Cabaret 1966 version or 1998 revival — Page 2

Maybe if you believe the Emcee to be a real person. I've always thought of the Emcee as more of a non-human character, a spirit representing the times.

You're deliberately obscuring my point. He would have been rounded up by the Nazis when they added homosexuals to their list of "nondesirables," simply because he was queer.

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I always wanted to take the 1998 version, and blend the best elements of previous versions into it to create what I feel would be the ultimate production.

I didn't like the elimination of the "Telephone Dance," which I thought could be combined with the mini-"Telephone Song" and slotted in as Cliff decides to pack up his typewriter and go to the Kit Kat Klub for the first time (remember, the '98 production put "Mein Herr" in the "Telephone Dance" slot). It's an effective intro to the Klub as Cliff enters and discovers just what kind of games they play here.

Also, "Meeskite" is absolutely necessary for a variety of reasons. First, and most important, it's essential to Herr Schultz's character development. He's expressing his view that everyone is equal and people who aren't conventionally beautiful are just as good as those who are. This is the exact opposite of Nazi ideology. As he says, it's a "fable," and he's standing against the forces that are taking over Germany. It becomes an incredibly poignant scene when he tries to get the others to sing with him and no one will, except Sally, who isn't easily embarrassed. (It's entirely possible to weave Kost and Ludwig's dialogue which serves the purpose of letting Ludwig know that Schultz is Jewish around this number without losing anything.)

Furthermore, cutting "Meeskite" weakens "If You Could See Her." All the Emcee's songs comment on things that have happened in earlier scenes: "Two Ladies" comments on "Perfectly Marvelous," and "Sitting Pretty" / "The Money Song" (1987 had both "Sitting Pretty" and "The Money Song," and so would my version) comments on Cliff's deal with Ernst. "If You Could See Her" is a comment on Schultz and "Meeskite." He parodies and mocks the theme of "Meeskite," that everyone is equally beautiful. That's one of the reasons why, when they had to change the final line of the song, they went with "She isn't a meeskite at all."

Whether or not you like "Meeskite," it's one of the most important numbers in the show. Slotted into the 1998 framework, it would give more impact to the final scene of the first act and more depth to Schultz, and would strengthen the presence of "If You Could See Her."

I'd also take "Don't Go" from the 1987 version to insert before "Maybe This Time"; the cue line is basically still there in the dialogue, you might as well go full bore and give Cliff a song designed to convince Sally (and himself) that maybe this time he's the one. While we're on that song slot, I've also thought of a new spot for "Why Should I Wake Up," and that's the one problem that's occupied most of my time. Currently, in the theater of my mind's eye, I have it before Cliff and Sally arrive at the engagement party. In a hypothetical film, it would unquestionably be a voice-over number if placed in this slot.

I've also played with putting it in the second act, but it's hard to find the right spot for it there, given that it's so intricately plotted and only "I Don't Care Much" really works as an addition that doesn't seem like an interruption.

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"I was thinking the same thing, Wynbi. The inclusion of "I don't Care Much" tips it for me. Brilliant moment...Brilliant song."

We know Joel Gray sang the song in the 80s Prince revival/recreation, and that the song was originally written when the show would open with a bunch of different characters singing mood setting songs (I believe a prostitute sang it)--a concept that never came close to making it to the stage--but did the song survive long enough to make the original production's out of town tryouts--back when it was three acts and had the whole "Nazi uprising" bit done as silhouettes (an idea Hal Prince later used for the rape/flashback in Sweeney Todd)?

I've read that short Making of Cabaret book from the library, but it pretty much just regurgitates all the stories people know (and gets a number of details wrong.)

PJ said:"Rather than engage in the pointless exercise of choosing which is "best," why not read the original Isherwood, read the John Van Druten play adaptation, watch the original 1955 movie, watch the clips of the various stage productions, and appreciate the remarkable work of art that Christopher Isherwood created: a depiction of a country falling prey to the most horrifying brutality mankind is capable of, seen through the eyes of a sensitive young writer who is fascinated by a visiting girl singer oblivious to the evil."

Agreed absolutely (well, except I still think I Am A Camera is a crappy play.) Besides the two novels that make up The Berlin Stories (and it's fascinating for a geek like me to compare them--how Isherwood partly made the second later one more directly personal and his sexuality more clearly gay--in a guarded way--for example,)his Down There on a Visit which is also semi autobiographical and picks up with some of the characters from Berlin stories, and especially Christopher and His Kind which is basically the "true" story--telling the same stuff covered in the Berlin stories but as straight on memoir with nothing hidden or disguised, including all the sexuality stuff. (If you're lazy to read the recent BBC movie of Christopher and His Kind is actually quite good and faithful.)

And don't forget--Streisand sang the song on her 2nd album in 1963, long before it was cut from Cabaret and "forgotten."

http://youtu.be/l3uH5OK3PVw

"I Don't Care Much" certainly wasn't "forgotten" by Streisand fans!

(And as much as I love Alan Cumming, she sings it better than he does.)

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Also, in the debate about whether the Emcee is real or symbolic, look to Ute Lemper's "Berlin Cabaret Songs," in German or English, for a look into the real cabaret scene. Though the songs in Cabaret are mostly darker and more blatantly status-quo-questioning across the board, satirical Kabaret stars were a real thing, and the songs they sang often were in the same philosophical mode of discourse. In other words, the Emcee as a symbol works just as well, historically, as the Emcee as an actual performer of "satiric Kabaret."

"I disagree, Goth. It was a brilliantly theatrical stroke, based on reality: The Emcee, as depicted in all 3 versions--1966, film and 1998--would definitely have been one of the people rounded up by the Nazis for immoral activities."

As much as I looooove that ending it wouldn't had made much sense in the original production or the film because in those versions the whole cabaret was symbolizing the rise of the Nazi empire, how it all started out bright and flashy and ended up dark and oppressive. The Emcee according to Joel Grey was representing Adolf Hitler himself.

He did say that in a recent interview (for all I know he's said it before as well,) though I really don't see it.

I've said this for ages, but a Boardwalk Empire inspired TV show for HBO or Showtime and based loosely around the Isherwood-in-Berlin franchise would be amazing.

Even if he said it, it's just not so, other than the one comic moment when he puts the mustache on and goosesteps.

Otherwise, it's just silly and goes nowhere.

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I'm gonna go with "It's a valid interpretation, and it makes sense when all that jazz describes it, but it's probably not what the authors intended," with a side order of "Actors, huh?"

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Gvendo--I'm gonna agree with you. I do think Joel was refering to his take on the role in the film, specifically though--right? (And in the film the Emcee is even more of a "limbo" figure with, aside from some backstage stuff with Sally, much less actual evidence of him also existing as an actual character.)