Photo: Gene Reed
Twenty-six years ago, Provincetown CabaretFest entered the theatrical scene in town. Founded by John O’Neil, who ran the festival for close to half its existence, the event has been led by Patricia Fitzpatrick since 2014. But this year, New York actor David Rhodes takes the helm to bring this celebration of the art of cabaret into its next act. Although CabaretFest doesn’t hit stages in town until June, we thought it might be fun to chat with Rhodes about his plans for this year, and years to come, as producing artistic director of this popular local festival, which features performances as well as master workshops for all interested in cabaret, whether as an audience or a participant.
Rhodes comes to the festival as a director, acclaimed playwright, and as a seasoned actor with film and television credits that include the films Rapid Eye Movement and Dueling Accountants, as well as TV series such as Law and Order. But he has also been involved with the cabaret scene for many years and has performed and led workshops at Provincetown CabaretFest in the past.
Provincetown Magazine: What made you interested in accepting the position to lead CabaretFest as Patricia Fitzpatrick’s successor?
David Rhodes: Artists can never say where their individual creative paths will lead them. My background is in classical theater, film, and television. In the early 2000s I was compelled to expand beyond the scope of being just an actor for hire and started giving voice to my own work. That led to a series of book plays and solo shows that were produced off Broadway and in London, where I had my formal acting training. I especially loved the solo shows; flying without a net and traveling from venue to venue like a medieval wandering minstrel was thrilling. I started incorporating music and dance into these shows and became drawn to the intimacy and immediate connection you get with your audience in cabaret venues. Removing the fourth wall enabled me to engage with them authentically with no boundary between us. The audience became my scene partner and the flow of energy one can create in those rooms is indescribable.
Provincetown is one of my favorite places on the planet and has a long-standing history with cabaret and live theater. I had a show I wanted to produce there; a random google search led me to Patricia Fitzpatrick and she invited me to join Provincetown CabaretFest the summer of 2021 to see what the festival was all about. I was featured in their variety show, on a panel of experts, and for the next four years I participated as a master class leader and headliner performer with the Festival. All the shows that I debuted at Provincetown CabaretFest had a life beyond the festival—in a way, Patricia produced all my shows for the next four years. When she was ready to pass the baton and asked me if I was interested, there was not a moment’s hesitation. The timing was perfect.
I have been a performer all my life. I made my professional debut at 12 playing Oliver in a summerstock [production of Oliver!]. My career has surpassed my expectations and has been rich and rewarding. Psychologist Erik Erikson talks about the seventh stage of development, late adulthood as the period of Generativity vs. Stagnation. Generativiy focuses on striving to create or nurture things that outlast oneself—typically through parenting, mentoring, or productive work—fostering a sense of care. Failing to find purpose leads to stagnation and unproductive feelings, and disengagement. The opportunity to foster the next generation of cabaret artists and bring joy to Provincetown audiences; continuing the legacy of Provincetown CabaretFest that Patricia has nurtured and John O’Neil founded, fulfills all my expectation for this seventh stage of life, feeds my soul, and gives me purpose.
PM: You’ve mentioned you are interested in “broadening” the scope of the cabaret that’s presented. What does that mean and can you give an example of something in this year’s CabaretFest that you think does that?
DR: Though it has evolved over the decades, cabaret is still an essential thread in the fabric of live entertainment around the world. While there are those who believe that cabaret performances should conform to one structure or style of presentation, we’d like to honor its diversity and return to a more traditional view of cabaret; a room where anything can happen! This summer will certainly have its share of tried-and-true cabaret offerings with artists like Nicolas King, Sally Mayes, Carolyn Montgomery, Michael Garin and Mardie Millet, and Tony Award winner Faith Prince. We are also featuring the Bad Judies, an all drag nightlife band who will be reinterpreting the Andrew Sisters Songbook. Elusive, international chanteuse Jake Oswell will present a show called Dream Ballet, an existential fever dream of musical theater classics from the ‘30s and ’40s. Broadway’s Jayke Workman, a non-binary performer will present a show called Down With Love, a musical journey through the trials and tribulations of a hot, queer 20-something in New York, and Ptown’s own Zoe Lewis will present a tailored version of her show Speakeasy—prohibition jazz and swing, full of gay abandon.
PM: In what ways do you think Provincetown itself is an important location for cabaret (if you do)?
DR: Provincetown is the perfect setting for cabaret. CabaretFest is committed to exploring and evolving the culture of contemporary cabaret. What better place than one of America’s oldest and most diverse artist colonies? Artists, poets, and writers have gathered on Commercial Street for decades doing exactly what Debussy, de Maupassant, and Satie were doing in 19th-century Paris. Cabaret has a longstanding tradition of inclusivity, from Harlem’s renowned Cotton Club to the legendary piano bars of Greenwich Village in the 1980s. Provincetown has a community of prolific artists, is extremely inclusive of the LGBTQIA+ community, and is overflowing with cabaret venues, making it an ideal location for CabaretFest and the evolution of the art of cabaret.
PM: What are the biggest challenges for this festival and for cabaret more generally in 2026?
DR: Sondheim says in Sunday in the Park with George, ‘advancing art is easy, financing it is not’. Provincetown CabaretFest operates as 501(c)(3) via our fiscal sponsor the Boston Association of Cabaret Artists (BACA). Our passion and unwavering belief in the importance of live performance and our commitment to creating a safe space where artists’ voices can be heard and shared, is the driving force of the festival. Our passion supersedes the inevitable fiscal challenges that go along with curating an arts festival. We are grateful for the outpouring of support from the Provincetown community. The generosity of our sponsors and patrons is the engine that keeps the festival on track; we would not exist without them. We welcome all support and invite those who share our passion for preserving and evolving the art of cabaret to make a tax-deductible donation on our website or through our GiveButter campaign: givebutter.com/9bnIU9.
PM: Beyond this first season at the helm, what are your goals for CabaretFest moving forward?
DR: We’d like to continue to expand our programming in Provincetown and bring top industry professionals, inspiring entertainment, and educational opportunities to Ptown for many years to come. We hope Provincetown CabaretFest will become an established destination event, kicking off the summer season with joy, and bringing revenue, enrichment, and of course great music to the tip of Cape Cod.
For more information and a full schedule for the 2026 Provincetown Cabaretfest (June 8 – 13), visit provincetowncabaretfest.org.
—Rebecca M. Alvin
