This post was written by Hatchet Reporter Rachel Vorsanger.
Forbidden Planet Production’s annual musical cabaret, which ran this weekend in the Lisner Downstage, was 45 minutes of high-energy singing and dancing. The show included scenes from nine different musicals, produced by 11 different directors.
The scenes were essentially nine mini shows, and included everything from a frazzled Charlie Brown to a county spelling bee. Each number offered its own burst of energy that pulled the audience in from the moment the lights went up until the last pose. Some performances, however, stood out by better utilizing costumes, choreography and lighting.
The cast in “Pandemonium,” from “The 25th Annual Putnam County Spelling Bee,” exuded just that by running around desperate and stressed over spelling the word “crayon.” Their brightly colored, mismatched costumes added to the delightful chaos. This was the only number that used colored lights (in this case, pink), and they served the performance well.
The street kids from “Newsies”‘s “King of New York” danced with strong choreography, striking dynamic poses that involved jumping on tables and carrying one another. The actors’ attempts to mimic thick Brooklyn accents added a comic twist to their performance.
The girls from “South Pacific” brought a sweet, wholesome energy to the stage, dancing in 40s-style bathing suits and makeup.
Still, one of the show’s highlights was “Gotta Get a Gimmick” from “Gypsy.” In this number, three scantily clad strippers explained the unique ways in which they take off their clothes. Shy (i.e. being uncomfortable shaking your stuff in front of students and parents under hot stage lights) and theater do not go hand in hand.
The last act, “Circle of Life” from “The Lion King,” was a fitting way to end the show. Using a large cast, tribal-esque makeup and strong choreography that encroached upon the seats of the audience, the song resulted in a well-deserved standing ovation.
Katharine Crnko, the show’s artistic director and manager, said the various casts had only four weekends to rehearse their own individual numbers, and three days to put the whole show together (incorporating set transitions and a live band). This explains the lack of sets and lighting changes in the performances. Still, the seamless execution of both the transitions between numbers and the performances themselves didn’t betray this hasty production. Lisner Downstage’s intimate setup worked well for the show; it allowed the energy to flow from the actors to the audience more easily.
Crnko also described the Cabaret as being “great fun.” After seeing Friday’s performance, I have to agree.
