HIL2D, Part 4; An Interview with a Former Producer and Current Audience Member

Tonight’s the night! The second weekend of How I Learned To Drive at Cabaret Theatre begins tonight at 8 pm! Reserve your tickets now by e-mailing cabtheatre@gmail.com!

See it!

If you’ve already reserved tickets are now simply watching the seconds tick away, barreling closer and closer to showtime, take a moment now to read this brief interview with former Cabaret producer, Madeline Orton!

Maddie Orton. Producing.

Maddie was producer of Cabaret during the 2008-2009 season, and she appeared in and worked on several productions before that, including The Wild Party, The Philadelphia Story, and [the] HAIR.

Inside Cabaret was able to ask Maddie a few questions after she experienced the sheer awesomeness of HIL2D last Saturday. She was flanked by equally prestigious Cabaret alumni, Joanna Karausz (of Crimes of The Heart and The Cocktail Hour fame) and Ben Regan (of HAIR, Assassins, Philadelphia Story, and a whole lot more; he also appeared as Officer Lockstock in the Livingston Theatre Company’s production of Urinetown, which this lowly Cabbie saw and loved and dreamed about for years).

Joanna, Ben, and Maddie - in the afterglow of HIL2D


Inside Cabaret: What was it like being back in Cabaret? How is it different? How is it the same?

Maddie: Cabaret looks great! She’s just like Helen Mirren—gets better with age. It felt really good to be back in the theater. Different because there have been some nice improvements (the lobby looks amazing), but still the same because that great energy that comes with a Cabaret production is alive and thriving.

Much like Helen Mirren, Cabaret also renders John Malkovich irrelevant.

IC: What do you miss most about Cabaret? What have you been happy to do without?

Maddie: I miss the excitement of putting my heart and soul into a project with some of my closest friends. I don’t miss the stress of putting my heart and soul into a project with some of my closest friends. It was almost impossible to have one without the other, but always worth it.

Maddie and Ben "acting."

IC: How was HIL2D? Given your respective stage experience, what’s it like being in the audience? What goes through your head?

How I Learned to Drive was really great. That space is so unique and intimate; it’s a real art picking a show that takes advantage of that. (A great cast and smart set design don’t hurt either!)

My time at Cabaret does affect how I experience the show as an audience member, but in a great way. I performed in 7 shows at Cabaret and was producer my senior year, so I’m very familiar with the challenges of putting up a show with limited funds, time constraints, etc. BUT some of the coolest art comes from having to work around those things. (Did you know the coconut shells in that iconic Monty Python and the Holy Grail scene were used because of budgetary constraints? True story.) Cabaret shows are even more impressive when you know the (far too small) production budgets, how difficult it is to finish course work AND rehearse for a show, and the amount of work that goes into making a show happen. The concepts people come up with and the creative executions of these ideas are always exciting to watch!

Film Noir = An Entire GENRE and VISUAL AESTHETIC based on the premise of "We Have No Budget." Eat your heart out Monty Python.

IC: Other comments: a favorite memory, a life update, shout out, announcement, disparaging remark, inflammatory statement, etc.

Maddie: One of my all-time favorite memories is the leaky roof performance of Crimes of the Heart. There had been this recurring leak above the stage that, as a stopgap measure, we covered with plastic to catch the drops during the performance.

I had just been taught in my acting class that when something goes wrong onstage, you should consider it a gift because it can make a scene you’ve done 100 times feel different and fresh. So, when it became apparent that the plastic might not hold out under the pressure of the drops that had pooled up over the course of the evening, I just kept thinking, ”This is a gift.” [Drip.] “This is a gift!” [Drip.] “This is GIFT!”

And a millisecond after one of the actors moved away from his chair, all the water splashed down onto the chair and the audience died laughing. (It’s hard to explain away a surprise rainstorm in a kitchen.) It really was a gift though, because everyone in the theatre (actors and audience alike) shared this brand new experience at the same time and tried so hard not to laugh—and all failed miserably.


Special thanks to Maddie, Ben, and Joanna for coming out to see the show. If you’re an alumni and/or an audience member, feel free to submit a review or a manifesto to cabtheatre@gmail.com! It may be published up here on Inside Cabaret!

Upcoming here on Inside Cabaret:

– WTF else are we doing at Cabaret Theatre? Hint: Eleemosynary & Spring Awakening! And a play festival. And surviving.

– WTF else do we do at Cabaret Theatre? Hint: Build things, Write things, Teach things, Dance… things…

– WTF are we doing on this planet? Hint: 42.

Stay tuned!



The Ridiculousness of Paula Vogel

A Self Serving Blog Post by an Obsessed Director

Paula & Me

By all accounts, Paula Vogel is an unassuming person. She is a stout woman with short grey hair and glasses. But, behind this relatively plain appearance is a mind that has left a deep and profound influence on American Theater. Her plays serve universal themes while delving into topics that make you slightly (read: extremely) uncomfortable. To read a Paula Vogel play once is to do it a disservice. You probably have to read the piece twice, three times or more. (In the case of How I Learned to Drive, I lost count around August of 2011, by which time I had lived in my room for a period of three weeks, leaving only to use the restroom or microwave a Celeste Pizza for One.) But, on top of just reading her work, there is a lot to appreciate about this woman.

Her plays are fast paced, vivid and exciting.

They are also absolutely insane and follow the dictionary definition of ‘mindf**k.’


Picture this: a sweet elementary school teacher acquires a deadly communicable disease and travels, with her brother, to Europe to visit a doctor specializing in the disease. While traipsing through Europe she sleeps with a number of European men, including a fifty year old Dutch man still dressed in children’s lederhosen. When she finally get to the doctor, a senile Belgian man in a fright wig, she finds out that the doctor specializes in “urinalysis” (read: he drinks peoples’ pee and analyzes the taste for medical purposes). After he drinks the pee, he pulls his wig off and screams to the woman that (SPOILER ALERT!) her brother is dead. Suddenly, the scene flashes to a hospital where the teacher is standing with a different doctor, who explains how her brother actually had just died of complications from AIDS. It is then explained that the entire trip to Europe and the rest of the story (which includes  a sub-plot involving smuggling stuffed rabbits across international lines) were just a dream that flashed through her head IN THE TWO SECONDS after she learns of her brother’s death.

Really, though.

That is basically the short version of The Baltimore Waltz, a play she wrote in 1992. Its only eighty minutes long and is played by only three actors. (Fun story: the man who originated the role of the pee drinking doctor was Joe Mantello, the same Joe Mantello who directed Wicked and recently starred in The Normal Heart in its Broadway revival.)

No matter what the topic is, Paula adds a ridiculously weird sense of humor and humanity to all of her work. Here is a short list of some of her other work:

1. The Oldest Profession

Five eighty year old women sit on a park bench and ruminate on their careers and lives.

The Twist: They are all hookers, working a beat together off a park bench in Manhattan. And then, at the end of each scene, there is a blackout and ONE OF THEM DIES! Also, around the sixty minute mark, the play slowly turns into a parable for the pitfalls of Reganomics. This play is widely considered to be Vogel’s most “straightforward” play.

2. The Long Christmas Ride Home

A family of five take a road trip to their Grandparents’ house, while revealing the emotional turmoil that the average family undergoes.

The twist: the three children are played by traditional Japanese puppets.

Non-traditional Japanese Puppets. Query: Will you do the fandango?

3. And Baby Makes Seven

A family prepares for the arrival of their newborn children.

The Twist: The family is a gay man and two lesbians, who already have three children together, all of whom are imaginary.

4. Hot N’ Throbbing

A divorced man returns to his former home, despite a restraining order from his wife, and attempts to make amends.

The twist: The wife is a “feminist porn” writer. When her ex-husband returns to the house, she shoots him in the butt, tends to his wound, and then gets strangled with a belt. All of this is interspersed with voice overs, reading the script of her latest “adult” screenplay, while the descriptions are acted out by her TWO CHILDREN!

Mind you, these plays are not just odd and ridiculous for the sake of being so (Christopher Durang has that market cornered). Every piece that Vogel writes has another element that pulls the plays away from being absolutely f**king bonkers: heart.

Heart. Bonus: Bear.

Her plays, while wild in description, are filled with realistic emotions, clever dialogue and a story that is both universal and unambiguous at the same time. The themes she brings to her work are a testament to what American playwrights look to achieve in their work today.

Actually, its more than a testament. As an educator, Paula has taught such playwrights as Sarah Ruhl, Lynn Nottage, Bridget Carpenter and Adam Bock.

When I selected How I Learned to Drive as the play I wanted to direct, I did not pick it because of its subject matter or its twisted method of storytelling (I’ll spare the details, because if you have read this far without going on Facebook, you are probably (read: definitely) going to see it this weekend and I don’t want to spoil anything), but because the story she told me in that little yellow acting edition script that I bought for seven dollars spoke to me, with its universal themes of maturing, learning and the power of manipulation.

Also, it has boobs.


Paula’s work is amazing and I sincerely hope you grab a copy of one of her plays. I promise you, you will finish reading it, shut the book, grab a drink of water and a snack, and then promptly reopen it and start again from the beginning.

-Jordan Gochman


See How I Learned To Drive by Paula Vogel this weekend at Cabaret Theatre! Performances on Friday at 8 pm and Saturday at 3 pm & 8 pm! E-mail reservations to cabtheatre@gmail.com!

Got something to say about Life, The Universe, or Everything? E-mail a blog post to cabtheatre@gmail.com and it may show up on Inside Cabaret!

HIL2D, Part 3; Opening Night! Interview w/ Director Jordan Gochman

It’s Opening Night here at Cabaret Theatre! How I Learned To Drive by Paula Vogel is just finishing up its first performance. The crowd seems to be enjoying the show; this lowly Cabbie wouldn’t know, seeing as how they keep me locked up in the basement… typing away on the blogosphere… Forever…

They won't let me leave...

But before the audience and the actors engaged in some good old communal storytelling, Inside Cabaret sat down with director Jordan Gochman to talk about the insanity of opening night and the long journey that brought HIL2D to the stage.

Director Jordan "Mahna Mahna" Gochman and Stage Manager Meg "Before You Take The Picture Let Me Run Back to My Dorm and Put On A Dress" King

Inside Cabaret: How are you feeling?

Jordan: I’m feeling good… Well, I don’t know how to feel. A year ago I felt like I would be more nervous and scared. I always thought that this thing was just going to be mine, and I wasn’t sure I’d be able to get a bunch of people to get this show where I want to be. All these people here were able to just catch on to my crazy idea and roll with it. I feel fine knowing that all these people are helping me with the play. I’m a lot calmer than I would have been if I didn’t have their support and effort.

IC: Did you have directing experiences before? How does this compare?

Jordan: I directed a short scene for Directors’ Showcase freshman year. Oh God!!! I was going nuts over a 20-minute scene with no set design and minimal lights.

I don’t know why I’m not going nuts like that right now. Maybe I’ve transcended it. Maybe I know how much work we’ve done over the last few weeks, and I just feel more prepared. Maybe it just hasn’t come crashing down just yet…

Assistant Director Matt "Save the (expletive) Day" Leddin

IC: Why did you pick this show? How has your vision changed during the process?

Jordan: I couldn’t put it down the first time I read it. When I finished, I read it again. And then again. And again, again, and again. And every time, I fell in love with it. I thought, “I have to do it. I just have to do it!” There’s no other show that I could think of wanting to direct… except for Our Town… which nobody seems to want to do. Ever.

I realized during the rehearsal process that I would have to give up a lot of to the actors as they brought in their own ideas. They were already with my big ideas, but a lot of times they brought in new ideas, things that I hadn’t even come up with all those times I read the play. That’s the really wonderful part of the process—that evolving vision.

Sound Designer Suved "Sexy & I Know It" Adkar

IC: Thoughts on opening night?

Jordan: I couldn’t have imagined this. I imagined the set. I couldn’t imagine all these people inhabiting it. All these crew members and actors. I still can’t imagine it. This is what it looks like.

When I’m watching it, I’m going to be very happy. It’s going to be different to just watch it, instead of taking notes or worrying about this or that. I might get overly reactive. It’s like a football game for me now. I know what each of them is capable of doing, and so I want to see if they can pull off the plays I blocked for them. And I’ll be cheering in the background.

Otherwise, I’ll be sitting with my head in my hands saying “No! WHY!”

IC: Anything else you want to say to the adoring people?

Jordan: [expletive].

Taylor McKay & Amanda Padro get done up before show time. Assistant Stage Manager Jared pours something.


You missed opening night! Reserve your tickets for Saturday’s 8 pm show, Sunday’s 7 pm show, or any of next weekend’s performances by e-mailing cabtheatre@gmail.com! Visit the facebook event page for more information!

Support Cabaret!

HIL2D: Part 2; Interviews! Also, The Value of Good Press

Today’s entry was originally intended to be an in-depth interview with Artistic Director Farnaz “Yeah Daddy” Mansouri, but recent current events have pushed this lowly Cabbie to take a new course of quasi-journalistic action.

Recent Current Events.

Dear Reader, there are some things that should go into an article that is set to appear in a school-wide publication, especially when said article’s main intention is to get @$$es in seats. The purpose of the Inside Beat section of the Daily Targum is to promote and discuss the diverse cultural opportunities on campus and out in the world. The student newspaper of Rutgers University provides student organizations on campus with a public venue to promote their products, activities, and dance charities.

Which is how it should be. So we extend our deepest thanks and appreciation to the Daily Targum and Inside Beat for your full page spread and putting How I Learned To Drive in the inset above the fold on the front page.

Here are some of things that the Targum missed in its feature; the same feature that was supposed to get people to want to come see How I Learned To Drive, but really only featured some very good photographs, some very good ruminations on acting, and a very large block of text:



Inside Cabaret recently sat down with the cast and crew of How I Learned To Drive and asked them questions about the play, about sex, about Life, The Universe, and Everything. Sadly, no time for chocolate kittens.


Inside Cabaret: Steph, tell us about your character Lil’ Bit.

Steph: Which Lil’ bit? [laughs] As a 29 year old woman-narrator, she’s specifically choosing these moments in her life to talk about. These are the things that she believes have defined her as a person. You need to know about her relationship with Uncle Peck and, in order to understand that, you need to understand her family, her school life, and everything else. The running thread through all of it is Uncle Peck, and her relationship with him varies from love to anger to frustration to this desperate need.

IC: What do you hope college audiences will get out of Lil Bit’s story?

I think they can get so much out of it! The severity of her story isn’t necessarily common, but the coming of age story is everyone’s story. Nobody liked school, and, let’s face it, everybody needs validation and love. And that’s what Lil Bit needs. The play is about moving forward. We all need to learn how to let go, and to keep moving forward. That’s something for college audiences and everybody, across the board.

Lil' Bit </3 School

IC: Marc, what was the hardest part about playing Uncle Peck? How did you overcome those difficulties?

Marc: His emotional restraint. That’s the essence of peck; he holds things back because of his circumstances. The crafting–his alcoholism and his relationship with his niece– that was in the script; it wasn’t too difficult, but learning to have to hold everything back… that was a real challenge.

The way I overcame it was by essentially releasing it, going all the way to the extreme, seeing what it was like for Peck in private. Once I knew that, I knew what my limits were.

Emotional Restraint.

IC: Do you think that college audiences can connect with that idea of emotional restraint?

Marc: I hope so. Even though they’re younger, they can be sympathetic to his situation. Restraint isn’t a WWII and baby boomer problem, but more a universal problem. The inability to really display what you’re feeling… they should understand Peck’s need to feel so passionately.

IC: One more question, is your name spelled with a “C” as in classy or “K” as in “kick myself in the mouth?”

Marc: You know, I’ve been going with “C as in classy.” I considered “Kick myself in the mouth” for a while. I went through one of those artistic flings where I considered the K… kind of like Prince or Diddy Dirty Money. (IC may have added that last part)

IC: Boris, in the Inside Beat article, you mention the “mask method” of acting. Do you think that the theory behind the “mask method” connects to our everyday lives?

Boris: Yes, absolutely. We don’t do it consciously. In every situation, in every group of friends, we have a set of actions and reactions and personalities that we wear. What I’m doing in this show is different in that these masks are in brighter colors then what you might wear in everyday life… but it’s obviously a mask.

It's A Metaphor

IC: You play several roles in the show; how do you “put on the mask” to differentiate those characters to the audience?

A lot of it is physical. A lot of it is also the way I speak. I’ve experimented with everything. My hair is different. My costume is a different. Every aspect. That’s something I really wanted to do with each character, a challenge that pushed me through this process.

IC:  Matt [Assistant Director], how did you translate the themes of the show into the set design?

Matt: The show is about memories… always remembering the best thing and maybe not the worst. The set is a little bit too realistic: the grass is a little bit too green; the road is too straight. Parts of the memories, though, are falling away. The image is still clear, but somethings off. The movie posters are falling down. There’s an RV, but you’ll have to see the show; I don’t want to spoil anything.

IC: Does the theme of memories and their glossy nature connect to your target audience of college students?

Matt: Our generation is all about reminiscing. It’s all about remembering that better time, back in 3rd grade with Pokemon and [expletive]. You look at the set and it says, “Sunbeam Bread, Kid’s Really Love it!” And the poster is just torn to bits. I mean, I can’t take all the credit for it, [Director] Jordan Gochman had all these ideas coming in.

If I get invited to one more "You Know You're A '90s Kid When..." group on Facebook, I'm gonna leave my stoop and punch a sucka.

IC: Amanda, during the play, there is an extended sequence entitled “Men, Sex, and Women.” What’s that all about, and what’s the play saying about female sexuality?

Amanda: In the scene, there are three generations of women all at one table: a young woman, an “experienced” women, and then the third, who is jaded, old, and bitter. She’s the married woman, with one sexual partner, and the strict religious aspect included. Curiosity, Experience, Fidelity & Loyalty all at one table. It covers every single facet of “love.” Love has a very wide spectrum. Depending upon when it hits you in your life and who with, it can change your perception of love.

Grandma has resigned herself. There is no further exploration. Lucy [the mom, the experience woman] drove her car and crashed. Lil Bit is trying to map out her road, her understanding of love.

IC: Where do you think women in the college crowd will see themselves on the spectrum?

The scene–and the play–allows the viewer to think back on their mother or their grandmother or their cousins, and all the women in their lives and consider perhaps that these relationships that they’ve taken for granted have another layer to them, a layer of loss, of fidelity, of newness and experience. The great thing about Vogel’s play is that it gives life to female sexuality. It recognizes that female sexuality has character; it’s not sterile or textbook. There’s so much more… uncertainty to actual sexuality.

IC: The last question is for our director, Jordan Gochman. Why should people come see your play?

Jordan : Because it’s [expletive] wonderful. And because everyone’s gonna see it through a dfiferent eyes. Everyone has a family, everyone has problems in their family, and, whether it’s the sex, alcoholism, the feeling of control, the need to be the teacher… everybody will come away having seen something they really, truly know.


Cabaret - Challenging the Definition of Love Since 1975

How I Learned To Drive by Paula Vogel opens Friday at 8 pm and continues Saturday at 8 pm and Sunday 7 pm. There are also performances next Friday at 8 pm and Saturday at 3 pm and 8 pm. For reservations, e-mail the show you wish to attend and the number of tickets you require to cabtheatre@gmail.com.

For more questions and info, click here.

How I Learned To Drive: Part 1

How I Learned To Drive by Paula Vogel

T-Minus 2 Days

The set is done! Cabaret Theatre prides itself on the malleability of its black box performance space. Every show calls for a different arrangement of the seats, a different lighting grid, a different set design.

Cabaret Theatre in the buff

It’s especially awe-inspiring for frequent audience members, who often marvel that, somehow, the theatre is never used the same way twice. From waterfalls to court rooms to oversized picture frames to army barracks to bookshelves to old timey movie studios to full Victorian interiors, Cabaret’s Black Box can literally become anything. And that’s what makes it so special to do a show here.

Here are some pics from the final set build:

Crew hard at work

Fearless Managing Director Erik Stratton ventures down into the Cabaret Basement. Will he return? (yes, but will he ever be the same!?!??!!?!?!?!?!?)

Scenic Designer Hanna Canfield lives dangerously (i.e. - sans shoes)

And finally, after weeks and weeks of hard, tiring, frustrating, tedious labor, Tech Directors Matt Leddin and Meg King and their crew always pull together another awe-inspiring set:

I see a little silhouette of an RV... Scaramouch, scaramouch do you drive a winnebago!

We’ll continue our coverage of How I Learned To Drive tomorrow with an interview with Cabaret Theatre’s Artistic Director, Farnaz Mansouri. Topic of conversation: putting together a play, challenging ideas about sexuality and maturation, and chocolate kittens.

Here are some snapshots from tonight’s tech rehearsal!

Director Jordan Gochman and Marc Mills (Uncle Peck). They're sexy and they know it.

The illustrious Boris Van Der Ree preps for rehearsal by folding clothes.

Actors Acting (?)

Stephanie Van Huss, Marc Mills, and Arm.

Also, look for an article in the Inside Beat section of the Daily Targum tomorrow!

Stay tuned!


Cabaret Was Romantic Before Being Romantic Was Cool

Happy Valentine’s Day from Cabaret Theatre!!!

Cabaret - Challenging the Definition of Love Since 1975

While we’re busy putting together How I Learned To Drive by Paula Vogel (T-Minus 3 days!), hopefully you were able to do one of the following:

1) Celebrate Valentine’s Day with your romantic partner (and/or cats)

2) Celebrate An Ordinary Tuesday (perhaps with your cats)

3) Eat chocolate (also, perhaps with your cats…)

4) Eat Chocolate Cats

I’ve spent the last few hours scouring the archives for happy, fuzzy, cockle-warming pictures and videos from past Cabaret productions.

Apparently, Cabaret Theatre, in all of its indie, on-the-edge, experimental glory, likes to do plays where all of our hopeful (naive?) ideas about love, marriage, and family life are viciously and violently upended, exposing the harsh and absurd realities of our meager, barren existence on this planet.

Of course, then you find something like this:

From Eurydice, directed by Annie Lutz. In this photo: former Producer Sarah Esmi and Artistic Director JP McCloskey. Fall 2009.


“I like the ephemeral thing about theatre, every performance is like a ghost – it’s there and then it’s gone.” – The Great Maggie Smith

Theatre just happens. It’s organic. There’s something visceral in drama that isn’t really capable when there’s a screen or piece of paper or headphones separating the story and the reader. Dame Maggie Smith is absolutely right; between curtains, there’s a deep emotional connection–whether the show’s good or not–between the audience and the performer and the story of the piece.

Moments of love, of hate, of violence, rage, comedy, absurdity, farce, revelation, and passion are fleeting. Period. That applies to theatre and “real” life. And those shock quotes are there to subtly suggest that the distinction between theatre and life–and art and life in general–is not as clear cut as most people think.

So yes, today is Valentine’s day, and we hope that you enjoyed it whether as the Holiday of Love or as Just an Ordinary Tuesday.

But we’d like to suggest that you take the time to realize just how fleeting life really is. Why can’t we try to make every day a Day of Love?


Below: “But I Do” from Cabaret’s production of I Love You Because by cutting-edge composers Salzman & Cunningham. Featuring Marc Mills, Will Carey, Ellie Kahn, and Anne Csipkay. The production was directed by Erik Ludwig. Winter 2010.

BREAKING: Cabaret Finally Enters the Blogosphere

Related: Producer responds to Critics, “Perfection takes time”


The Internet is immediate, unadulterated, non-stop sensory saturation.

Cabaret Theatre is immediate, unadulterated, non-stop sensory saturation.

This is a match made in media heaven.

[Do media-ites have a heaven? Thought we were all bloodsucking harlequins of the vilest order?]

For the last few years, Cabaret Theatre has thrown a lot of stuff at the wall in the Sisyphean effort to reaffirm itself as Rutgers University’s premier student theatre organization. New workshops in directing and playwriting. New showcases and special events, catering to the diverse predilections of the surrounding New Brunz area. New investment in recruiting and cultivating talented and creative student minds. And a brand new look and a new marquis, both now a sleeker Black & White—a dual representation of nothingness and everything, clean, malleable, divergent.

Cabaret's Business Strategy

A lot of it stuck.

Cabaret is in the best shape it’s ever been in throughout its long, 36-year history. A long string of high quality productions and a newfound commitment to developing and fostering a community of progressive, experimental, and innovative student-writers, -directors, and –actors.

And this is the next step in Cabaret’s evolution.

The community within is invested, engaged, and growing.

The community without, however, is often left in the dark.

Think about it.

Other than the occasional show, what do you really know about what goes on inside? What are rehearsals like? Set builds? The production process? What does the basement of Cabaret look like? What is life like for a Cabbie? Nay, what is it like inside the mind of a Cabbie?


Theatre is as much by the actors as it is for the people. And social media like this blog allow direct access to the people. We’ll let you in, posting original content like interviews with directors and actors, videos and photos of productions just starting out, and in-depth explorations of Cabaret, Life, The Universe, and Everything.

What do we want from you?

Money. Particularly of the Defaced variety.

Just kidding (not really). What we really want from you is to hear your voice. Click on over to SUBMIT! and share a Cabbie story, or make a comment, or send us your experimental neo-noir short film! We’ll (maybe) publish it!

Theatre is an exercise in communal storytelling. You’re part of that community. And this blog is an experiment in that.

So expect consistent updates from us here at Cabaret Theatre. It’s Halftime in America. And Cabaret’s second half is about to begin.

He went in the Cabaret basement...


Below: How I Learned To Drive by Paula Vogel opens in 4 days! Check out this preview snap shot featuring Marc Mills and Steph Van Huss. Look for an interview with director Jordan Gochman and members of the staff and cast in the coming days!

She's learning how to drive. Get it?