Into this world enters Clifford Bradshaw, a struggling American writer looking for inspiration for his next novel. [18] Following Eyck's abandonment of Ross, she underwent an abortion facilitated by Isherwood who pretended to be her impregnator. Hugo's father takes him to see films and loves the films of Georges Méliès best of all. The set was an integral part of the concept of Cabaret and the representation of Berlin. [18][21], While Ross' recovered from the abortion procedure, the political situation rapidly deteriorated in Germany. Synopsis Cabaret – review 3 / 5 stars 3 out of 5 stars. Not yet completely succumbed to the war’s fever, but many notes are already heard. This love triangle plays out against the rise of the Nazi party and the collapse of the Weimar Republic. She works at the Kit-Kat cabaret, a seedy place with suggestive musical numbers. Another UK tour began in autumn 2019 starring John Partridge as the Emcee, Kara Lily Hayworth as Sally Bowles and Anita Harris as Fräulein Schneider. The musical opened on Broadway on November 20, 1966, at the Broadhurst Theatre, transferred to the Imperial Theatre and then the Broadway Theatre before closing on September 6, 1969, after 1,165 performances and 21 previews. [73] The score was entirely re-orchestrated, using synthesizer effects and expanding the stage band, with all the instruments now being played by the cabaret girls and boys. A sub-plot involves the doomed romance between German boarding house owner Fräulein Schneider and her elderly suitor Herr Schultz, a Jewish fruit vendor. [70] Later that year it transferred to Studio 54,[2] where it remained for the rest of its 2,377-performance run, becoming the third longest-running revival in Broadway musical history, third only to Oh! [68][98], "Tomorrow Belongs to Me" redirects here. Meanwhile, Fräulein Schneider has caught one of her boarders, the prostitute Fräulein Kost, bringing sailors into her room. The juxtaposition of dialogue scenes with expository songs and separate cabaret numbers providing social commentary was a novel concept that initially startled audiences. The Shaw Festival at Niagara-on-the-Lake, Ontario, included Cabaret in its 2014 season. [71], The most significant change was the character of the Emcee. [87][88] On February 17, Sienna Miller replaced Stone as Sally through to the show's closing on March 29, 2015.[89][90]. Life takes a sudden turn for Sally however and throughout it all, the rise of Nazism casts a shadow over everyone. The production featured Juan Chioran as the Emcee, Deborah Hay as Sally, Gray Powell as Cliff, Benedict Campbell as Herr Schultz, and Corrine Koslo as Fräulein Schneider. the play… Review by pkaps ★★★★½ so weird but so good. It's the day of the show, and beyond the show itself, big things are happening to certain members of the Rose family. [64], The 1967–68 US national tour featured Melissa Hart as Sally, Signe Hasso as Fräulein Schneider, and Leo Fuchs as Herr Schultz. | In September 2013 Roundabout Theatre Company announced plans to return the company's acclaimed 1998 production to Studio 54 in New York. The most recent recording of Cabaret is the cast recording of the 2006 London revival at the Lyric Theatre. [97], In addition to these recordings, cast albums for the French, Spanish, Greek, Hebrew, Italian, Austrian, Dutch, Mexican, and two German productions have been released. The recording includes James Dreyfus as the Emcee and Anna Maxwell Martin as Sally Bowles. Music. Despite Brian's confusion over his sexuality, the pair become lovers, but the arrival of the wealthy and decadent playboy Maximilian von Heune complicates matters for them both. After a brief debate, she relents and allows Cliff to live there for fifty marks. She hopes that, when Cliff finally writes his novel, he will dedicate the work to her. The character Bobby replaced one of the ladies in "Two Ladies" for the 1998 and 2014 revivals. [41] Gradually, they came to understand the difference between the two and were able to accept the reasoning behind them.[41]. Cliff offers to escort Sally home, but she says that her boyfriend Max, the club's owner, is too jealous. The line—"if you could see her through my eyes... she wouldn't look Jewish at all"—was intended to illustrate how easily prejudice is accepted. [65] The tour included the Shubert Theatre in New Haven, Connecticut in December 1967; the Ahmanson Theatre in Los Angeles; Cleveland, Ohio; Baltimore, Maryland; and Atlanta, Georgia. They were later replaced by Jon Peterson and Leigh Ann Larkin. This production featured a number of notable replacements later in the run: Jennifer Jason Leigh, Susan Egan, Joely Fisher, Gina Gershon, Deborah Gibson, Teri Hatcher, Melina Kanakaredes, Jane Leeves, Molly Ringwald, Brooke Shields, and Lea Thompson and Vanna White as Sally; Michael C. Hall, Raúl Esparza, Neil Patrick Harris, Adam Pascal, Jon Secada, Norbert Leo Butz and John Stamos as the Emcee; Boyd Gaines and Michael Hayden as Cliff; Tom Bosley, Dick Latessa, Hal Linden, Laurence Luckinbill, and Tony Roberts as Herr Schultz; and Blair Brown, Polly Bergen, Mariette Hartley and Carole Shelley as Fräulein Schneider. [33] Consequently, the songwriting team John Kander and Fred Ebb were invited to join the project. Among their other friends are his students, the poor Fritz Wendel, who wants to be a gigolo to live a comfortable life, and the straight-laced and beautiful Natalia Landauer, a Jewish heiress. [29] At that time, Black envisioned the musical as a star vehicle for singer Julie Andrews, but Andrews' manager refused to allow her to accept the role of Sally Bowles due to the character's immorality. A new British arrival in the city, Brian Roberts, moves into the boarding house where Sally lives. Synopsis. Cabaret (1972) is director/choreographer Bob Fosse's defining, decadent, award-winning musical which popularized the phrase: "Life is a Cabaret." This production was filmed by Channel Four Film for airing on UK television. [19][20] Ross nearly died as a result of the botched abortion. [5][6] He had specifically relocated to Berlin in order to pursue a hedonistic life as an openly gay man and to enjoy the city's orgiastic Jazz Age cabarets. He informs Cliff that he is moving to another boarding house, but he is confident that these difficult times will soon pass. The next morning, a bruised Cliff is packing his clothes in his room when Herr Schultz visits. The cabaret ensemble performs a song and dance, calling each other on inter-table phones and inviting each other for dances and drinks ("The Telephone Song"). [68], The 1972 movie soundtrack with Liza Minnelli is perhaps the best-known of the recordings, although the movie is much re-written and eliminates all but six of the original songs from the stage production. Act 2 Scene 5: Cabaret Scene – Kit Kat Klub Act 2 Scene 6: Cliff’s room -backdrop of 3 doors – left side of stage Act 2 Scene 7: Railway Station / Cabaret Scene Props Optional – 6 tables with telephones in cabaret scene Train carriage bench seat or 3 chairs Brown suitcase x 2 … The events depicted in the 1966 musical are derived from Anglo-American writer Christopher Isherwood's semi-autobiographical tales of his colorful escapades in the Weimar Republic. Alan Cumming starred again as the Emcee while Academy Award-nominee Michelle Williams made her Broadway debut as Sally Bowles. However, boycott threats from Jewish leaders in Boston led Ebb to write an alternate line, "She isn't a Meeskite at all. Calcutta! Definitely more up my alley than All That Jazz, Cabaret is still not a film I would quite say I liked. The ending of Mendes’s production, which leaves the feeling of death in the air long after the lights go up, is among the most haunting and riveting in modern Broadway history. Afterward, she asks Cliff to recite poetry for her, and he recites "Casey at the Bat". The club's Master of Ceremonies, or Emcee,[e] together with the cabaret girls and waiters, warm up the audience ("Willkommen"). The production later toured the US from January 2016 with Randy Harrison as the Emcee and Andrea Goss (following her appearance as Frenchie in the Broadway production). A 1999 two-CD studio recording contains more or less the entire score, including songs written for the movie or for later productions, and many incidentals and instrumentals not usually recorded. This version added the cabaret girls and had a darker undertone. – Fräulein Schneider, "Willkommen (Reprise)" / "Finale Ultimo" – Emcee, Cliff, and Company, This page was last edited on 27 March 2021, at 17:21. The end result is a film that seems inconclusive. Cumming received an Olivier Award nomination for his performance and Kestelman won the Olivier for Best Supporting Performance in a Musical. This pioneering new trend of a metaphor holding a plot together created a new musical theatre structure called the ‘concept musical’. Alan Cumming's portrayal was highly sexualized, as he wore suspenders around his crotch and red paint on his nipples.[72][2]. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. In 1993, Sam Mendes directed a new production for the Donmar Warehouse in London's West End. In Berlin in 1931, American cabaret singer Sally Bowles meets British academic Brian Roberts, who is finishing his university studies. The Master of Ceremonies (Joel Grey), introduces and participates in the risque acts at the cabaret. However Natalia is suspect of his motives and cannot overcome their religious differences. They befriend each other and soon Sally discovers that Brian is not attracted by women, but they have a love affair. He has journeyed to the city to work on a new novel. Max has fired her and thrown her out, and now she has no place to live. The song "Don't Go" was added for Cliff's character. As the composers distributed the songs between scenes, they realized the story could be told in the structure of a more traditional book musical, and they replaced several songs with tunes more relevant to the plot. She is outwardly a flamboyant, perpetually happy person who works as a singer at the decadent Kit Kat Klub, a cabaret styled venue. At the twilight of the Jazz Age in Berlin, the incipient Nazi Party is growing stronger. The original Broadway production was not an instant success according to playwright Joe Masteroff due to its perceived immoral content. The recording peaked number 107 on the French Albums Chart,[96] and number 49 on the Dutch Albums Chart. It started its life as Goodbye to Berlin , a semi-autobiographical novel by Christopher Isherwood that recounts his … Fritz initially sees Natalia as his money ticket, but eventually falls for her. [24][22] "There was a sensation of doom to be felt in the Berlin streets," Spender recalled. In August 2013 the show went on tour, again with Young as The Emcee, Siobhan Dillon reprising her role of Sally and Lyn Paul joining the cast as Fräulein Schneider. The musical was based on John Van Druten's 1951 play I Am a Camera which was adapted from the semi-autobiographical novel Goodbye to Berlin (1939) by Anglo-American writer Christopher Isherwood. [1][2] In 1929, Isherwood moved to Weimar Berlin during the final months of the Golden Twenties. @lyngardner Wed 10 Oct 2012 13.27 EDT First published on Wed 10 Oct 2012 13.27 EDT. [91] Critic Natalia Anglesey of The Stage opined that "undoubtedly the star of this particular production of Cabaret is the physically flexible Ashley Artus as the sinister Emcee who adroitly controls the cast and members of his club whilst leading us into the nightmarish world of pre-war Berlin. [67] Critics such as Ken Mandelbaum have asserted that "Judi Dench was the finest of all the Sallys that appeared in Hal Prince's original staging, and if she's obviously not much of a singer, her Sally is a perfect example of how one can give a thrilling musical theatre performance without a great singing voice. [2][61] Directed by Harold Prince and choreographed by Ron Field, the cast featured Jill Haworth as Sally, Bert Convy as Cliff, Lotte Lenya as Fräulein Schneider, Jack Gilford as Herr Schultz, Joel Grey as the Emcee,[62] Edward Winter as Ernst, and Peg Murray as Fräulein Kost. Cabaret the Musical - SYNOPSIS Act I At the dawn of the 1930s in Berlin, the Nazi party is growing stronger. Hancock won the Olivier Award for Best Supporting Performance in a Musical. Meanwhile, a young American writer named Clifford Bradshaw arrives via a railway train in Berlin. On the railway train to Paris, Cliff begins to compose his novel, reflecting on his experiences: "There was a cabaret, and there was a master of ceremonies ... and there was a city called Berlin, in a country called Germany—and it was the end of the world and I was dancing with Sally Bowles—and we were both fast asleep" ("Willkommen" Reprise). At the time, Isherwood was an apprentice novelist who was politically indifferent[a] about the rise of fascism in Germany. [85] Critics praised Stone's performance for her interpretation of the hard-drinking sybarite Sally Bowles "as a flaming flapper, the kind hymned by F. Scott Fitzgerald and embodied by the young Joan Crawford in silent movies. For the 1998 revival, only the later song written for the film was used. [69][70] The revival starred Jane Horrocks as Sally, Adam Godley as Cliff, Alan Cumming as the Emcee and Sara Kestelman as Fräulein Schneider. How and Why Bob Fosse Transforms Key Elements of "Goodbye to Berlin" in "Cabaret" “Cabaret” and the History of Berlin’s Cabarets [7][8] He socialized with a blithe coterie of gay writers that included Stephen Spender, Paul Bowles,[b] and W.H. [2][40] There was no overture; instead, a drum roll and cymbal crash led into the opening number. Max is willing to lavish his new friends with gifts and his favors. In the Kit Kat Klub, a young waiter starts to sing a song—a patriotic anthem to the Fatherland that slowly descends into a darker, Nazi-inspired marching song—becoming the strident "Tomorrow Belongs to Me". Cabaret characters breakdowns including full descriptions with standard casting requirements and expert analysis. "Money, Money", a song from the film, was blended with "Sitting Pretty" in the 1987 revival. [78] It was announced on August 10, 2012, that Siân Phillips, Harriet Thorpe and Matt Rawle would also be joining the cast. The rise of the regime is a sub-plot in the movie, and as it proceeds there are more and more characters in Nazi uniforms, culminating in the final scene with Nazi officers in the front row of the Kit Kat Klub. With the Cabaret premiere upon us, Miss Stevie Budd earns her spotlight in a hilarious, heartfelt finale. The Kit Kat Klub is a seedy cabaret, a place of decadent celebration. [20][28], In early 1963, producer David Black commissioned English composer and lyricist Sandy Wilson to undertake a musical adaptation of Van Druten's 1951 play I Am a Camera. [33] Their new version was initially a dramatic play preceded by a prologue of songs describing the Berlin atmosphere from various points of view. The brutally satiric "Sitting Pretty", with its mocking references to deprivation, despair and hunger, was eliminated entirely, as it had been in the film version, and where in the 1993 revival it had been combined with "Money" (as it had been in 1987 London production), "Money" was now performed on its own. In the end, even the cabaret, with all its life-forgetting pleasures, could no longer isolate people from the ugliness outside. She works at the Kit-Kat cabaret, a seedy place with suggestive musical numbers. At Fräulein Schneider and Herr Schultz's engagement party, Cliff arrives and delivers the suitcase of contraband to Ernst. [31], Prince hired playwright Joe Masteroff to work on the adaptation. The musical opened on Broadway on November 20, 1966, at the Broadhurst Theatre, transferred to the Imperial Theatre and then the Broadway Theatre before closing on September 6, 1969, after 1,165 performances and 21 previews. Cliff urges her to "wake up" and to notice the growing social upheaval around them. the plot is changed, and i don’t think it’s for the better. There was a cabaret, and there was a master of ceremonies and there was a city called Berlin, in a country called Germany—and it was the end of the world... Isherwood claimed that he and Ross "had a relationship which was asexual but more truly intimate than the relationships between Sally and her various partners in the novel, the plays and the films. When the song Cabaret comes at the end, you realize for the first time that it isn't a song of happiness, but of desperation. A female girlie club entertainer in Weimar Republic era Berlin romances two men while the Nazi Party rises to power around them. The 1972 film added several songs, notably "Mein Herr" and "Maybe This Time" which were included in later productions. It starred Jane Horrocks as Sally, Adam Godley as Cliff, Alan Cumming as the Emcee and Sara Kestelman as Fräulein Schneider. | [2][70] The production opened after 37 previews on March 19, 1998, at the Kit Kat Klub, housed in what previously had been known as Henry Miller's Theatre. Other changes included added references to Cliff's bisexuality, including a brief scene where he kisses one of the Cabaret boys. Replacements later in the run included Kim Medcalf and Amy Nuttall as Sally, Honor Blackman and Angela Richards as Fräulein Schneider, and Julian Clary and Alistair McGowan as the Emcee. [37] After viewing one of the last rehearsals before the company headed to Boston for the pre-Broadway run, Prince's friend Jerome Robbins suggested cutting the songs outside the cabaret, but Prince ignored his advice. Cabaret is a 1966 musical with music by John Kander, lyrics by Fred Ebb, and book by Joe Masteroff. Originally, the song "Sitting Pretty" was sung by the Emcee accompanied by the cabaret girls in international costumes and their units of currency representing Russian rubles, Japanese yen, French francs, American dollars, and German reichsmarks. Encouraging the audience to be more open-minded, he defends his ape-woman, concluding with, "if you could see her through my eyes... she wouldn't look Jewish at all. [52] Three excised songs—"Good Time Charlie", "It'll All Blow Over", and "Roommates"—were recorded by Kander and Ebb, and the sheet music published in a collector's book. "Maybe This Time", from the film adaptation, was added to the score.[73]. He still hopes that she will join him in France, but Sally retorts that she has "always hated Paris." Fräulein Schneider expresses her concerns about her impending nuptials to Herr Schultz, who assures her that everything will be all right ("Married" Reprise). Sally is unconventional and she and Robert have a number of adventures together. [86] The Roundabout Theatre Company announced on January 5, 2015, that Stone would extend her run as Sally until February 15. Since 2003, there have been successful international stagings of the show—many of which have been influenced by Mendes' concept—including productions in Argentina, Australia, Brazil, Canada, Colombia, Costa Rica, France, Portugal, Greece, Israel, Malaysia, Mexico, Peru, Serbia, South Africa, Spain, and Venezuela. For the 1998 revival, Fräulein Kost sang the film's German translation of "Married" after two English verses. ", The phonetic term "Emcee" is specifically used by playwright. [73] "I Don't Care Much", which was cut from the original production, was reinstated, and "Mein Herr" was added from the film. "[68] It was released in the UK and reissued on the CBS Embassy label in 1973. [32] Prince and Masteroff believed that Wilson's score failed to capture the carefree hedonism of the Jazz Age in late 1920s Berlin. [33], Prince and Masteroff altered Isherwood's original characters as well. Herr Schultz saves Fräulein Schneider's reputation by telling Fräulein Kost that he and Fräulein Schneider are to be married in three weeks. Sally draws Brian into her world, and initially wants him to be one of her many lovers, until she learns that he is a homosexual, albeit a celibate one. More-or-less, it is an above average musical (in my books) that has some positives and some drawbacks that leave it being a pretty muddled and mixed bag at the end of the day. Cliff leaves, heartbroken. Overseeing the action is the Master of Ceremonies at the Kit Kat Klub, and the club itself serves as a metaphor for ominous political developments in late Weimar Germany. The Emcee and two female companions sing a song ("Two Ladies") that comments on Cliff and Sally's new living arrangement. [74][75], The second Broadway revival was based on the 1993 Mendes-Donmar Warehouse production. Sam Mendes (American Beauty, Road to Perdition, Skyfall) directed this new production for the Donmar Warehouse in London's West End. Sally protests and claims their sybaritic life in Berlin is wonderful. Months later, Cliff and Sally are still living together and have grown intimate. [51] "It'll All Blow Over" was planned for the end of the first act: Fräulein Schneider is concerned that marrying a Jew might be unwise, while Cliff is concerned about Germany's incipient Nazism. "[68], In 1986, the show was revived in London at the Strand Theatre starring Kelly Hunter as Sally, Peter Land as Cliff and Wayne Sleep as the Emcee, directed and choreographed by Gillian Lynne.[68]. Virtually all the film's musical numbers are staged within the confines of the Kit Kat Klub, and each song comments on the plot and on Germany's "progression" from hedonism to Hitlerism. In September 2006, a new production of the show opened at the Lyric Theatre, directed by Rufus Norris,[76] and starring Anna Maxwell Martin as Sally, James Dreyfus as the Emcee, Harriet Thorpe as Fräulein Kost, and Sheila Hancock as Fräulein Schneider. Act I. Join StageAgent today and unlock amazing theatre resources and opportunities. In the first half of the film, a Nazi is escorted out of the club, and the cabaret shows often discreetly mock the Nazis. Roundabout Will Welcome Tony-Winning, "Stratford Festival Review: Terrific Cabaret in both senses of the word", "50 years of 'Cabaret': How the 1966 musical keeps sharpening its edges for modern times", "Michelle Williams to Make Broadway Debut in 'Cabaret, "Sienna Miller Will Join 'Cabaret' on Broadway", "The Theater: 'Cabaret' Opens at the Broadhurst; Musical by Masteroff, Kander and Ebb Lotte Lenya Stars Directed by Prince", "New London Cabaret, Directed by Rufus Norris, Will Open Sept. 26", "Sienna Miller to replace Emma Stone in Broadway's, "Will Young to make West End musical debut in, Drama Desk Award for Outstanding Revival of a Musical, Grammy Award for Best Musical Theater Album, How to Succeed in Business Without Really Trying, Sweeney Todd: The Demon Barber of Fleet Street, Cats: Complete Original Broadway Cast Recording, Les Misérables: The Complete Symphonic Recording, Smokey Joe's Cafe: The Songs Of Leiber And Stoller, The 25th Annual Putnam County Spelling Bee, A Funny Thing Happened on the Way to the Forum, The Animals: Love Letters between Christopher Isherwood and Don Bachardy, How to Know God: The Yoga Aphorisms of Patanjali, https://en.wikipedia.org/w/index.php?title=Cabaret_(musical)&oldid=1014536213, Short description is different from Wikidata, Pages using multiple image with auto scaled images, Articles containing Yiddish-language text, Wikipedia articles incorporating a citation from the ODNB, Wikipedia articles with MusicBrainz release group identifiers, Wikipedia articles with MusicBrainz work identifiers, Creative Commons Attribution-ShareAlike License, Outstanding Choreographer in a Broadway Show, Outstanding Female Dancer in a Broadway Show, "Don't Tell Mama" – Sally and the Kit Kat Girls, "It Couldn't Please Me More (A Pineapple)" – Fräulein Schneider and Herr Schultz, "Married" – Herr Schultz and Fräulein Schneider, "Tomorrow Belongs to Me" (Reprise) – Fräulein Kost, Ernst Ludwig and Company, "If You Could See Her (The Gorilla Song)" – Emcee, "What Would You Do?" First, the negatives. [66], The musical premiered in the West End on February 28, 1968, at the Palace Theatre with Judi Dench as Sally, Kevin Colson as Cliff, Barry Dennen as the Emcee, Lila Kedrova as Fräulein Schneider and Peter Sallis as Herr Schultz. [34][35] The musical ultimately expressed two stories in one: the first, a revue centered on the decadence of the Kit Kat Klub; the second, a story set in the society of the club. [58] The later 1987 and 1998 Broadway revivals also added new songs such as "I Don't Care Much". [27] These factual events served as the genesis for Isherwood's Berlin tales. It replaced "Sitting Pretty" in the 1998 and 2014 revivals. Schultz tries to reassure her that it is merely rowdy children making trouble, but Fräulein Schneider is now afraid. Without much money, he plans on making a living teaching English while living in an inexpensive rooming house, where he befriends another of the tenants, American Sally Bowles. Sally works at the Kit Kat Klub, a George Grosz-like Berlin cabaret where each night the smirking, androgynous Master of Ceremonies introduces a jazz-driven "girlie show" to his debauched audience. [94], The first recording of Cabaret was the original cast album with a number of the songs (i.e., "Sitting Pretty"/"The Money Song") either heavily truncated or outright cut (i.e., "Tomorrow Belongs to Me" reprise) to save disk space. [63] In contrast, Jill Haworth's performance as Sally was less well-received and was criticized for its blandness. He initially sings a cappella, before the customers and the band join in.[f]. Kit Kat Klub recalled, `` Sitting Pretty '' ( or, in productions! To reassure her that it is merely rowdy children making trouble, but they ultimately learn life... Soon pass of walkouts completely succumbed to the war ’ s new cabaret musical numbers of! 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