By Marilyn Jozwik
As “Grand Hotel The Musical” began at the Sunset Playhouse I was reminded of the opening of the musical “Cabaret.”
Both are set in late 1920s Berlin during a time of opulence and decadence in Germany’s capital. With images of World War I destruction starting to fade, the city had come alive with wealth and culture, but the brutality of the Nazi era was just around the corner.
While “Cabaret” opens with the song “Willkommen” at the popular Kit Kat Klub, the height of decadence in Germany, “Grand Hotel” opens at its namesake, the height of opulence.
“Cabaret” moves on to dwell on Berlin’s and Germany’s seamy side, its hedonism the seeds of Nazism, antisemitism, authoritarianism. Its location is pivotal.
“Grand Hotel” almost entirely loses its setting and could be a “grand” hotel almost anywhere in the world as it follows the stories of a handful of guests with barely a hint of politics or history. While there is an old doctor in residence, who’s taking morphine for his war wounds; a Jew, whose ethnicity is initially an issue for his residency; and references to the German mark, it steers clear of the pressing issues in Germany that “Cabaret” tackles.
In other words, “Grand Hotel” doesn’t take itself too seriously, which makes for lots of lively music and dancing – especially Roaring Twenties Charleston, et al – as well as a charming May-December romance. Yet, it doesn’t leave you with much to chew on as does “Cabaret.”
Otto Kringelein (Karl Miller), Witt (Patrick Couillard), Hermann Preysing (Cory Klein) and Elizaveta Grushinskaya (Lynn Marie Bertoni-Shaw) meet as guests at the Grand Hotel in a scene from Sunset Playhouse’s “Grand Hotel the Musical.”
The musical quite faithfully follows the 1932 film that features Greta Garbo’s famous line, “I want to be alone.”
The show, directed by Tommy Lueck, opens with an old colonel/doctor from WWI (Glenn Villa) observing the busy comings and goings of mostly well-healed visitors to the hotel, including Otto (Karl Miller), an accountant living out his last days in style; Flaemmchen (Aly Olson-Turek), a blonde bombshell and Hollywood wannabe; Felix (Joshua Pope), a handsome, destitute baron living the high life while in debt to the underworld; Elizaveta (Lynn Marie Bertoni-Shaw), a Russian ballerina past her prime; and Hermann (Corey Klein), desperate to keep the business he manages from failing. These guests interact, leading to life altering changes for all.
Sunset does a marvelous job capturing the often-frenetic pace of the busy hotel with a central revolving door, a trio of miming telephone operators and energetic bellhops. All are handsomely dressed in glamorous period outfits (costume design by Lisa Quinn), with a clean, uncluttered set – complete with glimmering chandelier – that complete the look of elegance. It is a veritable feast for the eyes.
All the characters are well-cast and execute song a dance wonderfully, but I especially enjoyed Pope’s smarmy baron. Pope hits all the right notes for his character -- exuding charm and affability -- while effortlessly handling the music and dance. His “Roses at the Station” is heart-wrenching, and beautifully delivered, while his scenes with Bertoni-Shaw’s aging ballerina are tender and funny. Bertoni-Shaw gives the diva layers of doubt and self-deprecating humor that are so endearing.
Baron Felix Van Gaigern (Joshua Pope) sings the touching “Roses at the Station” in a scene from Sunset Playhouse’s “Grand Hotel the Musical.”
In a small, but memorable role, Jim Feeley plays a tough gangster to a tee. Posing as Baron Felix’s chauffeur, Feeley adds texture to his scenes.
Mark Mrozek on keyboards directs the seven-piece pit band, which keeps up the nearly non-stop lively music with a notable Roaring Twenties feel. The audience favorite was “We’ll take a Glass Together,” the show’s ensemble centerpiece of raucous music and dance, celebrating friendship and the good life.
The Charleston is prominent in the dance numbers and is often a backdrop to long scenes, effectively giving them life and energy. SaraLynn Evenson is the show’s choreographer. I especially enjoyed “Maybe My Baby Loves Me,” featuring Matthew Matysik-Przybylski and Brian Ginn in a dynamic routine.
If you go:
Who: Sunset Playhouse
What: “Grand Hotel the Musical”
When: Through May 11
Where: 700 Wall Street, Elm Grove
Info: 262-782-4430; SunsetPlayhouse.com