The New Jewish Theatre is set to open its 2025 season with a production that’s as immersive as it is urgent. Running March 20–April 6, “Cabaret” invites audiences into the world of the Kit Kat Klub, where dazzling performances mask the creeping darkness of pre-Nazi Germany.
But this isn’t just another staging of the classic musical. A partnership with the St. Louis Kaplan Feldman Holocaust Museum brings new weight to the show, reinforcing its themes of complicity, indifference and the cost of looking away.
Before you take your seat, here’s what you need to know.
An immersive experience from the moment you arrive
This production of “Cabaret” won’t just be performed—it will be experienced.
From the second audiences step inside the Wool Studio Theatre, they’ll be entering the Kit Kat Klub itself. The space has been reimagined by set designer David Blake and assistant set designer Laura Skroska to create a cabaret within an industrial setting, draped in red curtains and gold accents. Some audience members will even be seated at cabaret tables, blurring the lines between performer and spectator.
“The idea is that the club exists in an industrial space, with that raw structure still visible behind the glamor,” said Rebekah Scallet, artistic director of NJT. “The audience isn’t just watching the show—they are part of the world we’re creating.”
Actors will move throughout the theater, performing both on stage and among the audience, making this a fully immersive experience.
The Emcee, Sally Bowles and NJT’s fresh take
Few roles in musical theater are as legendary as the Emcee and Sally Bowles, brought to life over the years by Joel Grey, Alan Cumming, and Liza Minnelli. NJT’s cast faces the challenge of making these characters their own, and leading that charge is Spencer Davis Milford, a St. Louis native who recently received high praise for his role in “The Lord of the Rings” at the Chicago Shakespeare Theater’s The Yard.
“My approach has been simple,” Scallet said. “I tell the actors: Forget those past performances. We’re telling this story, in this moment, for St. Louis in 2025. Spencer is the Emcee we need for this production.”
That approach is particularly relevant given that NJT is staging the 1998 version of the musical, a production shaped by Sam Mendes that reintroduces the original inspiration for Cliff Bradshaw—“Cabaret’s” protagonist—as a closeted gay man.
“This was erased in earlier versions, replaced with a more traditional love story,” Scallet explained. “Bringing that back into the narrative changes the dynamic—it’s a more authentic take on the real Christopher Isherwood, whose writings inspired the show.”
Songs that define the show
Even if you’ve never seen “Cabaret,” you’ve likely heard some of its unforgettable numbers:
- “Willkommen” – The Emcee’s playful yet unsettling invitation to the audience.
- “Mein Herr” – A showstopping solo made famous by Liza Minnelli.
- “Maybe This Time” – A ballad full of longing and desperation.
- “Tomorrow Belongs to Me” – A chilling moment as nationalism takes hold.
- “Cabaret” – Sally Bowles’ iconic anthem of reckless abandon.
And if you’re wondering what moment will truly floor audiences? Scallet has an answer.
“The last note of ‘Willkommen,’” she said. “The power of our ensemble, in this intimate space—it’s going to blow people away.”
How the St. Louis Holocaust Museum adds weight to the production
While “Cabaret” has always carried historical significance, its staging at a Jewish theater company, with direct involvement from the St. Louis Kaplan Feldman Holocaust Museum, gives it even greater urgency.
“In some productions, the show’s Jewish themes are minimized. The 1972 film, for example, completely cuts the subplot of Herr Schultz, a Jewish fruit seller whose engagement is destroyed by rising antisemitism,” Scallet explained. “At NJT, we’re making sure those themes are front and center.”
To prepare for rehearsals, the cast and crew visited the Holocaust Museum for a guided tour led by Kathleen Sitzer, NJT’s founding artistic director. One of the most striking takeaways from that visit was how the museum categorizes people during the Holocaust: perpetrators, collaborators and bystanders.
“You see all three of these types within the show,” Scallet said. “And chillingly, the audience is asked to identify with them—to question what they would do in that moment.”
The show’s themes feel especially relevant today.
“With antisemitism at a frightening high, ‘Cabaret’ is a reminder of how easy it is to ignore the warning signs until it’s too late,” Scallet said. “It asks us: Are we paying attention?”
WHAT: “Cabaret”
WHEN: March 20–April 6
WHERE: J’s Wool Studio Theatre, 2 Millstone Campus Dr.
TICKETS: Tickets can be purchased online
