Cabaret

After decades of this milestone musical being tinkered with in productions ranging from reasonably effective to heavy-handed, it's joyous to encounter a rendition that respects and restores the brilliance of the 1966 original. The metaphorical masterpiece "Cabaret," based on Christopher Isherwood's "Berlin Stories" and John Van Druten's play "I Am a Camera," debuted far ahead of its time in an era dominated by frothy blockbusters. Bob Fosse's 1972 film adaptation did wonders to ensure the staying power and wider recognition of the piece. Director-choreographer Marcia Milgrom Dodge fully capitalizes on the splendor of John Kander and Fred Ebb's Kurt Weill–flavored score—almost intact here, thank goodness—and the timeless power of librettist Joe Masteroff's chilling portrait of Berlin on the eve of the Third Reich.

Kudos to casting director Amy Lieberman and all involved in securing a triumphant cast. Vivacious Lisa O'Hare doesn't miss a beat in illuminating the multiple nuances of hedonistic chanteuse Sally Bowles, who must simultaneously be likable, selfish, funny, self-destructive, and resilient. O'Hare's dancing is dazzling, and her singing voice is impeccable. Her multilayered characterization is masterfully conveyed in dialogue and songs alike. This performer's ironic interpretation of the climactic title song carries more dramatic complexity than perhaps any prior rendition of this number.

The list of triumphs goes on: Bryce Ryness' mesmerizing portrayal of the seductive and symbolic Emcee, wisely avoiding mimicking familiar interpretations of this role; Mary Gordon Murray's affecting blend of steely resolve and heartbreak as world-weary landlady Fräulein Schneider; Robert Picardo's poignant and amusing take on Schneider's love-struck suitor Herr Schultz; and Jeff McLean's disarming performance as American writer Clifford Bradshaw, the Isherwood persona. There's also first-rate support from Katrina Lenk as the initially hilarious but ultimately frightening streetwalker Fräulein Kost, Zach Bandler as Cliff's deceptive would-be friend Ernst Ludwig, and a smashing ensemble of triple-threat performers, charging the atmosphere with hilarity and crackling tension and bringing Dodge's electrifying dance numbers to life.

This is among Reprise's finest-looking productions. John Iacovelli's colorful scenic design, Kate Bergh's witty costumes, and Jared A. Sayeg's wonderfully textured lighting find the ideal balance between visual opulence and the decadent and foreboding undercurrents of story and subtext. Music director Christy Crowl captures the pizzazz and richness of the immortal Kander-Ebb score.

Dodge's revival feels remarkably fresh while astutely sidestepping layers of directorial indulgence. Her consummate resurrection of a classic satisfies on all levels.

Presented by Reprise Theatre Company at the Freud Playhouse, UCLA campus, Sunset Blvd. at Hilgard Ave., L.A. Sept. 13-25. Tue.-Fri., 8 p.m.; Sat., 2 & 8 p.m.; Sun., 2 & 7 p.m. (310) 825-2101. www.reprise.org.