THE END OF THE WORLD CABARET • Upstream Theater

When Earth, more specifically its inhabitants, disturb the cosmic balance, a comet is sent to annihilate those reckless humans and restore harmony to the solar system. That’s the set up for Austrian playwright, poet, journalist and political activist Jura Soyfer’s 1936 satire, Der Weltuntergang (The End of the World). By combining different versions of Soyfer’s surviving texts, Upstream Theater’s artistic director, Philip Boehm, has given Der Weltuntergang a smart, terribly relevant adaptation, continuing the season’s theme of “When Worlds Collide”. Soyfer’s play was performed in the basement cabarets of Vienna during a time of Austro-fascism, economic depression and the growing influence of Nazi Germany. The underground cabarets were one of the few places where Soyfer’s sharp criticisms of Austria’s authoritarian regime could be expressed. Similar to Netflix’s Don't Look Up, The End of the World Cabaret makes its point not in the impending extinction of humanity, but society’s reactions to it. Tyrants, diplomats, the well-heeled and the hard up are equally skewered, displaying a range of responses that pivot around foolish denial and an opportunistic resilience that would be admirable if it weren’t so depraved. Still, the playwright holds redemption for Earth within reach - a mercy that proved unattainable for Soyfer, who was deported to Dachau and later Buchenwald, where he died at only 26 years old, just days before his scheduled release.

Comet (Chris Tipp) and Earth (Sarah Wilkinson).
Photo credit: Patrick Huber

An ensemble of nine impressively cover over three dozen characters, and an aptly named Professor Peep (a fantastic Chris Tipp), seems to be the sole clear-eyed witness to humanity’s madness. He’s devised a machine that might alter the comet’s trajectory, but his appeals and warnings go unheeded. International broadcasts and musical numbers are peppered among bureaucratic buffoonery, the push to buy End-of-the-World bonds, and the day-to-day lives of folks who carry on in blind indifference. At one point, Peep says something along the lines of, “whoever holds truth in the highest esteem is destined to lose.” How's that for prophecy?

Preacher (Patrick Blindauer).
Photo credit: Patrick Huber

Upstream’s tireless players do a wonderful job trooping through a succession of characters, and Lizi Watt directs with an imaginative hand. Original music by Sleepy Kitty’s Paige Brubeck with Boehm’s lyrics provide some fine songs that complement the play’s tonal shifts, and Aidan Siliceo-Roman’s intricate sound design and Steve Carmichael’s lights contribute heavily to the production’s success. Meredith LaBounty and Anabel Weiland provide an eclectic mix of costumes, and Dawn Karlovsky’s choreography is uniquely distinct. Patrick Huber’s scenic design hides some nifty resourcefulness and Max Florida’s scenic paint features a floor adorned with the zodiac.

The End of the World Cabaret is an adventurous, refreshing change of pace that feels every bit like a cabaret. Its intimate setting, political parody and contemporary relevance make it well worth checking out. It’s playing at The Marcelle until May 3rd.

Auntie (Jane Paradise), Peep (Chris Tipp),
Street singers (Amarachi Kalu, John Flack, and Sarah Wilkinson).
Photo credit: Patrick Huber

THE END OF THE WORLD CABARET

Adapted from Jura Soyfer's Der Weltuntergang by Philip Boehm

Original music by Paige Brubeck

Directed by Lizi Watt

The Marcelle, 3310 Samuel Shepard Drive

through May 3 | tickets: $45 - Adult, $40 - Senior, $25 - Student, $15 - Bohemian Thursdays (April 23 & 30).

All shows 7:30pm except Sunday April 19 at 7pm, and April 26 and May 3 at 2pm.

Cast

Sun and others: Jane Paradise*

Moon and others: John Flack*

Comet / Peep: Chris Tipp*

Mercury and others: Caitlin Mickey*

Venus and others: Isaiah DiLorenzo

Earth and others: Sarah Wilkinson

Mars and others: Patrick Blindauer*

Saturn and others: Amarachi Kalu

Pluto and others: Ashwini Arora

Franzi the Dog (Ashwini Arora),
Ladies (Caitlin Mickey and Jane Paradise),
and Wilhemina the Dog (John Flack).
Photo credit: Patrick Huber

Crew

Music Director: Joe Schoen

Choreographer: Dawn Karlovsky

Adaptation: Philip Boehm

Composer: Paige Brubeck

Scenic Design: Patrick Huber

Costume Design: Meredith LaBounty and Anabel Weiland

Lighting Design: Steve Carmichael

Sound Design: Aidan Siliceo-Roman

Properties: Maria I. Straub

Scenic Painter: Max Florida

Wardrobe: Nola Buehler

Production Stage Manager: Patrick Siler*

Assistant Stage Manager: Jocelyn Padilla*

Production Manager: Gus Kickham

Technical Director: Sage Stith

Master Electrician: Jamey Pearson

Board Operator: Jake Santhuff

Sound Engineer: Aidan Siliceo-Roman

House Manager: Monica Roscoe

Sheet Music Transcription: John Dorhauer

Photographer: Patrick Huber

Graphic Art/ Website: Sleepy Kitty Arts

Microphone System: Assured Construction Compliance, LLC

Tech Crew: Tessa Renken, Alex Merkt, Walker Swann

KAF Facilities: Emily Hoffman, Soozi Mikulas

* Denotes member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States