“Cabaret” is, in the words of one of my best friends, “a delightful romp.” Set in the seedy Kit Kat Klub, it explores the human reaction to watching the world descend into the anxiety and darkness that accompanies the rise of fascism. Coincidentally, I saw NKU’s production of “Cabaret” on the same day that our president made history by declaring a state of emergency in an effort to build physical barriers along the southern border of our country. A musical that has always walked a tightrope between drama and pure entertainment, I imagine I wasn’t the only audience member who felt a familiar sting at certain stops throughout the narrative.

Confession: I went into this show blind. I had never been to a production at NKU before, nor had I ever seen “Cabaret.” I was familiar with the basic premise of the story and chose to not research it before last night’s show — I saved that part for after. I’m glad I did, because it allowed me to take in the experience without having anything to which I could compare it.

Cabaret is as much a cautionary tale as it is a celebration of burlesque and sexual fluidity. NKU’s Theatre + Dance program understands this. Under the direction of Brian Robertson, it’s clear that they approached the production with intention every step of the way, from the costuming, to the choreography and the dancers, set detailing, dialect coaching and of course, performance. I was particularly impressed by the performance of Makenzie Ruff as Sally Bowles, who never missed a single beat. The Emcee was notably played by a woman, Faustina Gorham, whose energy blew my mind. Cliff Bradshaw was played by Mattison Sullivan, who knew exactly how to maintain a note of innocence despite wearing a pair of briefs as pants the entire show, and Sarah Hack and Matthew Nassida were touching in their portrayal as the elderly Fraulein Schneider and Herr Schultz. And, in the words of the Emcee, “Being alive is beautiful, the girls are beautiful, even the orchestra [just barely visible behind the set] is beautiful.”

“Cabaret” is also about startling imagery. The show is full of things that can, and sometimes should, make people uncomfortable. Sexuality is at the forefront at all times, through burlesque performances, references to prostitution, stigmatization of homosexuality, bisexuality, and non-binary sexuality, as well as pregnancy. As the show is set in Germany during the fall of the Weimar Republic and the rise of Nazi Germany, the audience is also confronted with symbolism that should send a chill up the spine of all who view it. NKU’s production expertly utilized the actors and set design to create its own memorable vignette of these startling images.

As I mentioned, for better or worse, I went into this show with very little prior experience with “Cabaret.” However, what I may lack in expertise I try to make up for with earnest curiosity. Half a century of interpretations of the show offer a rainbow of creative options, but the message remains constant. People are beautiful, complicated, talented and vulnerable. The implied imperative then, now and in the future is the same: “If you’re not against them, then you’re with them,” and that we should love one another and rise above hate.

Cabaret is playing at NKU’s Corbett Theatre from February 14-24, 2019.

Hilly Kenkel is a former vocal performance major and lifelong lover of music, political science nerd, podcast junkie, and Cincinnatian. She goes through sporadic periods of obsessive sourdough baking, weight lifting, distance running, and gardening.