Director Judy Russell has done Cabaret in Prince George three times now. The first two were produced in 2000 and 2001 to resounding critical acclaim and box office success.
Since both those previous times were close together on the calendar, the cast stayed largely the same.
The mature love story between sweet landlady Fraulein Schneider and neighbourly grocer Herr Schultz was played by Stella Royle and Alex Murray respectively.
Rumiana Cormack was subtle prostitute Fraulein Kost, and Wayne Empey was friend-with-a-secret Ernst Ludwig.
The pivotal Emcee role was played by Andrew Halladay to rave reviews.
The archetypal observer character and male love interest, Clifford Bradshaw, was done by Neil Vanderwerf.
Even the musical director was consistent through both productions: Greg Prosser conducted the Kit Kat Klub Orchestra both times.
Under the co-direction of Michael Armstrong, the leader of the onstage cast was also one of the show's strongest performers. The iconic role of Sally Bowles, the lead character, was handled by powerful actor-singer Catherine Hansen freshly returned to her hometown of Prince George from stage school.
Well, almost two decades later, she is once again back in the Cabaret cast.
Don't be fooled by the name change. Actually two name changes.
The performer is now Catherine McCarthy and the role is now Fraulein Schneider. She has gotten married, had kids, and better epitomizes the world-wise Schneider than the happy-go-lucky Bowles.
"I'm super thrilled to be involved," McCarthy said.
It's actually her fourth time in a production of Cabaret, having also been in a chorus role previously in her performance career.
She isn't the slightest bit nonplussed by the new role.
"I'm always happy to have the opportunity to try something new," she said. "The role of Fraulein Schneider is multi layered and that really appeals to me. I believe her story is the true love story in the play, and one of the true tragedies."
Sally Bowles will be portrayed this time to Shelby Meaney who, like McCarthy, has come back to her hometown after departing for performance school. With her keen sense of character acting and her voluminous voice, Meaney is very much on parallel with McCarthy in the late 1990s and early 2000s.
One difference is, McCarthy had few local mentors at that time while Meaney has peers close at hand, including and especially McCarthy right on set to help with the nuances of the challenging Sally Bowles part.
"It's always an honour to be involved in a play on any level," said McCarthy.
"I didn't think I would be able to relate to Sally this time around since 18 years have passed. The maturity and depth of Schneider is appealing to me."
What concerns McCarthy, however, is how the subject matter of Cabaret - an examination of pre-Nazi Germany, when the signs of society's ability to hate started subtly but quickly ramped up into openly acceptable prejudice - was a historical theory when Russell first produced the show. Now, however, it is a ringing call to action since scapegoating neighbours, emboldened supremacist views, and conditions like sexism and xenophobia and science-bashing have gained power at a governmental level.
Cabaret was written as a warning and an illustration as much as a roller-coaster of entertainment.
It is a dazzling fireworks display of song, dance and characters and at the same time is also a substantial story with symbolism and theme.
It is on now at the Prince George Playhouse. Visit the Central Interior Tickets website for online ticket purchases, or get them at the door while supplies last.
It runs until Feb. 24.
