, fueling their love and individual artistic pursuits, while also learning to carefully navigate the precarious state of the German nation with the growing fascist movement of the Nazi party. Their love story is paralleled with the similarly fraught relationship of the boarding house owner Fräulein Schneider (Lori Fabian) and Herr Schultz (Ned Kieloch), a Jewish fruit vendor.
Furthering the world-building elements of the evening, the ensemble actors serve as waiters, walking the floor maintaining character the whole time. They are accompanied by several opening acts 30 minutes prior to the “official” show, which take place against the hustle and bustle, in a way indicative of a nightclub such as the Kit Kat Club.
One of the opening acts, Talya Conroy, also plays Fräulein Kost and is, moreover, responsible for hair and makeup. Her buttery alto voice contrasts with Sally Bowles’ (Gumina’s) theatrical soprano voice, mirroring the relationship between the two characters. Both women are ambitious, provocative, and, frankly, a little self-indulgent, but differ in their expectations of the world.
The standout performance of the evening came from Chris Maulden, who embodied the eminent Emcee, portraying exactly what we want in the beloved role. His alluring and addictive smile and the provocative look in his eyes — a look containing a light that teeters between gleeful sparkle and mischievous fire — cast a spell on the audience and have you hanging on his every word, every flick on his wrist … or thrust of his hips!
Maulden also gave, in my opinion, the best vocal performance of the night. Although the widely known and loved opening number, “Willkommen,” is a lot of fun, Maulden’s talent is truly witnessed in his performance of “I Don’t Care Much.” He controls the dynamics while still playing with the notes, crescendoing and decrescendoing elegantly and masterfully. He carefully chooses when to work in delicate vibrato, allowing specific moments to hit even deeper, radiating a spectrum of emotions.
Other notable standouts of the evening include Mutterperl’s portrayal of Bradshaw in the grounded yet grandiose style of 1930s film/stage stars, furthering the illusion of having been transported in time. And Gumina’s performance of the penultimate number, “Cabaret,” taps into a deeper gravitas and desperation, somewhat wanting from “Maybe This Time.” But in “Cabaret,” you can feel the earned emotion externalized through the raw cracks in her voice and tears in her eyes.
Although some technical elements, such as microphone volumes, faltered occasionally, the show’s production value is greatly elevated by the incredible costumes, including endless accessories. Costumer Olivia Finnegan incorporates dozens of costume changes, escalating excitement and supporting the overall world-building.
The costumes are also used in a final poignant homage to Holocaust victims, as the actors shed their coats and leave them in a crumpled pile in the middle of the room, lit by a single spotlight. And as Maulden recited his final lines, the audience sat silent for a moment, taking in the emotional burden of what was just witnessed before exploding into applause.
The costumes are just one way in which my expectations were exceeded. With such a small space, you assume only so much can be done. Not the case! The entire cast and crew of Cabaret leaned into the world they created with full commitment, resulting in something truly artful and unexpected.
Running Time: Approximately three hours and 30 minutes, including an intermission and pre-show entertainment.
Cabaret plays through July 27, 2025, presented by ARTfactory’s Actors Theatre performing at the Wind River Theater, 9419 Battle Street, Manassas, VA. Tickets ($25–$62.50) are available online.
The cast and creative credits for Cabaret are online here.