Cabaret Reviews

Windy City Times - Somewhat Recommended

"...what works so well in that first number becomes the theatrical equivalent of a sledgehammer by the third. Hawkins applies a heavy directorial hand to a Hypocrites production rooted in the obviousness of tits and ass and endlessly thrusting pelvises. The crotchtacular choreography becomes impotent through repetition, edgy raunchiness is blunted by the predictability of an ceaselessly writhing array of Rodarte-for-Target-style fishnets, aggressively lacy underpants and whimsical cod pieces."

Centerstage - Highly Recommended

"...Few musicals have been altered more frequently than "Cabaret." Ever since Bob Fosse's 1972 movie radically rewrote the 1966 musical, it seems that every major production has made significant changes to the songs performed, their order, the book and more. And Matt Hawkins' new production makes some significant changes — making the Emcee into a woman (Jessie Fisher) and dividing the action into three acts, for instance. Purists could easily object, but what matters is whether the show works. And this bold, go-for-broke "Cabaret" works, spectacularly."

Chicago Stage Review - Somewhat Recommended

"...Matt Hawkins is a brilliant director. His Red Noses at Strawdog Theatre and Hatfield & McCoy at The House Theatre of Chicago stand as some of the most incredible productions seen on Chicago stages in the past few years. He makes some interesting conceptual choices and creates an enjoyable evening that is well worth your time but this Cabaret lacks the subtlety, nuance and dramatic continuity to reach its extraordinary potential. You’ll like it. You just won’t believe it."

Time Out Chicago - Highly Recommended

"... This production goes further than I’ve ever seen in eliminating Cabaret’s supposed divide between the naturalistic Berlin scenes and the nightclub numbers that provide fanciful commentary. The Emcee steps into “Marriage” to facilitate romance between Fräulein Schneider and Herr Schultz; Cliff signals the orchestra for accompaniment when trying to persuade Sally not to leave him. When Sally feels a song coming on, musical director Mike Przygoda pops onstage, guitar at the ready. (Przygoda’s genius orchestrations, as likely to use acoustic guitar, mandolin and harmonium as piano and bass, make Kander and Ebb’s brilliant score, the Chicago and Kiss of the Spider Woman duo’s first Broadway success, sound brand-new.)"

ChicagoCritic - Recommended

"...With strong material, terrific score and lyrics, Cabaret is wonderful musical fare. The hypoctites’ production has enough production values to be worth a look. I think those who have never seen Cabaret will enjoy it more that those of us who have seen many stellar Cabarets."

Chicago Theater Beat - Highly Recommended

"...The Hypocrites Theatre’s production of Cabaret is dark, sexy and fabulous. If you’ve never had the opportunity to see the play in an intimate, cabaret-like setting, this is your chance. With great direction, singing and revealing costumes, the show will titillate and entertain before crash-landing into its inevitable, disturbing conclusion."