As the lights dim and go completely dark, the spotlight glows upon a singular figure. The Emcee welcomes the theater into a world of cabaret with the show’s thrilling opening number, “Willkommen.” More than just a greeting, the introduction is an invitation into the smokey, seductive 1930s Berlin, where the Kit Kat Klub pulses with an intoxicating energy.

The FC theatre arts department hits the stage with its production, “Cabaret,” based on the play by John Van Druten and directed by Candice Clasby, head of acting for camera, directing and playwriting at FC. With a lively ensemble, playful choreography and a melody of music that is both inviting and unsettling, “Cabaret” promises a suspenseful, proactive journey ahead.

The play is set in 1930s Berlin, shortly before Hitler’s rise to power. The story follows Sally Bowles, a cabaret performer, and her affair with Clifford Bradshaw, an American writer, who takes her in after she is fired from the Kit Kat Club. Sally and Cliff fall deeply in love with one another.

“For Sally, she’s gone through a lot of things and it’s a very tough role, it’s something I didn’t anticipate that I would be able to play,” said Toby Stradwick, who plays Sally Bowles. “It wasn’t until callbacks that I kind of realized and understood what she means and stands for.”

What makes Sally so compelling is that she is neither a hero or villain—she is a tragic figure in a world that is spiraling out of control. As the story shifts toward the rise of fascism, Sally remains oblivious, ignoring the problem. Her defining moment, the performance of “Cabaret,” is both a rallying cry for reckless abandon and a desperate act of denial.

“Emotionally challenging would be ‘Cabaret.’ That one takes it out of me every single night and I have to do a little recoup after that one, and then go straight into the scene next to it,” said Stradwick. Sally is a woman who insists that “life is a cabaret,” even as the world around her falls into mayhem.

Cliff, a novelist, arrives in Berlin in search of inspiration, only to find himself swept up in a world of self-destruction. His introduction to the Kit Kat Klub—a haven of indulgence and distraction—sets the stage for his relationship with Sally Bowles. Through her, he experiences both passion and heartbreak. Yet, his attempts at stability and moral clarity are ultimately useless in a city careening toward darkness.

“There’s a scene in act two, scene four, in Cliff’s room with Fraulein Schneider and Sally, everything’s kind of falling apart and he’s trying to save something that’s not salvageable,” said Nicholas Martinez, who plays Cliff Bradshaw.

As the chaos unfolds in Germany, the Emcee narrates the many stories and themes through his unique way of blending social commentary on reality and illusion, homosexuality, and the devastation of man’s inhumanity to man—the Holocaust.

“The Emcee is a lot more enigmatic than the other characters. I’ve always kind of described him as a Jesus figure,” said Seth Diaz, who plays the Emcee. “There’s this spiritual element to him where he is kind of like a ghost and he’s either this metaphorical symbol for Germany at the time, or he’s there to push the events along in the show.”

To help build and welcome the audience to the world, the main stage is transformed into a cabaret-style nightclub with dim and vibrant lighting, smoky air, and a sense of decadence. A thrust stage is extended to the audience, creating intimacy and making the audience feel like patrons of the club. On the floor around the stage are tables integrated into the scenery.

Aside from the main set, moveable set pieces roll out from the sides. On the right side of the stage is a bedroom apartment while on the left side of the stage is a store.

“We have an automation class, they do all the rigging of the automation and then we have set builders who work in collaboration with them,” said Clasby. “They started building this set back in January.”

The production also features a live band that had four days of music rehearsals leading up to the show, beginning in January. The choreography rehearsals started in February, going on for four days a week for a four-hour-day process. The process for casting and auditions began back in December and followed a two-day process. Out of the 75 people who showed up for auditions, Clasby ended up casting 19.

While there have been numerous variations of “Cabaret,” Clasby said she decided to go with the original 1988 version. “We have just done some minor changes towards the end and that’s the big part of the show that I’ve interpreted myself,” said Clasby. “This show will hopefully challenge your idea of what you need in this life right? What is important to you.’’

“At a time where our political climate is so volatile, this show highlights the inequity in how people refer to one another as humans,” said Clasby. “When you see Fascism on the rise, it really challenges you as an audience member to look at yourself and hold a mirror to yourself to see how you’re contributing to the rise of Fascism or fighting against it.”

“Cabaret” runs March 20-22 and March 28-29 at 7:30 p.m. at the Campus Theatre. Front-door tickets are available for $24.