Cabaret

Cabaret

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Cabaret is a 1966 musical with music by John Kander, lyrics by Fred Ebb, and book by Joe Masteroff. The musical was based on John Van Druten's 1951 play I Am a Camera which was adapted from Goodbye to Berlin (1939), a semi-autobiographical novel by Anglo-American writer Christopher Isherwood which drew upon his experiences in the poverty-stricken Weimar Republic and his intimate friendship with nineteen-year-old cabaret singer Jean Ross.

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.[1][2] In 1929, Isherwood visited Weimar-era Berlin during the final months of the Golden Twenties.[3] At the time, Isherwood was an apprentice novelist who was politically indifferent[a] about the rise of fascism in Germany.[6][7] He relocated to Berlin in order to avail himself of underage male prostitutes and to enjoy the city's orgiastic Jazz Age cabarets.[8][9] He socialized with a coterie of gay writers that included Stephen Spender, Paul Bowles,[b] and W.H. Auden.[12]

Two weeks after Adolf Hitler implemented the Enabling Act which cemented his dictatorship, Isherwood fled Germany and returned to England on April 5, 1933.[27][28] Afterwards, most of Berlin's seedy cabarets were shuttered by the Nazis,[d] and many of Isherwood's cabaret acquaintances would later flee abroad or perish in concentration camps.[30] These factual events served as the genesis for Isherwood's Berlin tales. His 1939 novel Goodbye to Berlin was later adapted by playwright John Van Druten into the 1951 Broadway play I Am a Camera and, ultimately, the 1966 Cabaret musical.[31]

In Fall 1966, the musical entered rehearsals.[39] 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.[39] In Boston, lead actress Jill Haworth struggled with her characterization of Sally Bowles.[40][41] Critics thought Sally's blonde hair and white dress suggested a debutante at a senior prom instead of a cabaret singer, so Sally became a brunette before the show opened on Broadway.[40][41]

Prince's staging was unusual for the time.[42] As the audience filled the theater, the curtain was already up, revealing a stage containing only a large mirror reflecting the auditorium.[43][44] There was no overture; instead, a drum roll and cymbal crash led into the opening number. The juxtaposition of dialogue scenes with expository songs and separate cabaret numbers providing social commentary was a novel concept that initially startled audiences.[45] Gradually, they came to understand the difference between the two and were able to accept the reasoning behind them.[45]

When Cliff visits the Kit Kat Klub, the Emcee introduces an English chanteuse, Sally Bowles, who performs a flirtatious number (\"Don't Tell Mama\").[g] Afterward, she asks Cliff to recite poetry for her, and he recites Ernest Thayer's tragic poem \"Casey at the Bat\". Cliff offers to escort Sally home, but she says that her boyfriend Max, the club's owner, is too jealous.[h] Sally performs her final number at the Kit Kat Klub aided by a female ensemble of jazz babies (\"Mein Herr\"). 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\").[i]

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.[65] For the 1972 film, this number was then replaced by \"Money, Money\", and sung by the Emcee and Sally Bowles. However, \"Sitting Pretty\" is still heard briefly in the film as orchestral background music. For the 1987 revival, there was a special version comprising a medley of both money songs, and motifs from the later song were incorporated into the \"international\" dance that had \"Sitting Pretty\". For the 1998 revival, only the later song written for the film was used. This version added the cabaret girls and had a darker undertone.

There were a number of changes made between the 1993 and 1998 revivals, despite the similarities in creative team. The cabaret number \"Two Ladies\" was staged with the Emcee, a cabaret girl, and a cabaret boy in drag and included a shadow play simulating various sexual positions.[79] The score was re-orchestrated using synthesizer effects and expanding the stage band, with all the instruments now being played by the cabaret girls and boys. The satiric \"Sitting Pretty\", with its mocking references to deprivation, despair and hunger, was eliminated, 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. \"Maybe This Time\", from the film adaptation, was added to the score.[79]

The rise of fascism is an ever-present undercurrent throughout the film. Their progress can be tracked through the characters' changing actions and attitudes. While in the beginning of the film, a Nazi is expelled from the Kit Kat Klub, the final shot of the film shows the cabaret's audience is dominated by uniformed Nazis. The rise of the Nazis is also demonstrated in a rural beer garden scene. A blonde boy sings to an audience of all ages (\"Tomorrow Belongs to Me\") about the beauties of nature and youth. It is revealed that the boy is wearing a Hitler Youth uniform. The ballad transforms into a militant Nazi anthem, and one by one nearly all the adults and young people watching rise and join in the singing. \"Do you still think you can control them\" Brian asks Max. Later, Brian's confrontation with a Nazi on a Berlin street leads to his being beaten.

The 1972 film was based upon Christopher Isherwood's semi-autobiographical stories about Weimar-era Berlin during the Jazz Age.[18][19] In 1929, Isherwood moved to Berlin in order to pursue life as an openly gay man and to enjoy the city's libertine nightlife.[18][19] His expatriate social circle included W.H. Auden, Stephen Spender, Paul Bowles, and Jean Ross.[20][21] While in Berlin, Isherwood shared lodgings with Ross, a British cabaret singer and aspiring film actress from a wealthy Anglo-Scottish family.[22][23]

Cabaret (French pronunciation: [kabaʁɛ] (listen)) is a form of theatrical entertainment featuring music, song, dance, recitation, or drama. The performance venue might be a pub, a casino, a hotel, a restaurant, or a nightclub[1] with a stage for performances. The audience, often dining or drinking, does not typically dance but usually sits at tables. Performances are usually introduced by a master of ceremonies or MC. The entertainment, as done by an ensemble of actors and according to its European origins, is often (but not always) oriented towards adult audiences and of a clearly underground nature. In the United States, striptease, burlesque, drag shows, or a solo vocalist with a pianist, as well as the venues which offer this entertainment, are often advertised as cabarets.

Cabarets had appeared in Paris by at least the late 15th century. They were distinguished from taverns because they served food as well as wine, the table was covered with a cloth, and the price was charged by the plate, not the mug.[4]They were not particularly associated with entertainment even if musicians sometimes performed in both.[5] Early on, cabarets were considered better than taverns; by the end of the sixteenth century, they were the preferred place to dine out. In the 17th century, a clearer distinction emerged when taverns were limited to selling wine, and later to serving roast meats.

Cabarets were frequently used as meeting places for writers, actors, friends and artists. Writers such as La Fontaine, Moliere and Jean Racine were known to frequent a cabaret called the Mouton Blanc on rue du Vieux-Colombier, and later the Croix de Lorraine on the modern rue Bourg-Tibourg. In 1773, French poets, painters, musicians and writers began to meet in a cabaret called Le Caveau on rue de Buci, where they composed and sang songs. The Caveau continued until 1816, when it was forced to close because its clients wrote songs mocking the royal government.[4]

The first cabaret in the modern sense was Le Chat Noir in the bohemian neighborhood of Montmartre, created in 1881 by Rodolphe Salis, a theatrical agent and entrepreneur.[7] It combined music and other entertainment with political commentary and satire.[8] The Chat Noir brought together the wealthy and famous of Paris with the bohemians and artists of Montmartre and the Pigalle. Its clientele was a mixture of writers and painters, of journalists and students, of employees and high-livers, as well as models, prostitutes and true grand dames searching for exotic experiences.\"[9] The host was Salis himself, calling himself a gentleman-cabaretier; he began each show with a monologue mocking the wealthy, ridiculing the deputies of the National Assembly, and making jokes about the events of the day. The cabaret was too small for the crowds trying to get in; at midnight on June 10, 1885, Salis and his customers moved down the street to a larger new club at 12 rue de Laval, which had a decor described as \"A sort of Beirut with Chinese influences.\" The composer Eric Satie, after finishing his studies at the Conservatory, earned his living playing the piano at the Chat Noir.[9]

By 1896, there were 56 cabarets and cafes with music in Paris, along with a dozen music halls. The cabarets did not have a high reputation; one critic wrote in 1897 that \"they sell drinks which are worth fifteen centimes along with verses which, for the most part, are worth nothing.\"[9] The traditional cabarets, with monologues and songs and little decor, were replaced by more specialized venues; some, like the Boite a Fursy (1899), specialized in current events, politics and satire. Some were purely theatrical, producing short scenes of plays. Some focused on the macabre or erotic. The Caberet de la fin du Monde had servers dressed as Greek and Roman gods and presented living tableaus that were between erotic and pornographic.[10] 59ce067264

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