Now playing at the Ogunquit Playhouse is the blockbuster musical show “Cabaret.” The show which opened back in 1965 has thrilled audiences and now seems as relevant as ever.

The book is by Joe Masteroff with music by John Kander and lyrics by Fred Ebb.

There are two separate elements taking place in the musical simultaneously. The first is the love elements between a young American novelist, Clifford Bradhaw, played by Billy H. Tighe, and one of the “ladies” of the cabaret, Sally Bowles, played by Kate Schindle. A seemingly minor counterpoint to this primary story is the love interest between landlady, Fraulein Schneider played by Mariette Hartley and her suitor, Herr Schultz, played by John Rubinstein. The time frame of the story is the early 1930’s in Berlin, Germany. This is the background against which the story takes place. Schultz and Frau Schneider are going to be married but Ernst Ludwig, played by Noah Palmgren, advises Schneider against marrying Schultz because he is Jewish. Up to this point, Ludwig had ingratiated himself with Bradshaw and we (the audience) had no idea of his sinister nature until he removed his coat and saw the swastika armband he was wearing. Most of the first act of the show was centered around the bawdy even degenerate character of the cabaret until this last scene. It was chilling to have the first act close with the massed chorus singing “Tomorrow Belongs To Me.”

While this show has the theme of the Nazi rise to power, fueled by rabid anti-Semitism, it is also a musical, and a superb one at that. While most shows have an “orchestra” of five to seven instrumentalists, this show has 14, and they are all very, very good at what they do I am pleased to relate. However, where is one going to put this group which includes two pianos (the second plays a variety of other instruments! including saxophones), Drums, acoustic Bass, Trumpet, Clarinet, a second clarinetist doubles on alto and soprano sax, Accordion, Trombone, Cello/Violin; Trumpet/French Horn; another Clarinet; and another on Trumpet who also plays Banjo. The answer was to construct a platform above the stage with curved staircases on either side. The purpose of the staircases became clear from the start. It is now an axiom that singers should be able to dance and dancers must be able to sing. However, this is the first time that I have seen that the instrumentalists had to be able to dance and be a part of the ensemble.

Before the show even started, some scantily clad ladies meandered around the stage in ways that would not be acceptable at the YMCA. When the show did start,the emcee (Master of Ceremonies) (Randy Harrison) entered, attired in a costume appropriate to his surroundings, and sang the signature opening song of the show “Wilkommen.” (Welcome). We were also introduced to the very talented assortment of singers/dancers, male and female, who were also clad appropriately to their surroundings. (Comments regarding the attire: 1) This is a show and 2) many folks wear less on at Old Orchard Beach.)

There many superb performances of songs in this act; some standouts include: Schindle and the ladies singing “Don’t Tell Mama,” Schindle singing “Maybe This Time,” and Hartley and Rubinstein singing “Married.” Rubinstein is a marvelous character actor as well. I recall the moment when the window of his fruit store is shattered, he tries to excuse it as an act of youthful thugs. He tries to explain that he IS German, safe, and, doesn’t realize the mortal danger he is in. Hartley is well cast as the landlady even though singing is not her forte. Tighe as Clifford is the only character who does not sing, but he is convincing in his role, particularly in the second act.  In the second act some of the best songs and singing of these songs occur. The act begins with the orchestra playing a medley of the songs of the show under the direction of conductor, Bruce Barnes. (Mr. Barnes’ direction was expert throughout the show and he deserved his solo bow at the end.) The performance by the orchestra was followed by a dance sequence showing off the talented dancers  of the Cabaret, the Kit Kat Club. Kudos should be given to their choreographer Andrea Leigh.)  One of these songs which show the menace of what is coming politically is the song “If You Could See Her” sung by Harrison and his silent partner dressed as a gorilla. Hartley’s best moment, however, comes during his song “I Don’t Care Much.” What literally stopped the show was the singing of the song “Cabaret” by Kate Schindle. It earned her a well deserved standing ovation then and there. This lady has a voice and knows how to put over a song convincingly. To underline the point of what follows Hitler’s rise to power, at the end of the show, the emcee (Tighe) removes his overcoat and is dressed with concentration camp stripped pj’s with a prominent Star of David on his chest. The powerful story with the elements of two love stories, the background of the rise of Nazi tyranny make “Cabaret” a show that will be timeless even though it is set in a particular time frame. As director McNicholls states, “Questions about national identity, scapegoating a minority group, the dangers of a blindly faithful populace and the steep price of apathy are found coursing through ‘Cabaret.’ It manages to entertain and seduce … and is nothing short of masterful.” And again as the emcee sings: “In here, life is beautiful.” With this show at the Ogunquit Playhouse it surely is.

“Cabaret” is playing at the Ogunquit Playhouse now through Aug. 10. Tickets can be purchased online at tickets.ogunquitplayhouse.org or call the box office at 646-5511.

– Dr. Morton Gold is a composer/conductor, retired educator and an arts reviewer for the Journal Tribune.