Desert Stages Theatre has been getting a lot of press recently, and for good reason. This company that was barely on a lot of critics radars (save for the ever supportive Kyle Lawson) and known more for its successful and rather tight-knit children's theatre program, has mounted a thoroughly adult production of Kander and Ebb's enduring classic, Cabaret. The kick is that they've done it by casting several graduates of their longtime children's theatre program. It's as if they're crafting their own product to move from one level to another, and if Jessica Godber and Michael J. Aurit are prime examples of what they turn out, then they're going to have great adult productions for many years to come.

What Director Gerry Cullity has massaged for a script is an amalgam of the original and the more recent revisionist take. It is based on the text made famous by Joel Grey, but carefully picks and chooses elements of the current Roundabout Theatre production. It does include a man masquerading as one of the "Two Ladies," and the Emcee is definitely less androgynous and more sexually charged than the original, though the subplot of Clifford Bradshaw's bisexuality has been excised. What Mr. Cullity offers is slinky, sexy, sinister then sobering, just as this show should be.

Granted, it still comes across with a children's theatre air: The show started more than ten minutes late; youthful techies rushed around and sat in seats before the show and during intermission to chat with friends; the intermission was well over 20 minutes as the youngsters in the audience were slowly herded back to their seats; and many of the Kit Kat Girls lolling around pre-show uncomfortably appeared a little under legal age. However, once the lights dimmed and the show commenced, there was no doubt that this was a very professional, very well thought-out piece of theatre.

The credit belongs to everyone. Mr. Cullity and Laurie Cullity, the choreographer, have mastered the art of theatre in the round. I never felt out of a scene, and was even made a little uncomfortable (a good thing) by how intense the action got at the turn just before intermission. The dancers were rarely in sync, yet their individual Fosse-derived moves were just what necessary to recreate the feel of the show. The leads were at least solid and most often excellent. The two strongest, by far, were Mr. Aurit as the Emcee, an obvious channeling of Alan Cumming from the Roundabout production, and Ms. Godber as the heartbreaking siren Sally Bowles. While I wish Mr. Aurit had brought more of his own to the piece, rather than giving an excellent imitation of Mr. Cumming on the BCR, his excesses worked well and incorporated the audience wonderfully. Ms. Godber, though, is her own woman, and wow, what a woman she is. Where the Roundabout and subsequent tours have chosen actresses with questionable voices and little dance talent, Ms. Godber is a triple threat, singing like a crazed lark, dancing with the energy of the doomed and always in character, no matter what the situation or how far from the center of attention she is. It is completely believable when she mentions in the second act that attendance at the club has dropped since she left.

The supporting cast is full of impressive figures. Sue Sisley seems a little young for the weary Fraulein Schneider, but she is great at drawing out sympathy for her conflicted character. Mr. Cullity is a jovial Herr Schultz, linking well with Ms. Sisley. Matt Decker never becomes a fearfully sinister Ernst, and remains at a slow burn all along, but Eva Suzanne Burch is a hoot as Fraulein Kost, until she amazes with her excellent singing voice in "Hierart" and "Tomorrow Belongs to Me." On the Sunday evening performance I reviewed, Cliff was ably played by understudy Chad Krolczyk, who had a fine singing voice and solid presence.

The Kit Kat Girls and Boys are all excellent singers and flexible, if not in sync. They are missing a bit of the grunginess of their roles, though, but this may be a directorial choice.

Gregg Temple's recorded music works well and even includes a few cute additions to enhance certain songs, and the costumes are exceptional.

Desert Stages recognizes they have a hit on their hands, and are smart enough to work it as long as they can. Though they were supposed to close August 17th, they are remounting the show after a two-week hiatus and running from September 5th through the 27th. I have been assured that there will be few changes, although Mr. Aurit will not be returning. I can assure you, though, that the explosion of Ms. Godber onto the scene is enough to warrant a trip to see this impressive production.