There are two actors that not only steal the show, they give star-making performances where mere accolades of praise are just not enough. These two are Wade McCollum as the Emcee and Julie Johnson as Fraulein Schneider. As the Emcee, Wade McCollum makes the role his own. Physically, McCollum has a chiseled, muscled body that works to his full advantage. He flexes and thrusts his gym built body at both men and women with devilish relish. Bald, with a goatee and eyes painted with dark eye shadow, he looks sinister and menacing. But then he can miraculously transform into a jovial entertainer with a sweet smile and a twinkle in his eye. But the whole time you still see that underlining demented patient that escaped some mental hospital. This amalgamation of showman and maniacal bad boy with raging hormones McCollum has created here is magnificent. Both his acting and singing transform throughout the evening. When he has to be a German soldier on a train, he is utterly frightening, dressed in a billowing black Nazi Coat, hat, leather gloves and glasses. And when he speaks, his eerie bass voice will scare the bejesus out of anyone. Yet when he is the Emcee he is bigger than life, playing with the audience, full of smiles and laughs. It is particularly enjoyable watching McCollum ad-lib and play with the audience when he is at the Kit Kat Club. He takes the job of the Emcee full tilt and forces the audience to ride his zany carnival ride of lascivious humor, whether they want to or not. McCollum uses his singing voice like a chameleon. At times he sings with bold, Broadway razzmatazz, or slides into lilting falsetto. But then he will growl and segue into a deep baritone, singing the dramatic, darker lyrics of his numbers. There are even times when his singing sounds like one of those 1920s jazz singers with a machine gun vibrato. McCollum's stage presence illuminates so bright its almost hypnotic. He never leaves the stage but leers in the dark observing the action on stage. Even when he is not the focus of a scene, watch him. He stays completely in character and you can literally see the wheels spinning in that insane asylum the Emcee calls his brain. Just when you think he will jump off into the deep end of insanity, he brings the audience back to reality and calm. There are moments when this lunatic façade disappears and McCollum shows the human side of the Emcee. When he sings the number "If You Could See Her," his lyric interpretation goes from laughs to anger and blinding truth on how society dictates who should love who. When he looks into the audience and says with stark truth, "Live and let live," it speaks volumes. After the song, while the audience is still laughing at the Gorilla, McCollum looks into the audience with powerful resentment. Mr. McCollum delivers a tour de force performance.
The first thing you notice about the terrific new Dallas Theater Center production of Cabaret is the physical presence of the Master of Ceremonies. Played by New York actor Wade McCollum, he’s tall and muscular, with an eight-pack that makes you stare first in envy and later in sheer dismay. (Can any adult male be this ripped and still consume human food?) He wears sleeveless vests to show off his bulging arms and a pair of high-wasted, Victorian-style pants with the laces undone on the back, so the cleavage of his butt is nearly showing. If you’re sitting at one of the cabaret-style tables that surround the stage, you can see his sweat dripping into unmentionable places.
Erase any memories you have of Joel Grey’s impish, virulently sinister emcee from Bob Fosse’s classic movie version of the show, or Alan Cumming’s effete, pansexual version of the character in the famed 1990s Broadway revival. McCollum is uncontainable, unbridled carnality, commanding the stage like a tiger on the perpetual prowl, and he lends this version – directed and choreographed by Joel Ferrell – an edge that I suspect is going to ruffle the feathers of a few of the DTC’s older patrons. This is most definitely not your grandma’s Cabaret.
"And there’s a veritable powerhouse performance. From the moment opening scene lights focus on him as Emcee, Wade McCollum cocks a hip, curls a lip and uncoils his gaunt, ripped body in a malevolent, dystopic portrayal that feels part Mick Jagger, part Sting, part A Clockwork Orange“droog”. He’s captivating, original, a master of vocal delivery and movement, absolutely riveting: " --critical rant, alexandra bonifield
The left is embodied by Prior Walter, a mystical gay man who comes down with the disease, is abandoned by his lover, and begins having spiritual dreams and visions. It's hard to imagine more-unique or powerful portrayals of these key characters than you get in this production.
Actor Wade McCollum is most known to audiences for comic turns in shows like "The Santaland Diaries" and "Cabaret," but he enters a whole new dimension as Prior Walter. When his character shows the first signs of illness, McCollum strikes the right balance between anger and vulnerability that's common when people face mortality. That gives way to an otherworldly physicality as Prior Walter has convulsions when he begins hearing angelic voices......When either actor (Wade McCollum and Ebbe Roe Smith) is on stage, they are so commanding it's hard to take your eyes off of them. Which is hard to fathom, given the outstanding eight-person cast that director Brian Weaver has assembled..."
"Superhuman actor Wade McCollum will freak you out in the most thrilling and transcendent way.
Who We Love
Believe it or not, we love every actor in this play. No one is mis-cast, and no one evermisses the mark. The most heavily burdened role, obviously, rests on the toned shoulders of Wade McCollum, who alternately embodies illness, cynicism, vanity, vulnerability, madness, love and lust with the aforementioned superhuman, gorgeous grace."
+"With a hypnotic voice that wavers from beguiling to forceful, Wade McCollum infuses Count Dracula with a palpable sinister presence. He is suitably understated as an aging immortal, yet powerful in his youthful transformation — especially during the seduction scene with Mina, which caused a few audible sighs from the audience when he bared his chest to reveal six-pack ripped abs accentuated by dribbles of bloody gore."
"Rochester audiences may recognize Wade McCollum as the Emcee from Geva's 2008 production of "Cabaret." Here he plays the title character, and he infuses Dracula with a more menacing version of the lithe sensuality he brought to the Kit Kat Club. At first, his ancient, withered Dracula can barely contain his desperation to escape to the flesh-filled streets of London. Once he arrives and is reenergized, he's practically cool as a cucumber, more amused by his adversaries than aggressively fighting against them. There are moments where that chill faade cracks, and McCollum erupts in an almost bestial fury."
"Dracula (Wade McCollum) is both despicable villain and tempter, expertly played by … an actor who usually performs in musicals? It’s true. (One can only hope the role of The Phantom of the Opera awaits him at some point.)"
"Wade McCollum's performance as Dracula blends the wit and chilling presence of the original with fiery sex appeal. His greatest weapon is his hypnotic stare...:
...sometime within the next few years, some theater buff will say to another theater buff, "Oh, I see Wade McCollum was nominated for a Tony for 'Fly By Night.' I saw that on Broadway. Great show."
And the other theater buff will say, "Oh yeah, I saw McCollum in the role, too, at TheatreWorks in Palo Alto, in 2011. Brilliant."
"Fly By Night," which is having its world premiere at TheatreWorks, is a very impressive show with a few minor flaws that may be worked out, eventually. It has a universally excellent cast, but even among the other fine actors, McCollum stands out, head and shoulders.
The man has tremendous stage charisma -- he controls the stage, he controls the audience, he is the power that makes this show succeed.
Part of it comes from the way the role is written. He is the Narrator, but also handles a number of other roles, sometimes with the aid of a simple prop, sometimes just with a change in voice. He is some kind of street-gypsy seer; he is someone's old friend, driving a car with no lights during blackout; he is a stage producer; he is a
nightclub emcee; he is another character's father -- and her mother. At times he is us -- the audience -- watching someone's life changing on stage.
But not just any actor could make this role work. An actor with less presence on stage might deliver the lines well enough, but there are few who could deliver the lines in a way that commands attention, and rewards that attention with a mesmerizing performance. All eyes are on him, regardless of what else is going on.
He is an excellent singer, and the tunes he delivers are sometimes almost scary in their power. Very impressive.
The show itself has moments of extreme brilliance, and is an intriguing blend of musical styles. The music is mostly great. Several of the tunes -- notably, ones sung by McCollum as the Narrator -- have a violent, commanding rock 'n' roll edge. Others have more of an old-fashioned, show-tunes feel.
"If there’s one reason to get front-row tickets to Dallas Theater Center’s production of Cabaret, it’s Wade McCollum. Holy Jazz Hands, Batman. This is one of the sexiest guys on the planet. He sings. He dances. He’s got six-pack abs that each have their own six-pack abs. He’s so ripped, we’re pretty sure this is his head shot. McCollum is just one of many reasons to head to the Wyly Theatre, which has been transformed into a cabaret itself, complete with coveted table seats and bar service. Plus, you’re right in the middle of the action. Close enough for McCollum’s sweat to fall conveniently into a test tube that we’re taking to our cloning laboratory to create our own version. There’s no such thing as a too-sexy pool boy, lawn guy or naked human towel holder, we always say." the big D