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Reviews for CABARET at Olney Theatre Center

"The Olney production has a major asset in Park’s Emcee, who exudes not only the necessary lewdness, but also a childishness and vulnerability, which adds emotional punch while echoing the sense of a society teetering on the edge. Sporting glitter eye shadow, this Emcee salaciously caresses the harp. He looks downcast when his jokes fizzle. In numbers such as the provocative opener “Willkommen,” he sings in brassy, smoky tones, frequently letting a snarl creep in." - The Washington Post

"The nightclub is run by a Master of Ceremonies, named the Emcee and Mason Alexander Park is just plain astonishing." - Broadway World

"Mason Alexander Park is spellbinding as the Emcee, the dark, glittering heart of the show. A kind of audience guide, he opens the show, strutting with confidence onstage in high-heeled boots and a red fur stole, proclaiming, “We’ll have no troubles here!” A queer chaos agent, skulking around the edges of many scenes, the character rejects easy categorization. Park embraces all of the character’s complexity and vulnerability; his rendition of “I Don’t Care Much,” a second-act song performed after it’s clear that ‘troubles’ have indeed come, is riveting." - MD Theatre Guide

"Park, with the triple threat toolbox of dance, vocal, and acting skills, not to mention the comic timing I expect from a far more seasoned performer, is astoundingly good. I was impressed not only with his unerring blend of compassion and insouciance throughout but his ability to be the star without upstaging his castmates." - DC Metro Theatre Arts

"This Emcee may have given a nod to predecessors Joel Grey and Alan Cumming (the original and revival Emcee’s, respectively), but Alexander is a wonder to behold as the oily, reptilian master or ceremonies: commanding, sexual, perverse, and – at strategic times – menacing. His “Willkommen” was certainly welcoming, but his performance of “Two Ladies” (with ensemble members Rick Westercamp and Jessica Bennett) was a deliciously salacious celebration of polygamy. “If You Could See Her” displayed both the comedic and the painful truth of prejudice." - DC Theatre Scene

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