Cabaret

Caroline made both her St. Louis and professional debut in New Jewish Theatre’s production of Cabaret as Fraulein Kost and Fritzie. The show opened NJT’s 27th season and ran from March 20th to April 6th. The show was directed by Rebekah Scallet with choreography by Ellen Isom and music direction by Carter Haney.

*Photo by Jon Gitchoff featuring (from left to right) Lillian Cooper, Spencer Davis Milford, Hailey Medrano, Otto Klemp, and Caroline Pillow*

The show’s initial run quickly became sold out and another weekend was added, additionally selling out shortly after. Cabaret was met with standing ovations and rave reviews. Richard T. Green from Talkin’ Broadway writes “Caroline Pillow is very fine as the young Fraulein Kost, every bit as sexually liberated and unrepentant as… Sally Bowles.”

*Photo by Jon Gitchoff featuring (from left to right) Lillian Cooper, Hailey Medrano, and Caroline Pillow*

James Lindhorst with BroadwayWorld St. Louis remarked that “Aaron Fischer (Ernst Ludwig), Caroline Pillow (Fraulein Kost), and the rest of the cast deliver memorable performances. Pillow and Fischer’s goosebump inducing reprise of “Tomorrow Belongs to Me” chillingly sends the audience to intermission with a foreboding dread. Fischer’s towering height and booming voice signaled the inevitable rise of Nazi power, and his presence was matched by the captivating Pillow’s powerful vocals.”

*Photo by Jon Gitchoff featuring the full company*

Other reviews have stated that Caroline is “a hoot” (STL Jewish Light), “memorable” and “lascivious” (Snoop’s Theatre Thoughts), and that “she hits the mark as the icy, cynical hooker” (LaDue News).

After the run concluded, Jack Reviews said that “Caroline Pillow absolutely aces Fraulein Kost’s unscrupulous nature, playing everyone around her like pawns in her own personal game of chess. Pillow’s portrayal makes for a great parallel to Medrano’s Sally, who makes more of a show of optimism compared to Kost’s cold cynicism. Pillow’s rendition of the Nazi anthem Tomorrow Belongs to Me made for a truly scary One Act finale.”

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