Readers speak for 'Cabaret'

Review too severe

I believe that Joshua Peck’s review of “Cabaret” (July 25) is unduly severe, and at a time when the Performance Network needs support. His review is nailed together with anything but positive intentions. Even worse, he misses the aesthetic quality that this show possesses; and possess it, it does. If, perhaps, he is aware of it, then he ignores it. Whatever the case, his credibility as a critic should be questioned.

Peck’s critique of the singing and acting is obtuse. His attack of Kara Miller’s singing is uncalled for. True, she may not be a trained singer, but her somewhat rough voice completes her portrayal of Sally Bowles. Further, that there is disinterest in the relationship between Sally and Clifford Bradshaw only underlines the charade that both they and the rest of the characters are engaged in.

And to call Hans Friedrich’s Emcee the embodiment of a “lithe schoolboy” is not so incorrect, for it is this aspect which first attracts the audience’s attention. Peck misses this. And he misses also the devilish, knowing glare of Friedrich’s eyes - through them the impending doom is seen. How subtle are these observations that they escape Peck’s notice. Is he doing his job?

PETER MEITZLER

ANN ARBOR

'Cabaret' production nice local effort

Joshua Peck’s review (July 25) of "Cabaret” at the Performance Network is riddled with errors, misconceptions and possibly malice. If I might enumerate.

The Saturday evening show suffered from a broken air conditioner, but not much else. To counter the problem, the audience received free refreshments during the outside intermission - a very polite gesture from management.

The show is not a schmaltzy, conservative musical, but more clear in its intent than the over-praised Fosse movie of the same name. The play version (directed by Barbara Thorne and David Hunsberger) seems closer to the Isherwood vision of moral failure (both national and personal) than Fosse’s Hollywood, version.

Kara Miller’s version of the closing song shows that character Sally Bowles lost and she knows it. The local production (Thorne-Hunsberger) highlights the failure of the screen version, particularly Hans Friedrichs’ Emcee. Friedrichs’ is chilling and evil. Joel Gray’s movie performance is only leprechaun sinister.

“Cabaret” is a very nice effort by local talent which should not be airily dismissed by a reviewer with a John Simon complex.

DONALD A. PRICE

ANN ARBOR

Reviewer too critical of Performance Network

Reviewer Joshua Peck appears to be gunning for the Performance Network. Under the headline " ‘Cabaret’ a thundering disappointment,” Mr. Peck proceeds to write a mean-spirited and confusing review. In his last review of a Performance Network production, he managed to select several of the actors and the writer to humiliate in print. We believe it is possible to write critical reviews without being devastating, particularly when you are dealing with small, local productions.

The sell-out audience at “Cabaret" recently appeared to disagree with Mr. Peck’s evaluation. While some of his criticisms of the music and the problem with the staging were valid, the audience thoroughly enjoyed this production. Some of the singing was excellent, the dance scenes were rousing, the set was effective, and some of the acting was very good. His criticism of the emcee, Hans Friedrichs, seemed particularly unfair.

The Performance Network is a relatively new organization, where many people don't get paid, and most must work other jobs in order to support themselves. They have staged an artistically demanding production and achieved, in our view, laudable success.

The problem with monopolies in the media is that there is no dialogue. It is possible for a News reviewer to sway the opinion of the entire town, an awesome responsibility that Mr. Peck might think about more carefully before he parades his venom again.

BETH SPENCER

ART SCHWARTZ

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