Question about Cabaret...

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.

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!

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.

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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.

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

Bulldog.

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

Will: They don't give out awards for helping people be gay... unless you count the Tonys. "I guarantee that we'll have tough times. I guarantee that at some point one or both of us will want to get out. But I also guarantee that if I don't ask you to be mine, I'll regret it for the rest of my life..."

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?

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?!?!

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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.

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

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!

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