Cabaret: A night out
at the Kit Kat Club

What good is sitting alone in your room? Witness theatre as an act of political resistance.

By Mai DaSilva

Updated May 29, 2025

If you’re not against all this, you’re for it. Or you might as well be.

Historically, art has been used as a form of political resistance, making noise in spaces where it may not have traditionally reached and amplifying where it was already reaching. When the world responds to conflict with indifference, the best thing to do is to force people to see it as it is. Contact Theatre’s production of Cabaret, produced by Ally Brumer, is a perfect example of this. With a sold-out opening show on May 16, this jaw-dropping production runs until May 24 at the Monument National.

As you walk into the theatre space, you’re transported back to 1930s Germany as audience members are invited to forget their troubles, have a drink, and enjoy a show at the Kit Kat Club. Unbeknownst to many, as the magic and hustle of the club masks the troubles, the rise of fascism and the Nazi Regime begins. Drawing parallels to our current world, director Debora Friedmann notes that this production “aims to challenge both ourselves and our audience to question their roles in shaping history as it unfolds.”

This sentiment is successfully conveyed, creating an effectively reflective piece; on account of Friedmann’s enticing direction, the audience is taken on an emotional rollercoaster, creating a feeling of blissful ignorance within the audience while the stakes continue to grow. However, that ignorance can only last for a while until those stakes hit you right in the face.

‘Drawing parallels to our current world, director Debora Friedmann notes that this production “aims to challenge both ourselves and our audience to question their roles in shaping history as it unfolds.’

You might know exactly what happens, yet it’ll hit with the same incredible, touching impact; the tension that builds within this performance is enough to leave your muscles tense, forcing you to reflect on complicity and political apathy within ourselves, our peers, and our society.

This reflective effect is enhanced by the interactive experience within the theatre. If you choose to sit in the VIP section, you’ll be approached by the girls and boys of the Kit Kat Club (portrayed by a large variety of artists, including Erin Yardley-Jones, Maya Lewis, Michelle Laliberté, Courtney Crawford, Alexandra Abitbol, Caeleigh McDonald, Julianna Willson, Santiago Montejo, Marc Ducusin and Montreal drag artist “Little Star.”).

Before the performance begins, the Kit Kat Girls approach you, making friendly conversation and further inviting you into the world of the Kit Kat Club. However, no matter where you decide to sit, the intentional eye contact from the performers will continue to reinforce this effect. The ambiance only continues to be heightened by Malika Pharand’s set and lighting designs, creating the feeling that you’re in a risqué nightclub deep in Berlin. What might appear as a traditional alley stage opens up to the entire space, with performers using the floor around the stage and the upper seating levels as part of the performance space.

Filled to the brim with iconic local musical theatre performers, the powerhouse cast of performers produced an exceedingly moving experience for everyone involved. The strong ensemble of the various Kit Kat Girls and Boys admirably complemented each other onstage, as Mairead Rynne kept the audience on the edge of their seats as the Master of Ceremonies.

‘I could not talk about this production without spotlighting the incredible performance of Julie d’Entremont as Sally Bowles. D’Entremont’s characterization of Sally was mesmerizing, grounded in strong, intelligent choices and beautiful displays of raw emotion.’

However, I could not talk about this production without spotlighting the incredible performance of Julie d’Entremont as Sally Bowles. D’Entremont’s characterization of Sally was mesmerizing, grounded in strong, intelligent choices and beautiful displays of raw emotion. It’s not every day a performance leaves me completely speechless, but Julie managed to garner that reaction twice during two separate musical numbers, showcasing a strikingly compelling connection to the song. Julie’s passion and love for her art emanate on stage in a way that is so noticeable to those in the audience. Julie d’Entremont’s portrayal of Sally Bowles is one for the ages and not one you want to miss.

In the current political and global climate, Cabaret becomes increasingly more important. With the global news feeling grimmer by the day, when an opportunity to see something like Contact Theatre’s Cabaret arrives, take it. Not only does this production foster a safe space to reflect inward, but you’ll have a joyful time doing so.

With performances continuing all week, May 20 through 24, you’ll regret not making your way to Monument National to see Contact Theatre’s Cabaret. The deeply impactful performances, interactive experience, inviting atmosphere and the overall contemplative nature of the performance are only a few reasons to see Cabaret. You will certainly not forget this experience.

Images: courtesy of Contact Theatre

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Mai DaSilva is an up-and-coming multidisciplinary artist based outside Montreal. She has performed in various plays and independently produced several of her scripts. Currently a theatre student at John Abbott College, Mai is ecstatic to delve deeper into the world of Montreal theatre.