As one of Harvard’s closest neighbors, MIT has long drawn students to its campus for academics, events, and even the occasional frat party. Alongside the school’s many academic attractions, the MIT Theatre Guild stands out for its impressive productions. This season’s performance of “Cabaret” was no exception.
“Cabaret” is a musical set in 1930s Berlin—a city caught between the glittering excess of the Weimar era and the looming shadow of political unrest. The musical is notorious for leaving audiences feeling a mixture of awe and distress due to its combination of bold choreography and iconic songs with heavy themes.
The Emcee, played by Michael Mandanas, guided the audience through the events of the musical, encouraging them to leave all their troubles behind as they entered the Kit Kat Klub, a real nightclub located in Berlin. Clifford Bradshaw, a struggling American writer played by Reidyn Wingate, found himself doing just that when he stumbled into Sally Bowles, a British cabaret singer and dancer at the Kit Kat Klub, played by Michaela Purvis.
“Cabaret takes us to 1930s Berlin through the lens of a group of people who either think they’re removed from the events happening around them or think they will not be affected. Specifically, Jewish and queer folks,” said Purvis in an email interview with the Independent, also a co-choreographer of the show.
She explained that this season, the MIT Theatre Guild’s version of “Cabaret” stood out even more than usual, and not just because of the breathtaking costumes or unforgettable performances of iconic songs. The extraordinary aspect of their production originated from the backgrounds of the cast and crew.
“I think a new level was added from the lived experiences of our cast and directorial staff. Black Cliff and Black (mixed) Sally have an even larger set of issues than their usually white counterparts on larger stages,” Purvis wrote. This added a new level of depth to their performance, as the actors were able to use their personal experiences to create unique representations of their characters.
Purvis believes that she was able to use the physical and mental aspects of Sally’s character to do just that, making her Sally different from most past productions. She also used her own story to explain how she related to Sally. “Many of my experiences as a Black, queer woman in the current climate really resonate with the issues during that period. Almost frighteningly so,” Purvis shared.
The social and political issues Purvis discussed slowly came to light throughout the show, and as Purvis pointed out, many of the characters try to remove themselves from what is happening as Berlin descends into political madness. At this point, the city was teetering on the edge of collapse—Nazi Germany was on the rise and nearly every character in the musical was in danger of becoming a target.
Due to this fraught historical moment, the musical also ends up addressing some heavier themes, including antisemitism, racism, homophobia, and abortion. These themes can be controversial. “These were and still are people’s lived realities,” Purvis said, reminding us that it is necessary to include these themes to depict the most meaningful and accurate show possible.
When asked about audience reaction to these themes, Purvis discussed the various responses that she received. “I saw some older folks shaking their heads over the promiscuity of some of the Kit Kat Klub numbers, but I chuckled at that. And I could hear hesitant clapping at the end of Act I. And sniffles and hiccups for the title number,” she said.
That emotional response was no accident—the supporting cast and ensemble infused the production with energy, seamlessly transitioning between humor, seduction, and dread. Standout moments included the performance of “Money” and the chilling rendition of “Tomorrow Belongs to Me,” which shifts from a simple folk tune to a haunting warning of the rise of the Nazis. Every scene was gripping, brought to life by breathtaking costumes and the cast’s unwavering commitment to the story’s emotional depth.
The orchestra played a crucial role in shaping this atmosphere. Their performance was phenomenal, elevating each moment with music that perfectly complemented the action on stage, even in the eeriest of scenes. As the show neared its conclusion, the audience was drawn deeper into the haunting reality unfolding before them.
Purvis discussed the scene where that haunting reality reaches its peak. When asked if she believes the audience got the take-home message of “Cabaret,” she replied, “I knew it hit every night when the last cymbal crashed and the lights went out…and it was horrifyingly silent.”
This version of Cabaret was more than just a musical—it was a reminder of the fragility of freedom and the danger of complacency. With striking performances, bold choreography, and an unflinching embrace of the musical’s darker themes, the MIT Theatre Guild’s “Cabaret” delivered an unforgettable production.
The MIT Theatre Guild’s next production will be “A Gentleman’s Guide to Love and Murder.” The Guild’s website details information about their upcoming performances.
Olivia Lunseth ’28 (olivialunseth@college.harvard.edu) writes Arts for the Independent.