COME TO MICHAEL MATTHEW’S CABARET
With the amount of political turmoil and rising antisemitism in the world right now, it seems the perfect time to present an updated staging of the popular musical Cabaret set in Berlin at the start of the Nazi reign of terror. With book by Joe Masteroff, music by John Kander, lyrics by Fred Ebb, based on the play by John Van Druten and the stories of Christopher Isherwood, the popular Broadway musical is being presented as the first production in 5-Star Theatricals’ 2025 season in the Scherr Forum Theatre at the Bank of America Performing Arts Center in Thousand Oaks. I decided to speak with director Michael Matthews on his history with the musical, plans for the production, and how he works with musical director Gregory Nabours and choreographer Clarice Ordaz to bring his vision to the stage.
Thanks for speaking with me today, Michael. And congrats on your hit production of Bacon at Rogue Machine. Were you working on Cabaret while you were directing that show?
Thank you kindly! I love that show and that process was pure joy. I started rehearsals for Cabaret the week after we opened Bacon so I was preparing for it during my downtime.
For those unfamiliar with your theater history in Los Angeles, tell me about some of the other productions you have directed here.
Some of my favorite productions have been Failure: a Love Story with Coeurage and CTG, 12 Angry Men at Laguna Playhouse, and The Color Purple, Take Me Out, The Women of Brewster Place and Cabaret (in 2028)—all at Celebration.
Are you an L.A. native? If not, where were you born and/or raised?
Born and raised in a tiny town in the swamp in Darlington, SC and then moved to a religious compound in Chattanooga, TN when I was 10.
What brought you to Los Angeles? And do you live here now?
I am gonna say FATE for this one and yes, I live here now. This year is my 20th anniversary of living in LA.
How did the opportunity to direct Cabaret for 5-Star Theatricals fall into your lap?
Can I say FATE again?
Of course you can! And I remember the production in the small Celebration Theatre and was amazed at everything you were able to do in such s small space! The new production is billed as “A thrilling and up-to-date production of a classic show that is now more relevant than ever.” How so?
Cabaret could have been written yesterday. It’s 2025 and hate is even more permissible every which way you look. Cabaret serves as a reflection to the audience, those that hate and those that are complicit.
Have you directed for 5-Star before? If so, tell me about that production.
Cabaret is my first show here. And it has been a fantastic journey so far.
Do you prefer directing musicals or plays, either comedies or dramas? Or why does each appeal to you artistically?
Each has its own challenges and my appeal goes to the story being told. My favorite thing to direct is plays with music or movement or both together.
Tell me about the challenges of directing Cabaret at the Scherr Forum Theatre and your vision for the show.
Tough question as we haven’t been in the theatre yet. We start there this coming week, the week of opening. I don’t want to share too much into the vision as there are a few surprises but I will say that we are presenting the Cabaret that you know and love with an even bigger illumination of 1930 Germany and where we are today as a people, our humanity.
Have you worked with musical director Gregory Nabours previously, either as a director or actor?
Greg was my first ever music director! It was The Women of Brewster Place, the musical. Greg and I have worked on about 6 shows together now and he was an actor for me in Failure; a Love Story.
And how about choreographer Clarice Ordaz. Is this your first time working with her?
This is our first time and it’s been a joy to be with her and watch her genius self!
How are you working with the two of them on organizing the staging of the production? Does learning the music happen first, then the choreography, and then the stage direction?
We start with music first and then have a fun sing-through of the show. We then break up our days with book scenes and choreography and come together at the end of the week to work through.
How did you go about casting the show? I can imagine the iconic roles are on the bucket list of a lot of actors.
We were fortunate enough to work with casting directors Michael Donovan and Richie Ferris for this production and they gathered some incredible talent!
How would you describe working with your Emcee, Sean Samuels? Have you worked with him before?
Sean is a dream to work with and is a beautiful human inside and out. We first worked together back in 2012 on the world premiere musical, Justin Love. He is just amazing.
Same question for working with Emily Goglia as Sally Bowles.
Emily has been incredible and super collaborative, just like Sean. It has been a joy watching her bring Sally to life.
How about others in the cast you’ve worked with before?
Valerie Perri and I did The Graduate at Laguna a few years ago and Angeline was in Matilda that which I did at La Mirada back in 2019. Everyone else is new to me and has been super lovely.
How will your staging may remind audiences of the political and social turmoil going on right now?
The show itself serves as a reflection of where we are now and where we are headed. My staging illuminates that plight.
Do you have a favorite song in the show? Why that one?
“Maybe This Time” and I have no idea why that song haunts me so much.
Perhaps because it adds a bit of hope, which is much needed, especially now. With antisemitism on the rise and its undercurrent in Cabaret, are you updating its presence in the relationship of Fraulein Schneider (Valerie Perri) and Herr Schultz (Ron Orbach)?
I feel like the news does this for us every day, sadly. Again, it really feels like this show could have been written yesterday.
Have you worked with either of them before?
Just Val. And now I can’t wait to work with them both again.
How about your design team? Ever worked with any of them before? (Lighting Design by Brandon Baruch; Sound Design by Jonathan A. Burke; Costume Designers are Chris Steele & Gail Garon; Hair & Wig Design by Luis Martinez; Props Design by Alex Choate. The Production Stage Manager is Cameron J. Turner.)
5-Star Theatricals hires all the production team for their shows in Thousand Oaks. This is my first time working with any of them and they have all been fantastic.
How soon before opening do you start working on the staging in the theater with them?
Exactly 3 days before opening.
That is quite the challenge! What do you hope audiences are talking about on their way home?
I have a feeling most of the conversations will be about how relevant this show still is and how gut wrenching the final part is and still resonates so strongly to this day.
What’s on your bucket list for the future, either another award you hope to receive or a play you hope to direct? And why?
My bucket list is all about new work and possible re-imaginings of a few classics.
Anything else you would like to add about yourself or Cabaret?
Please come and see the show! It’s a fantastic cast and creative team and the story is a beautiful and important one.
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Cabaret
5-Star Theatricals
Scherr Forum Theatre at the Bank of America Performing Arts Center
2100 Thousand Oaks Blvd. in Thousand Oaks
Thurs and Fri at 7:30; Sat at 1 & 7:30; Sun at 1
for tickets, ($68–$95), call 805.449.2787 or visit 5-Star
