Cabaret revival how do we feel?
#2
Posted: 9/11/12 at 11:14pm
and Loretta Swit as Fraulein Kost.
"Long live God!" (GODSPELL)
#5
Posted: 9/11/12 at 11:26pm
OMG THAT WOULD BE PURE BRILLANCE I ABSOLUTLY ADORE HER SO FRICKIN FUNNY!
#6
Posted: 9/12/12 at 12:22am
Can Richard E. Grant sing? I feel like he'd make a great emcee.
#7
Posted: 9/12/12 at 10:19am
I would love one too. I'd like to see a female MC. The more butch, the better.
Also, I'd like to use the script/score from the Seattle 5th Avenue Theatre proudction, but add in "I Don't Care Much."
Oh... and I'm NOT joking! This is serious!
Also, I'd like to use the script/score from the Seattle 5th Avenue Theatre proudction, but add in "I Don't Care Much."
Oh... and I'm NOT joking! This is serious!
#8
Posted: 9/12/12 at 10:33am
Nina Arianda needs to play Sally with Donna Murphy as Fraulein Schneider, Will Swenson as the MC and Steve Kazee as Cliff. Would love to see this show revived at some point.
"Some people can thrive and bloom living life in a living room, that's perfect for some people of one hundred and five. But I at least gotta try, when I think of all the sights that I gotta see, all the places I gotta play, all the things that I gotta be at"
#9
Posted: 9/12/12 at 10:43am
The next Cabaret revival has to be an all black cast. Beyonce as Sally? Lillias White as Fraulein Schneider?
I can just hear White's rendition:
Oh, you oo hoo hoo say fu-uh-uh-fifty marks
I-aye-aye-aye sa-heeeeey one huuuunered mu-huh-huh-arks
A dif-dif-dif-fur-uh-hence of fu-iff-ty mu-huh-huh-arks
Whuh-oh-why should tha-hat-hat-hat stuh-and in our wuh-huh-huh-ay
I can just hear White's rendition:
Oh, you oo hoo hoo say fu-uh-uh-fifty marks
I-aye-aye-aye sa-heeeeey one huuuunered mu-huh-huh-arks
A dif-dif-dif-fur-uh-hence of fu-iff-ty mu-huh-huh-arks
Whuh-oh-why should tha-hat-hat-hat stuh-and in our wuh-huh-huh-ay
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
#10
Posted: 9/12/12 at 11:07am
Here's my cast...
The MC-Will Swenson
Sally Bowles-Sutton Foster
Cliff Bradshaw-Steve Kazee
The MC-Will Swenson
Sally Bowles-Sutton Foster
Cliff Bradshaw-Steve Kazee
#11
Posted: 9/12/12 at 11:27am
DE, some productions have used female MCs i seem to recall one in Massachusetts with Amanda Palmer as the MC.
#12
Posted: 9/12/12 at 11:28am
I love the idea of a female MC. It just needs to be the right production for it to work. The recent ART got great reviews with Amanda Palmer as the MC. I'd love to see her do it on Broadway. I just doubt that she would commit to a substantial run in one city. She loves experimenting and performing her own material.
How long ago did the last Broadway revival end? It had a pretty good run if I remember correctly.
How long ago did the last Broadway revival end? It had a pretty good run if I remember correctly.
#14
Posted: 9/12/12 at 11:39am
What version of the script did Seattle's Fifth Avenue use? There are so many variants now? The three Broadway versions, the London 2006 version, and so on.
PLUS the one where Ernst and the Emcee are the same character, if I remember...
PLUS the one where Ernst and the Emcee are the same character, if I remember...
#15
Posted: 9/12/12 at 11:39am
I'd give anything to see Carey Mulligan as Sally Bowles.
#16
Posted: 9/12/12 at 12:02pm
Carey Mulligan's performance in SHAME is proof she'd be an inspired choice for Sally Bowles, can't think of anyone I'd like to see more in the role. Brilliant casting.
"Some people can thrive and bloom living life in a living room, that's perfect for some people of one hundred and five. But I at least gotta try, when I think of all the sights that I gotta see, all the places I gotta play, all the things that I gotta be at"
#17
Posted: 9/12/12 at 12:13pm
I'd be fine with Mulligan-but I think Nina Arianda would be incredible in that role. She reminds me of my favorite Sally-Natasha Richardson.
#18
Posted: 9/12/12 at 12:42pm
I've thought about this for quite some time. There should allways be a production of Caberet playing somewhere.
Here's what I'd like to see: Rename the Ambassador Theatre the Kander and Ebb Theatre. and rotate Chicago and Caberet in alternating years. Stunt casting works great with both shows, and we can all get our K&E fix every year.
Here's what I'd like to see: Rename the Ambassador Theatre the Kander and Ebb Theatre. and rotate Chicago and Caberet in alternating years. Stunt casting works great with both shows, and we can all get our K&E fix every year.
#19
Posted: 9/12/12 at 1:16pm
Steattle's Fifth used a version I was not familair with.
It didn't have the "The World Belongs to Me" in the round like the OBC, but it seemed to mostly follow that production. Their "Money Song" started with "Sitting Pretty" then transitioned into the Revival's "Money Song." Their "Finale" featured the cast reprising lines from their songs (i.e. Frulein Schneider sang a line from "So What," followed by another cast member singing a line from another song, etc. The lines were all slowed down and sounded more depresed than the original song. It was a really neat montage.)
I not all that familair with the various scripts. I didn't even know there were so many variations. I just knew I felt I had seen the perfect script and score for the show, but wished "I Don't Care Much" had been included.
It didn't have the "The World Belongs to Me" in the round like the OBC, but it seemed to mostly follow that production. Their "Money Song" started with "Sitting Pretty" then transitioned into the Revival's "Money Song." Their "Finale" featured the cast reprising lines from their songs (i.e. Frulein Schneider sang a line from "So What," followed by another cast member singing a line from another song, etc. The lines were all slowed down and sounded more depresed than the original song. It was a really neat montage.)
I not all that familair with the various scripts. I didn't even know there were so many variations. I just knew I felt I had seen the perfect script and score for the show, but wished "I Don't Care Much" had been included.
#20
Posted: 9/12/12 at 1:23pm
"Tomorrow Belongs to Me" is an important song-or was in that last production (and pretty powerful as well). I'd hope they didn't cut it.
My favorite song is "What Would You Do?" as it puts the plight of an ordinary citizen into perspective. It was a conundrum for ordinary people, I'm sure. (And I love that character of Fraulein Schneider-she is arguably the most honorable character.)
My favorite song is "What Would You Do?" as it puts the plight of an ordinary citizen into perspective. It was a conundrum for ordinary people, I'm sure. (And I love that character of Fraulein Schneider-she is arguably the most honorable character.)
#21
Posted: 9/12/12 at 2:10pm
I wouldn't call Schneider "honorable" at all - she is, like all people, trying to make her life better, but she denies love and breaks her suitor's heart out of fear of what the herd will do to her.
I think she represents the herd mentality that allows something as insidious as fascism to acquire power in a nation, and to disenfranchise (or kill) others - that thinking that "I can't change things, so I'll go along with it, as long as I'm safe. I can't worry about those who are different. They need to take care of themselves."
The honorable characters in Cabaret are Schultz and Cliff (I would say).
I think she represents the herd mentality that allows something as insidious as fascism to acquire power in a nation, and to disenfranchise (or kill) others - that thinking that "I can't change things, so I'll go along with it, as long as I'm safe. I can't worry about those who are different. They need to take care of themselves."
The honorable characters in Cabaret are Schultz and Cliff (I would say).
Updated On: 9/12/12 at 02:10 PM
#22
Posted: 9/12/12 at 2:22pm
Actually I interpreted what happened to her in the last revival as that she died with her lover. (Which would make her honorable.) She didn't survive. (And I saw it with my drama class way back in college-and we interpreted her 'entrance into the gas chamber' to mean she did die with Schultz.) She hems and haws about what to do-make no mistake about that (you wouldn't I take it)-but she, at least in mine and everyone else's interpretation who saw it with me (saw it a few times)-decided to die with him.
I'm not fond of Cliff. He's the narrator, and having read the book on which Cabaret is based (and analyzed it)-the 'camera' in this story does have a perspective (although he's a bland, ill-developed character and the book really gives him a lot more of a voice-and a negative one at that). He's not developed enough to have any sense of 'honor'. He is confused and dazed, if that's honorable.
Schultz is-no mistake there. But, as I said, I always thought that Schneider's resolve was to go to her lover after the younger couple persuades her to. (And her conscience gets her. Remember-she does go to the 'chamber' at the end.)
I'm not fond of Cliff. He's the narrator, and having read the book on which Cabaret is based (and analyzed it)-the 'camera' in this story does have a perspective (although he's a bland, ill-developed character and the book really gives him a lot more of a voice-and a negative one at that). He's not developed enough to have any sense of 'honor'. He is confused and dazed, if that's honorable.
Schultz is-no mistake there. But, as I said, I always thought that Schneider's resolve was to go to her lover after the younger couple persuades her to. (And her conscience gets her. Remember-she does go to the 'chamber' at the end.)
#23
Posted: 9/12/12 at 2:31pm
I saw the revival and don't remember Schneider changing her mind and sticking with Schultz after rejecting him.
But it's possible the ending was re-written that way - which would be weird, because the whole point of Schneider in the original play and musical was that she, although depicted as an essentially "good" person, bends with the wind of Nazi-ism, like much of the country at the time.
But it's possible the ending was re-written that way - which would be weird, because the whole point of Schneider in the original play and musical was that she, although depicted as an essentially "good" person, bends with the wind of Nazi-ism, like much of the country at the time.
#24
Posted: 9/12/12 at 2:39pm
I saw the show several times-and each time she went with Schultz. (Personally, I think the character should have. Fraulein Kost represents the people bending to Nazism more than Schneider could hope to. She seemed inspired by the young couple (this is all before they break up).)
Also-if she didn't go with him, how come she goes to the 'chamber'????
Also-if she didn't go with him, how come she goes to the 'chamber'????
#25
Posted: 9/12/12 at 2:52pm
With Sutton as Sally and Eric Sciotto (who was much better than Will Swenson in Priscilla) as the Emcee.
Tickets From $59
Tickets From $71
Tickets From $71
Tickets From $95