In the evolving American institution known as musical theatre, few composers chose to set what is considered dark material to music. Conceptualizing social and political strife into an entertaining and yet imposing form, German composer Kurt Weill's roads of despair came to successful fruition with cabaret and musical-style theater songs.
Presenting a wide spectrum of Weill's pieces last week, UB's department of theatre and dance took its audience from "Berlin to Broadway with Kurt Weill: A Musical Voyage." Weill's voyage from Berlin's political turmoil in the late 1920s and early 1930s to the glossy and opportunistic American shores, sheds light on characters featured in many of his musicals.
Performed Feb. 20 to 24 in the Black Box Theater, the intimate, engaging setting transported the audience to the cabaret-style venue in which Weill's songs are traditionally performed. The setting created an experience beyond hearing the songs; the audience actually experienced them, thanks to the well-crafted production.
"Our goal here at UB is to open students up to work they might not be exposed to," said director Lynne Kurdziel-Formato.
Featuring a tight ensemble of performers, this production offered what is unusual in most amateur and stock casts: a knowledge of the text and a sincere appreciation for the reality of situations presented.
Singling out members of the accomplished cast seems silly, as they are all worth of mention. A few, however, stand out above the rest. Senior Leah Russo exhibited a firm hold on Weill's more introspective offerings, performing a deep and dark "Surabaya Johnny."
In one of the evening's few comedic pieces, Sally Schwab and Michelle Sperazz dish up some dirt in the devilish "Jealousy Duet," while Matt Korzelius offers a sweet and heartfelt "Hymn To Peace," portraying a fallen war veteran trying to re-integrate his life into post-war society.
As a writer and artistic member of a socially unruly society, Weill's place in the budding-Nazi Germany era was one of confusion and disillusion, as portrayed in the uproarious "Alabama Song." No one single moment was as hilarious and deeply disconcerting as this bright moment in the cast's versatility, as they crawled and hurled themselves onstage.
"It's a challenge to portray such a variety of characters in such a short amount of time," explains Schwab, whose shining moment in the show came in a glowing second-act solo. "There are so many different characters you have to be, and being in an ensemble makes the performance interesting and different than most 'book musicals.'"
Musical director Michael Hake played wonderful piano accompaniment to this already vocally strong cast. His direction with the group was clearly evident, as the bellowing ensemble pieces shine with wonderful harmony and tonal quality. Also striking was the skillfully crafted lighting design by Gary A. Casarella, whose design has a strong yet subtle storytelling quality that is welcomed, but hardly recognized.
For those who are not used to experiencing these themes of darkness and inner-immobility, the tried and true themes of love, honesty, bravery, and overall self-confidence, is the universality of Weill's repertoire, and is beautifully expressed in this musical chapter of history.
Ironically, the idea that happy endings can't and don't happen in dark times is cleverly taken into account in the evening's closing "Happy Ending," thus encapsulating Weill's bumpy journey from a socially misfit artist to self-appreciated human being.
Berlin to Broadway with Kurt Weill: A Musical Voyage
Department of Theatre and Dance
Ran Feb. 20-24
