Question about Cabaret...

[ChristineDaae]

Posted: 10/10/03 at 3:32pm

When the Emcee comes out with the record player and the "boy soprano" sings "The sun on the meadow..." (Tomorrow belongs to me)what does this scene mean? I have an idea but I'm not totally sure...

[JO125]

Posted: 10/10/03 at 4:28pm

SPOILER ALERT below:

I have always taken it as representing the ominous rising of the Third Reich. The song is some sort of German Nationalist song/anthem I believe. Having it sung by a child probably indicates how the children were drawn in and recruited by the Nazi party. Notice how the same song is performed again later (in full) in a very disturbing and ominous scene by Ernst (while wearing his Nazi band, Fraulein Kost and other characters demonstrating their loyalty to their country and the Nazi party.

[TxTwoStep]

Posted: 10/10/03 at 4:59pm

for those of you who have never seen the original staging, "Tomorrow Belongs to Me" is a song by Kander & Ebb that recreates those kind of nationalistic hymns. Originally in the stage production, it is sung first by a solo Kit Kat Klub waiter, which builds to a quartet of waiters in four-part harmony. It is reprised by the prostitute Fraulein Kost at the end of act one and builds to the entire chorus singing it, as a metaphor for the spread of the Nazi party as a nationalistic sentiment. i believe in the film version the sequence takes place in a beer garden, and may be begun by an actual soldier (or a Nazi Youth Party member, sort of an ultraconservative version of a boy scout), which then builds to the entire population of the restaurant singing together. It is a very dramatic and fitting device, one of the most memorable in musical theatre.

[JO125]

Posted: 10/10/03 at 5:14pm

Thank you TxTwoStep. I am not familiar with the original staging so your description gives me some insight. My memory of the movie is very fuzzy, and am probably wrong on this, but I seem to remember the song being done in an outdoor area--was the beer garden outdoors? It was started by a Nazi Youth Party member and I remember it building through the crowd. Very chilling!

[robbiej]

Posted: 10/10/03 at 5:20pm

Yes, it was out of doors.

And what's far more chilling is the number of actual Germans used in the filming of that movie not even 30 years after the end of the war. Freaks me out every time.

God love Bobby Fosse!

[ChrisLovesShows]

Posted: 10/10/03 at 6:11pm

SPOILER ALERT:

Recall that in the staging of the current revival, the song is reprised at Herr Schultz and Fraulein Schneider's engagement party. By the end of the song, everyone else has joined hands and formed a circle, leaving Herr Schultz and Fraulein Schneider on the outside. They are clearly and disturbingly excluded because Herr Schultz is Jewish. I believe the very next scene--with the loud breaking glass sounds--tells us that Herr Schultz' produce store has been vandalized.

[ChrisLovesShows]

Posted: 10/10/03 at 6:11pm

SPOILER ALERT:

Recall that in the staging of the current revival, the song is reprised at Herr Schultz and Fraulein Schneider's engagement party. By the end of the song, everyone else has joined hands and formed a circle, leaving Herr Schultz and Fraulein Schneider on the outside. They are clearly and disturbingly excluded because Herr Schultz is Jewish. I believe the very next scene--with the loud breaking glass sounds--tells us that Herr Schultz' produce store has been vandalized.

[TxTwoStep]

Posted: 10/10/03 at 6:33pm

the breaking glass sound refers to "Krystalnacht" or the "night of broken glass" in 1938.

when there was a sweep of the state-empowered police and young Nazis through the Jewish sections of the German cities, when every pane of glass that was in any way related to the Jewish culture -- be it the window of a store, a synagogue, or a private home -- was shattered. 'If we rid ourselves of the scum known as Jews,' the authorities said, 'We will have solved the social problems of the nation.'" (From E for Ecstasy by Nicholas Saunders).

Of course, the "brick through the glass" image and action has long been one of terrorism and vandalism, but the juxtaposition of this song and this occurence in the staging is pretty telling.

[ChristineDaae]

Posted: 10/10/03 at 6:46pm

hmm I didn't know this about "Cabaret", thanks for filling me in!

Posted: 10/10/03 at 7:08pm

Christine, no offense but time to escape the Belle Epoque.

Bulldog.

[newyorkuniq]

Posted: 10/10/03 at 7:19pm

Well i've seen Cabaret 4 times now and never understand how the song "If You Could See Her Through mY Eyes" and the gorilla costume fit in. I see how it works with the song but the story????

[TxTwoStep]

Posted: 10/10/03 at 7:40pm

again, i can't remember how the revival uses the final lyric, but when it is "she wouldn't look Jewish at all", then the connection is that for Nazi sympathesizers dating a Jew was just like dating an ape (in other words, the Jews had not evolved as far as their "master race" Aryans). The charm of the vaudeville-like "novelty act" of the dancing gorilla was juxtaposed to the lyrics of "no one will approve" "why can't they leave us alone" and of course parallels the Schneider/Schultz romance. Since that aspect of the plot was de-emphasized in the movie (Schneider/Schultz), a lot of people miss the connection and just think it's another example of the Emcee's outrageous showing-off-in-show-biz behavior. When i was in college i played Cliff and the gorilla as well, so as Sally entered for her next number our Emcee took my gorilla head off and kissed me on the lips (which shocked even Sally). That was how we suggested more of what the film and the revival did about Cliff's sexuality (which as has been stated in other threads here, is based on the original writer Isherwood's own ambivalence. He was in a gay relationship with a well-known photographer for much of his life

[magruder]

Posted: 10/10/03 at 8:27pm

Actually, Cabaret is set in 1929-1930 Berlin, pre-dating Krystalnacht, but violence against Jews and Jewish businesses was already commonplace.

And I differ on the reading of the ending of the ending of "If You Could See Her". I don't think Kander and Ebb are equating Jews or Aryan perception of Jews as being ape-like (although lord knows that anti-Semitic publications like Der Sturmer often featured grossly exaggerated, animalistic caricatures of Jews, so an anti-Semitic number in a Berlin nightclub probably would not have been out of place).

I think Kander and Ebb have commented to this effect somewhere, but "If You Could See Her," to me, is an ironic vaudeville take on the Schultz-Schneider relationship. The Emcee is singing about a forbidden love, but it turns out that the offending quality is not that she's a gorilla, as the rest of the song leads you to expect, but that she's Jewish. It's a stinging indictment on how people judge other people, and the twist at the end pulls the rug out from under you.

Unfortunately, some Jewish groups at the time of Cabaret's 1966 premiere did think that the authors were equating Jews with apes, which led to that limp noodle substitute line, "She isn't a meeskite at all," although Joel Grey reportedly would often sneak the original line into performances, particularly when Walter Kerr was in the house. I think in the commentary for the DVD of the movie version, they mention that Joel Grey says the line very quietly, in case it had to be dubbed out of the film later, although thankfully, "She wouldn't look Jewish at all" remained in the film.

[JO125]

Posted: 10/10/03 at 10:16pm

I also never took "If You Could See Her Through My Eyes" as in any way equating Jews with apes. The song is allegorical to the Schultz/Schneider relationship. All of the club songs in some way reflect the evolving storyline. This song's placement comes on the heels of the whole "Tomorrow Belongs to Me" scene and right after the vandalism occurs at the fruit store, and Schneider realizes that she will not be able to maintain the relationship with Schultz. It's a tragic moment, and the song really reflects the tragedy of the situation, albeit using a comic scenario.

I see the song as actually denouncing bigotry and trying to say that it is wrong to judge people on outer appearances, race, religion, sexual preference. Love someone because of their qualities, "live and let live", let others love who they love--it' nobody elses business.

The last line about the ape not looking Jewish is what changes the song from comic to chilling, although audiences always seem to laugh at that line, and I can't say I understand why. Maybe it's a nervous laugh?

[King Stevos]

Posted: 10/10/03 at 10:44pm

I never laughed at that line, but I always get chills up my spine, in fact the first time I heard it, I actually gasped.

STEVOS

[TxTwoStep]

Posted: 10/11/03 at 2:11am

i hope i didn't imply that Kander & Ebb were equating Jews with apes; i think instead some may have inferred that from my post. i hope what i said was that to some NAZIS Jews and apes were closer on the evolutionary chain than Jews and Aryans. That's why the song works on many levels, besides comic (novelty) vaudeville and Schultz/Schneider allegory. And in any case, i never suggested that the apes and Jews equation was a conscious choice on either the author's, character's, or audience's part. But i don't think you can deny it exists because it isn't immediately apparent.

As to the use of "meeskite" for "Jewish" in the song's tag, it was particularly ludicrous as an entire other number, sung by Schultz and Sally, uses that phrase as the chorus.

As to the "time line" of CABARET and the Nazi movement, kindly remember that the piece was written well after the period, and even well after Isherwood's source materials were published. So the telescoping of the growth of the Nazi party, including violence toward Jews, makes literary sense. The "Krystalnacht" image is so strong that several pieces dealing with anti-Semitism employ variations on the theme, regardless of their chronological setting. "Krystalnacht" became famous because of the sheer number of windows broken, and doubtless vandalism occured prior; again, to say that it can't be evoked because it hadn't occurred at the time of the play's setting is somewhat irrelevant. For a contemporary example, try reading any use of the word "gay" in any period, WITHOUT the subtext of its subsequent meaning. A footnote may explain that the image is not the one with which it has become associated, but the listener/viewer/audience signifies first and clarifies later. In the same vein, "9/11" will never have an innocous meaning for an American again.

Isn't it great that such an entertaining piece of musical theatre can also prompt such discussion?!?!

[King Stevos]

Posted: 10/11/03 at 2:59am

Yes, It's intriguing, I would also like to hear everyones thoughts on the moment The Emcee sings I dont care much...Magruder gave me a nice explanation, one time, I just would like to hear everyone elses point of view on it. It always seemedto stop the show, say we are giving the star a song to sing, and then continue afterwards...so on that moment...what are your thoughts

[PJ]

Posted: 10/11/03 at 10:48am

When I saw the show last December no one, atleast in the orchestra laughed at the "she wouldn't look Jewish at all" part. Infact, I think they gasped. I didn't because I knew that line was coming. But when I first heard that line in the movie version, I was actually shocked.

[cabarethed]

Posted: 10/11/03 at 11:10am

Lately, the audience has been giggling at "She wouldn't look Jewish" a lot. A good Emcee gives the best punch in the face with "At all," especially in those circumstances.

I Don't Care Much. The simultaneous most gorgeous and wrist-slitting song. I always felt that the Emcee was emulating Sally up there. I always felt a little flashback to when Kost is up in the square as the chanteuse (and she certainly fits the description of the song). But between the sparkly dress, hairstyle, and no care in the world, he's really representing Sally. It's kind of like everything that the supposed happiness of the song Cabaret is suppressing. Sally will never explicitly sing f**k the world, she masks all those emotions, even after the abortion. Outwardly, she's still clinging to her delusion that Berlin is one big party and will support her no matter what. I Don't Care Much shows what she's truly feeling. When she's shown in that empty orchestra block at the end...chills every time.

[BrdwyThtr]

Posted: 10/11/03 at 11:34am

Cabaret is an awesome musical because it has those little moments that leave you thinking.

[TxTwoStep]

Posted: 10/11/03 at 11:37am

from a purely practical point of view, i also think "Don't Care Much" is a way to balance out our two leads...the Emcee and Sally...with equivalent acting moments. It's interesting since the film how the status of the leading players has changed in the public focus. The original production had the legendary Lotte Lenya (with her Brecht associations) as Schneider, so that role had a lot of prominence naturally and Sally was virtually a featured player. The prominence of Sally in the film, as well as the Emcee (based on Grey's extreme popularity in the part) shifted the public perception of the piece. It remains, to me, one of the most balanced of ensemble pieces, particularly when Sally's songs added for the film are included. "I Don't Care Much" is an example of that balance.

[lensman55]

Posted: 10/11/03 at 3:58pm

I've only seen the film, but.

"Tomorrow Belongs To Me" seems to represent the growing strength of the Nazis. Notice in the film, the rich man is talking about how the Nazis will control the Communists and then "they" (the good Germans) will control the Nazis. After the song reaches its climax, Michael York turns to the rich man and says "Still think you can... control them?"

"If You Could See Her Through My Eyes" didn't seem to me to be suggesting the Nazis see Jews as apes. I thought it was a satirical look at their viewpoints. We're all supposed to think that everybody's scorning the MC and his girlfriend because she's an ape whereas it's actually because she's a JEWISH ape. (Apparently a Christian ape would be OK)

Reminds me of a story by Phillip Jose Farmer. The story is a crossover between Sherlock Holmes and Tarzan. At an early part of the story, several members of the House of Lords are discussing the strange situation of Lord Greystroke. (paraphrasing)

LORD #1: I understand Lord Greystroke's gone to Africa and is living with an ape!

LORD #2: A female ape?

LORD #1: Of course, nothing queer about old Greystroke!

[lux02]

Posted: 10/11/03 at 4:19pm

Just saw Cabaret for the first time last night...still taking it all in...

Anyway, since we're talking about how people interpreted different parts of the show, I was just wondering what people thought the ending ment. I have a few different ideas but I wanted to see what you guys thought.