“Why didn’t you tell me about the other guy?” “But, Johnny, you’re the other guy!” Cabaret Noir, produced by Happenstance Theater, a resident company of Baltimore Theatre Project, is a glimpse of vintage film noir from the 1930s. Complete with intrigue, dark, smoky, rooms, and a harmonica playing underneath a single streetlight. A delightful, pun-filled play that added a little smile to an evening out in Baltimore. Sabrina Mandell, Mark Jaster, Alex Vernon, Gwen Grastorf, and Sarah Olmsted Thomas in ‘Cabaret Noir.’ Photo by Leah Huete. The setting is ambiguous in its setting. You know it’s a city, like New York, during a time when everyone still dressed up for dinner. Where red lipstick on women was the norm, and men wore three-piece suits every day with a fedora and trench coat to match. Although there was no scenery to speak of, there was an abundance of atmosphere to be had. Not a traditional musical, Cabaret Noir had some songs and some dancing, though most of the dancing was done by newspapers in the “the wind.” The story is told in the style of quirky and funny vignettes that follow the misfortune of several characters as their lives unfold in highly dramatic and often comedic fashion. The ensemble cast — Gwen Grastorf, Mark Jaster, Sabrina Mandell, Sarah Olmsted Thomas, and Alex Vernon — does an excellent job of helping your imagination along with their over-the-top acting skills. Every time the character Johnny climbed out onto the ledge of the skyscraper, I could see the tall neo-classical building in my mind. The wind coming by to snatch his hat provides a good chuckle. And this ledge is a very popular “hang out” spot. Pun absolutely intended. As often as Johnny finds himself out on it, he should name it and turn it into a nightclub. The puns really get going during the stockholder meeting of the Sinclair Seafood Company. So many puns. I will admit a few went right past me before I caught on. But they did bring a barrage of laughter from the audience. The puns highlighted the kitschy style of humor that was prominent throughout the play. While a few landed flat, far more brought genuine laughter. One of the moments that was fun to watch was toward the end of the play. It was the slow-mo bar fight scene. The exaggeration of all the movements with the added facial expressions was hysterical. Even though you could forecast how the fight was going to go, it took nothing away from the journey of getting there. Who knew the demise of so many could be had with a single crutch? While the majority of the musical element was adequately performed, “Gloomy Sunday,” by Seress Rezso with adapted lyrics by Mark Jaster and arranged by Karen Hansen, was one of the more well-liked pieces. It was performed by the entire ensemble. Even though it wasn’t comedic in nature, it provided a dark, beautiful moment for the play. It was the perfect needed addition to this film noir piece. It highlighted the gloomy underbelly of the city in a way that provoked authentic feelings of sorrow without being overwhelmed by it. This entire play evoked a vast variety of emotions, and the production was well worth seeing. Kudos to the cast for their brilliant skills. Their dedication to showcasing a particular era of performance art radiates through. Make sure to see the online program. It provides insight, inspiration, and references for what was used to create this gem of work. Running Time: 80 minutes with no intermission. Cabaret Noir plays through November 10, 2024, presented by Happenstance Theater perfoming at Baltimore Theatre Project, 45 West Preston St., Baltimore, MD. Purchase Tickets ($15–$25) online or in person up to one hour before the show in the lobby of Baltimore Theatre Project. The Performers: Gwen Grastorf, Mark Jaster, Sabrina Mandell, Sarah Olmsted Thomas, Alex Vernon, and guest musician Stephanie Baird Music arrangement for original production: Karen Hansen Music arrangement for this production: Stephanie Baird Lighting: Kris Thompson Newspaper puppets: Alex Vernon Costumes: Sabrina Mandell Stage Manager: Darielle Shandler Be mindful that street parking is scarce. And though there is a lift for those with wheelchairs to get into the theater, the stairs can be a little daunting for others.