Cabaret presented by Theo Ubique Theatre at No Exit Cafe

Chicago Tribune - Recommended

"...The torn stockings, the louche stares, the overt pan-sexuality: It's all there in Theo Ubique Theatre's production of "Cabaret." There is a lot to like about this pint-sized revival of the Kander and Ebb musical, where Weimar Germany is giddily recreated at The No Exit Café (the company's resident home) in Rogers Park."

Pioneer Press - Highly Recommended

"...Joel Grey and Liza Minnelli may be more famous, but they have nothing on Jeremy Trager and Dana Tretta as they superbly portray the Master of Ceremonies and Sally Bowles in Theo Ubique's excellent production of Cabaret."

Chicago Reader - Somewhat Recommended

"...The Theo Ubique Theatre players sometimes seem likewise divided in their treatment of the material, some overestimating and some underestimating the interpretive scale appropriate to the physical environment. But their eagerness to please is unrivaled, making for an evening whose ironic sparkle slyly reflects our own society's uneasiness."

Gay Chicago Magazine - Highly Recommended

"...Director Fred Anzevino of Theo Ubique has a hit on his hands with his robust staging of the John Kander (music) and Fred Ebb (lyrics) musical that has seen many stunning productions since its 1966 debut. He has done a terrific job transforming Rogers Park’s No Exit Café into the seedy, sleazy and intimate Berlin-based Kit Kat Klub, the setting for one of the greatest American musical constructs."

Time Out Chicago - Recommended

"...With fresh, simple takes on iconic musical numbers and three principal performers who know how to calibrate their talents not just to the fabulously dank little No Exit Café but also to larger-than-life material that would otherwise defy the space, Anzevino has a production that’s more than just atmosphere. (Though, damn, with the No Exit he could skid on atmosphere alone.)"

ChicagoCritic - Highly Recommended

"...Director Fred Anzevino sure knows how to stage a musical on his tiny No Exit Cafe stage. His skillful blocking and smart use of the tight knocks and crannies gave his production of Cabaret an emotional edge that catapulted us back to the 1930 Kit Kat Club of Weimar Berlin."