Parsons steals the show as the emcee in Welk Resort's 'Cabaret'

Boarding the train in Paris, Midwesterner Cliff Bradshaw was ill-prepared for his new life in Berlin during 1931. Played by Eric Hellmers, Cliff is real and believable in Welk Resort's current production.

To avoid scrutiny at the German border, fellow passenger Ernst Ludwig, slides his briefcase between Bradshaw's which alerts Cliff to his surroundings. However, all is forgotten about the contraband when Ludwig befriends Bradshaw by recommending a place to stay. Ludwig's smarminess evolves as Michael Kelly reveals even more his despicable characteristics.

Persuading Bradshaw to do some "writer's research" at a notorious night spot, Ludwig leads the way to the seedy Kit Kat Klub in the heart of Berlin's underbelly.

The action is propelled by the finely-tuned set designs of Doug Davis, Premier Productions, and enhanced by Jennifer Edwards' lighting techniques. Patrick Hoyny, in charge of sound, fills the air with the band's raggedy tempo pitching us into the middle of this risqué romp. Janet Pitcher has made all of the right choices with costume design.

The big scene stealer is – Jeff Scott Parsons – the star of the show. As The Emcee, Parson's Broadway quality performance is the heart and soul of this production. He lures us, seduces us. He even convinces us to "leave our troubles at the door" while enjoying a bawdy night inside the Kit Kat Klub.

Engagingly, The Emcee presents the flamboyant Kit Kat Girls. Each lady poses and prances seductively around the stage shadowed by testosterone-charged male dancers who strut before our sexually confused young writer leaving the audience a bit aghast, but wonderfully entertained.

The evocative Kit Kat Girls are: Andrea Williams as LuLu, Adrian Mustain as Rosie, Catie Marron as Helga, and Stephanie Wolfe as the sensual Frenchie. We can believe these are naughty girls – they look like real women.

The bad boys are portrayed by Fisher Kaake as Hans/Rudy, Hanz Enyeart as Robby, A.J. Maynes as Victor; Collin McCarthy plays three parts, officer/sailor/tenor, and Leif Corbeil doubles as Herman and a sailor. All five move the show forward with their masculine virility.

Even though Cliff is confused, he is easily lured into a lasting liaison with the fast-talking, promiscuous chanteuse, Sally Bowles. Actress Ashlee Espinosa teases cajoles and charms her way throughout to her show-stopping signature number "Caberet."

In the midst of all of the excitement happening at night, the real people that live during the day include the boarding house landlady, Frau Schneider (portrayed by Susan E. V. Boland), and her two other tenants.

Frauline Kost is performed energetically by Charlene Koepf. She plays the spirited prostitute working around the clock to make the rent.

Then there is David Allen Jones, playing Herr Schultz. He is the long suffering Jewish green-grocer-widower. Jones and Jeff Scott Parsons are Actor's Equity union.

My favorite moment: Herr Schultz presents a pineapple to Frau Schneider. It becomes greater than a piece of fruit. It represents all that is lost as the Nazi regime pushes across Germany. History reminds us that during the Great Depression folks had to stand in line for hours to get a single loaf of bread – which makes the point for the luxury of a simple pineapple and why it is such a precious gift.

Both actors envelop this shared moment with heart and

tenderness as Boland sings "It couldn't please me more." They wear their characters with style.

None of this wonderfulness would have happened on stage if not for the fantasies of choreographer-director Ray Limon. His vision draws us along into every moment. Applause. Applause. Applause.

Ideal for a savvy theater-goer, this is a smart, sassy, sophisticated show. Feels like a PG-17, although it is rated PG-13. But that's just my opinion.

Cabaret runs through July 26. For tickets call (760) 749-3000, Ext. 3 or go online at welkresorts.com. I am going back.