The Estonian theatre scene has recently seen an influx of World War II and Jewish-themed plays, and Cabaret, directed by Anna Karin Hirdwall, adds to this lineup. Staged at the Estonian National Opera, this production brings the unsettling prelude to the Nazi rise in Germany to life in a way that feels strikingly relevant today, especially in the face of resurgent far-right ideologies globally. The play premiered on February 9, 2024, and dives deep into the moral ambiguities of being a passive bystander in a world moving toward extremism.
The experience begins even before the curtain rises, immersing the audience in the carefree atmosphere of 1930s Berlin with music, dancers, and actors who welcome you into the world of a lively nightclub. This festive setup sharply contrasts with the grim reality that unfolds as the play progresses, amplifying the impact of the rising Nazi threat. By intertwining the audience with the story – both figuratively and literally – the production turns the spectators into unwilling participants, mirroring the complacency of those who chose not to see the looming danger in the 1930s.
The set design cleverly reinforces this theme, particularly with a mirrored wall and projections turned onto the audience by the end of act 1. The viewers are forced to confront their own reflections, a stark reminder of the play’s message: “If you are not against it, you are for it.” This line serves as a pointed warning for those who might choose ignorance in the face of societal issues, urging self-reflection on passive complicity.
The production is not shy about its heavy-handed symbolism, particularly in the finale. Here, the cast strips down and steps into a literal gas chamber, visually confronting the audience with the Holocaust’s horrors. While intense, this choice aligns with the production’s focus on complicity and moral responsibility, driving home its anti-fascist message with unflinching clarity.
The cast gives powerful performances, each actor breathing unique life into their roles. Priit Võigemast shines as the Emcee, embodying the character with both flair and intensity. Hanna-Liina Võsa brings depth to Sally Bowles, presenting her as a flamboyant but fractured woman who hides behind her showgirl persona and ultimately chooses personal interest over moral engagement. Kaarel Targo’s portrayal of Cliff captures the journey of an idealistic writer who, initially indifferent to the chaos around him, eventually faces harsh realities. Katrin Karisma as Fräulein Schneider is a standout, playing a resilient woman who recognizes the changing world but, worn by years of hardship, chooses survival over resistance. Jassi Zahharov’s Herr Schultz, a Jewish character who naively ignores the danger, adds poignancy to the narrative, while Mart Madiste’s Ernst Ludwig captures a man on the cusp of Nazi ideology, still naively believing in coexistence despite his troubling beliefs.
There are, however, a few shortcomings in the production. The costumes, for instance, are inconsistent, a problem that may be seen in a lot of Estonian National Opera’s productions. While some of the cast benefit from detailed, well-crafted attire, others are left with noticeably cheaper-looking outfits. This disparity in costume quality detracts from the overall aesthetic and unity of the ensemble.
Additionally, the limitations of Estonia’s musical theatre department are evident. The performers are generally strong in one discipline – singing, dancing, or acting – but few excel in more than one. This imbalance is especially noticeable in the ensemble, where the lack of professional dancers occasionally results in choreography that feels flat and lacks the finesse and precision one might expect from a production of Cabaret. Nevertheless, the cast does their best within their capabilities, and casual theatre-goers may not find these shortcomings distracting. Cabaret at the Estonian National Opera is a powerful, if imperfect, production that speaks directly to the dangers of passive complicity and the cost of ignoring prejudice. While some technical elements fall short, the raw intensity of the storytelling and the strength of the lead performances make it a memorable and thought-provoking experience. I think people should see it – not only for its engaging performances but for the crucial reflection it prompts on our own roles in society.
Author: Maria
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