Lincoln Clauss Stars in the Reimagined and Visionary New Staging of the Tony Award-Winning Musical
by tony reverditto
Cabaret takes place during post-World War I in 1929 in Germany. Berlin is amid an economic depression and the beginnings of Hitler’s totalitarian regime and the rise of the Nazi Party. The story revolves around Clifford Bradshaw, a struggling American writer looking for inspiration for his next novel. On his first night in Berlin, he wanders into a seedy nightclub, the Kit Kat Klub, supervised by the strange, all-knowing and gender-bending Emcee. Here, Cliff meets Sally Bowles, an energetic, talented cabaret performer, and an outright lost soul. Sally and Cliff begin a relationship, which blossoms unexpectedly into a dream-like romance. As time passes, the situation in Berlin changes from exhilarating and vital to menacing and violent, and the two struggle to overcome the unforeseen obstacles.
Lincoln Clauss, who portrays the flamboyant Emcee, said he is thrilled to be making his debut at The Old Globe. He was most recently seen as Mark Cohen in Rent at The Muny this summer. His regional credits include Cabaret (Asolo Repertory Theatre), Sweeney Todd (The Muny), Fly (La Jolla Playhouse), Burn All Night (American Repertory Theater), Evocation to Visible Appearance (Actors Theatre of Louisville) and Peter Pan (Laguna Playhouse). His television credits include Batwoman (CW) and Girls5eva (Netflix).
The RAGE Monthly caught up with Clauss to get the inside scoop on this new and fresh rendition of Cabaret.
Where are you from, and how did you get your start in theatre?
I’m from a small town in central Indiana originally. I got my start in theatre first with my local community theatre when I was in middle school. I think the first show I did there was maybe Seussical and I was hooked from there. That transitioned into being involved with high school drama club, show choir, speech team and into college at Ball State University where I studied musical theatre.
You have previously been in Cabaret, so why are you drawn to this particular musical?
I’m a sucker for good writing — and Cabaret has some incredible writing. It’s a true “play with music,” less a “musical,” and I love that. Even in the music, it’s all incredibly active, which is such a luxury for me as an actor. There’s so much to discover and dissect, which is why the show is done time and time again.
The role of the Emcee is one of the most renowned characters in musical theatre history. How are you making it your own?
I’ve never seen any other iteration of Cabaret, including the movie — on purpose! So, it’s hard for me to compare. But from what I’ve heard, my Emcee is more jovial than what audiences might expect from the character; less malign. The Emcee is a gleeful trickster and I find that really fun to play with. It makes me think of Bugs Bunny or The Grinch. In one scene, I literally come out as Baby New Year in an adult diaper and a super-sized baby bottle and pacifier; in another, I’m playing with a ventriloquist puppet. It’s really fun to lean into that side of the Emcee. He’s still seductive and maybe a little dangerous, but perhaps less threatening. He wants to bring the audience on this joyful ride, which makes the dark turn in Act 2 even more jarring.
How will The Old Globe’s production of Cabaret set itself apart from previous versions?
The director, Josh Rhodes, really wanted this production to celebrate the Kit Kat Klub. I think it’s customary for productions to sort of scold the club and its performers; it’s seedy and dirty, the dancers’ eyes may be sunken in, Sally probably can’t sing very well, the Emcee is a menacing clown. Our production sort of flips that around and puts some respect on the Kit Kat Klub. The Emcee opens the show saying “In here, life is beautiful,” and he means it. From the glittering glamor of the set to every beaded gown to the intricate choreography to the incredible vocalists — this is a nightclub full of artists who take themselves very seriously, even as the outside world is crumbling around them.
Why do you think Cabaret stands the test of time?
It’s interesting because I think most would consider Cabaret to be a period piece, but it’s still incredibly relevant today. Our world is so enveloped in hate and judgment. Fascism, xenophobia, racism, anti-Semitism, homophobia — they’re all just as prevalent now. I mean, a group of neo-Nazis stood outside the Jacobs Theater on Broadway earlier this year and protested the first preview of Parade. Look at what happened on January 6, 2021. Cabaret is a cautionary tale of what happens when you ignore the danger steadily growing around you.
Which song from the show is your personal favorite and why?
My favorite number in the show is “I Don’t Care Much,” which is sung by the Emcee in Act 2. I love it because it’s a real moment of vulnerability for the Emcee, something we don’t see anywhere else in the play. Even then, it’s still done under the guise of spectacle and magic. In fact, what Josh has come up with for that number is one of the actual moments of magic in the show, but I can’t say anything more than that; it’s beautiful and breathtaking and an extremely introspective scene for the Emcee.
What message do you hope audiences walk away with after seeing the show?
I don’t know if there’s a specific message that I hope audiences walk away with. I just hope they walk away curious and having conversations about what they saw. So many of the events of the show, the events of that time period, were because people weren’t talking; everyone was ignoring what was happening around them (which is something we still see today, every day). I hope audiences take a moment to talk about what they’ve witnessed, how it made them feel, what they learned, and what they want to know more about. Maybe they even go home and do some background research of their own. In any case, discussion — not silence.
Cabaret runs Friday, September 1 through Sunday, October 8 at The Old Globe in Balboa Park in San Diego. theoldglobe.org / 619.234.5623
LGBTQIA+ Community Night on Friday, September 15
Community Nights at The Old Globe is a festive opportunity for theatre lovers who share an identity to connect over refreshments and conversation before enjoying a Globe production. These community spaces are intended for those who self-identify as a member of a particular community group. The Globe has committed to creating spaces for the Black, Indigenous, and People of Color (BIPOC) and LGBTQIA+ communities, and invites you to celebrate with the following shows. Cost: $35 with promo code PRIDE. Ticket includes: pre-show Community Night mixer with one drink, and theatre ticket