Modern theater’s most enduring and most important cautionary tale has been revived by Marin Musical Theatre Company. Helmed by Katie Wickes and Jenny Boynton, the troupe has launched a stunning production of John Kander and Fred Ebbs’ “Cabaret.” It’s a co-production with Novato Theater Company, where it runs through April 13.

It won’t be the last such production. Several popped up in the Bay Area during the first Trump presidency; his second term is likely to prompt many more — for good reasons. “Cabaret” is both wonderfully entertaining and horrifically startling — a depiction of the rise of pure evil among seemingly nice friendly people, such as Ernst Ludwig (Michael Lister), a charming German businessman who befriends American novelist Cliff Bradshaw (Russell Mangan) on a train ride into Berlin.

It’s New Year’s Eve, 1929. Ernst introduces Cliff to Fräulein Schneider (Daniela Innocenti Beem), proprietress of a rooming house where he soon takes up residence, and to the Kit Kat Klub, the cabaret of the show’s title. There he meets many denizens of Berlin’s cultural underworld, including the fetching but flighty Sally Bowles (Evvy Carlstrom-March), a British singer with whom he’s soon head over heels and sharing a room, both ultimately to his regret. Mangan has an innocent, boyish charm. Carlstrom-March is a dynamic performer and powerhouse singer whose efforts become more engaging as the show progresses.

Many of the songs in this show made it into the pop repertoire, thanks to the commercial success of the 1972 movie: “Wilkommen,” “Don’t Tell Mama,” “Maybe This Time,” “Cabaret,” “Money” and “Tomorrow Belongs to Me.” This last song is a beautiful and frightening anthem written by Kander and Ebb as something Hitler Youth might have sung. It opens with pastoral imagery like “Edelweiss” from “The Sound of Music” and detours into a profoundly convincing statement of Aryan manifest destiny. Echoing “Deutschland Über Alles,” the song is so effective that it has been hijacked multiple times as theme music for far-right political groups and racist rockers.

“Married” is a lovely duet performed by Fräulein and Herr Schultz (Jere Torkelsen), the fruit vendor to whom Fräulein gets engaged, both of them in late middle age. A former member of the San Francisco Opera Chorus, Torkelsen has a marvelously resonant baritone voice that perfectly complements Innocenti Beem’s high-performance alto/contralto. The pair are incredibly compelling in their too-short scenes together.

Their late-in-the-game engagement is a lilting note of hope in a show that’s intentionally a very bitter pill buried in a thick coating of sugar. Herr dismisses the rising tide of antisemitism, believing that as a native-born German Jew he will be considered a German first. Fräulein knows better. So does Cliff.

But the sugar is sweet and seductive. The Kit Kat Klub’s master of ceremonies is convincingly portrayed by Stephen Kanaski, whose high-energy gender-bending is the motive force behind much of the show’s many song-and-dance numbers (choreography by Wickes and Boynton), performed by a tremendous ensemble that includes the Kit Kat Girls (Isabella Qureshi, Amanika Rapplin and Bethany Hill Mostofizadeh), and Kit Kat Boys (Ernesto Escobar Nery Jr. and Leo Beare). All are superb dancers and singers. Victor Schutz is appropriately menacing as club owner Max.

Also a Kit Kat Girl, Megan Schoenbohm is outstanding as Fräulein Kost, resident of the rooming house, whose income derives from entertaining sailors by the hour. Schoenbohm is a tremendous singer, dancer and instrumentalist, performing on accordion in a couple of scenes. Her German sounds authentic, and judging by her family name, probably is.

An ace band under the direction of Daniel Savio propels the whole affair — Savio’s bass player Jon Bretan and reeds player Malik Charles D. Wade are both exceptional. Schoenbohm is credited as assistant music director. Kudos to costume designers Krista Lee and Andria Nyland, and to wig designers Patricia Theiss-Nyland and Andria Nyland. Their efforts add much to this production.

There are many ways to produce “Cabaret” on stages large and small. Marin Musical Theatre Company makes the most of a simple but versatile set in appropriate colors of red, black and white, one that’s perfectly suited for Novato Theater Company’s compact stage.

This is a devastatingly effective production that should slap sense into everyone who sees it. There are massive evil forces at work in the external world while we amuse ourselves with frivolities. “Cabaret” warns us of the consequences of not paying attention.

Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle. Contact him at barry.m.willis@gmail.com.