362 posts
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Post by JJShaw on Feb 27, 2022 22:25:50 GMT
Interesting (I think) point about the evolution of the Emcee: I worked with Joe Masteroff on a program related to Cabaret. He talked about the evolution of the Emcee character, originally a supporting role, which was why Joel Gray won the Featured Actor Tony Award (Jack Gilford, as Herr Schultz, won nominated for Best Leading Actor). Boris Aronson designed the sets for the original production. They were big, complicated sets. Masteroff said that it took time for them to get into place between scenes, so it was decided that, during those scene-changes, they should "Let Joel do something." So the role grew during that period. But the original billing hung on for that production, as the cast album cover shows: m.media-amazon.com/images/I/61S0pfYtMuL._SX522_.jpgWow didn't know that thank you so much what a fun little tidbit! Interesting that Fräulein Schneider - Lotte Lenya in the OBC was also nominated for leading actress, did the original have more of a focus on them? |
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Post by jaggy on Feb 27, 2022 23:26:39 GMT
Interesting (I think) point about the evolution of the Emcee: I worked with Joe Masteroff on a program related to Cabaret. He talked about the evolution of the Emcee character, originally a supporting role, which was why Joel Gray won the Featured Actor Tony Award (Jack Gilford, as Herr Schultz, won nominated for Best Leading Actor). Boris Aronson designed the sets for the original production. They were big, complicated sets. Masteroff said that it took time for them to get into place between scenes, so it was decided that, during those scene-changes, they should "Let Joel do something." So the role grew during that period. But the original billing hung on for that production, as the cast album cover shows: m.media-amazon.com/images/I/61S0pfYtMuL._SX522_.jpgWow didn't know that thank you so much what a fun little tidbit! Interesting that Fräulein Schneider - Lotte Lenya in the OBC was also nominated for leading actress, did the original have more of a focus on them? I'm not totally sure if Fräulein Schneider had "more focus" per se. Lotte Lenya was one of the biggest names in the cast and Jill Haworth received poor reviews/ a poor review from the New York times. Both factors contributed to Lenya getting a leading actress nom at the Tonys over Haworth. Also, the original 1966 Broadway production has evolved over time due to the Fosse movie and changes in culture. The original was a more sanitised version and had fewer songs. Over time, various productions have slowly added more songs; 1986 London Revival: Used Maybe This Time and changed the Money song to the film version (1966 Broadway had an entirely different money song). 1987 Broadway Revival; Used both versions of the Money song, had the Emcee join in with the waiters to sing Tomorrow Belongs to Me, removed Herr Schultz's solo, Meeskite, and added a new song for Cliff. 1993 Donmar Revival; Used Maybe This Time, Mein Herr, Money song (just the film version) and I don't Care Much (A song written but cut in 1966 during try-outs). 2006 London Revival; Used Maybe This Time, Mein Herr, I don't Care Much, Money song (film version) and had the Emcee sing the entirety of Tomorrow Belong to Me. As you can imagine the inclusion and exclusion of these songs shifted the focus between different characters. Joel Grey actually reprised the role in the 1987 revival, again directed by Hal Prince. I believe that revival increased the Emcee's role due to Joel Grey being the main attraction. Sam Mendes' direction was a huge influence too. He added the Emcee into scenes where they weren't before i.e. the breaking the glass during Married. All of this and the book becoming less sanitised with each production influenced who the audience considers primary and secondary characters. I'm sure I've missed more as it's quite difficult to pint point each and every change. |
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913 posts
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Post by karloscar on Feb 28, 2022 8:09:03 GMT
Lotte Lenya would have been the main attraction for audiences in 1966, having had Tony winning success with the Threepenny Opera on Broadway, and movie notoriety with Rosa Klebb in From Russia With Love a couple of years before, and an Academy Award nomination for The Roman Spring of Mrs Stone. And Fraulein Schneider was written with her in mind so it's no surprise she took top billing.
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583 posts
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Post by princeton on Feb 28, 2022 13:32:25 GMT
The other thing about Lotte Lenya was that she was the real deal. She'd been living and working in Berlin during the last days of the Weimar Republic - so would be familiar with the cabaret bars of that era (though too big a star to have worked there I imagine). She also fled Germany in the early 1930s because of the rise of the nazism in the country.
Also Jack Gifford who played Herr Shultz in the original production was a big star both as a comedian and on Broadway, indeed he had a high enough profile to be included on the McCarthy blacklist.
Whereas Jill Haworth who played Sally was a 21 year old film ingenue with almost no theatre credits - who, as mentioned above, got terrible reviews - with the NYT calling her casting "the evening's single and all too obvious mistake."....."she is a damaging presence, worth no more to the show than her weight in mascara". The Times also noted that with this hole in the centre of the production - Lenya and Gilford became the focus at least during the first act of the show.
I think that it's a great shame that the characters of Schneider and Schultz have become less central as the years have gone - largely driven the changes made in the film and then by productions which want to put the whole cabaret location front and centre (even if that is sometimes a fine line between immersive theatre and theme park experience). They represent a different side of Berlin life in the 1920s, perhaps the more authentic lived one and, to me, are the heart and soul of the piece. I don't particularly like the way that this production stages 'What Would You Do' - bordering on torch song on the cabaret stage complete with heroics and flashy lighting - but that's maybe because I've seen at least a dozen different productions of Cabaret and have favourite moments from each of them, and this moment didn't move me (it seemed staged to elicit, and then get, whoops from the audience - the curse of the x-factor response).
I guess that's my biggest issue with this production which has many strength and great moments particularly in the book scenes - but it doesn't really move or shock me. I'm not sure whether that's because I'm over familiar with the material, or that I've seen other productions which did move me - or whether I just couldn't get beyond the cynical high ticket prices and drinks and nibbles packages which resulted in Liza-esque audience arm gestures during Jessie Buckley's gut wrenching rendition of 'Cabaret' or swaying along to 'Tomorrow Belongs To Me' - both of which happened all three times I've seen it (thankfully the sing along only happened once). It will be interesting whether a less starry cast will change the audience dynamic.
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Post by minion on Feb 28, 2022 13:58:59 GMT
The other thing about Lotte Lenya was that she was the real deal. She'd been living and working in Berlin during the last days of the Weimar Republic - so would be familiar with the cabaret bars of that era (though too big a star to have worked there I imagine). She also fled Germany in the early 1930s because of the rise of the nazism in the country. Also Jack Gifford who played Herr Shultz in the original production was a big star both as a comedian and on Broadway, indeed he had a high enough profile to be included on the McCarthy blacklist. Whereas Jill Haworth who played Sally was a 21 year old film ingenue with almost no theatre credits - who, as mentioned above, got terrible reviews - with the NYT calling her casting "the evening's single and all too obvious mistake."....."she is a damaging presence, worth no more to the show than her weight in mascara". The Times also noted that with this hole in the centre of the production - Lenya and Gilford became the focus at least during the first act of the show. I think that it's a great shame that the characters of Schneider and Schultz have become less central as the years have gone - largely driven the changes made in the film and then by productions which want to put the whole cabaret location front and centre (even if that is sometimes a fine line between immersive theatre and theme park experience). They represent a different side of Berlin life in the 1920s, perhaps the more authentic lived one and, to me, are the heart and soul of the piece. I don't particularly like the way that this production stages 'What Would You Do' - bordering on torch song on the cabaret stage complete with heroics and flashy lighting - but that's maybe because I've seen at least a dozen different productions of Cabaret and have favourite moments from each of them, and this moment didn't move me (it seemed staged to elicit, and then get, whoops from the audience - the curse of the x-factor response). I guess that's my biggest issue with this production which has many strength and great moments particularly in the book scenes - but it doesn't really move or shock me. I'm not sure whether that's because I'm over familiar with the material, or that I've seen other productions which did move me - or whether I just couldn't get beyond the cynical high ticket prices and drinks and nibbles packages which resulted in Liza-esque audience arm gestures during Jessie Buckley's gut wrenching rendition of 'Cabaret' or swaying along to 'Tomorrow Belongs To Me' - both of which happened all three times I've seen it (thankfully the sing along only happened once). It will be interesting whether a less starry cast will change the audience dynamic. I've not seen this production so can't comment on that, but in general, I think it's wrong to say that the old couple are the only ones that represent the "authentic lived" life of Weimar Berlin. You might not find any resemblance with the lives of the cabaret artists perhaps, but their depiction is just as potent to the material. |
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Post by jaggy on Feb 28, 2022 15:33:03 GMT
The other thing about Lotte Lenya was that she was the real deal. She'd been living and working in Berlin during the last days of the Weimar Republic - so would be familiar with the cabaret bars of that era (though too big a star to have worked there I imagine). She also fled Germany in the early 1930s because of the rise of the nazism in the country. Also Jack Gifford who played Herr Shultz in the original production was a big star both as a comedian and on Broadway, indeed he had a high enough profile to be included on the McCarthy blacklist. Whereas Jill Haworth who played Sally was a 21 year old film ingenue with almost no theatre credits - who, as mentioned above, got terrible reviews - with the NYT calling her casting "the evening's single and all too obvious mistake."....."she is a damaging presence, worth no more to the show than her weight in mascara". The Times also noted that with this hole in the centre of the production - Lenya and Gilford became the focus at least during the first act of the show. I think that it's a great shame that the characters of Schneider and Schultz have become less central as the years have gone - largely driven the changes made in the film and then by productions which want to put the whole cabaret location front and centre (even if that is sometimes a fine line between immersive theatre and theme park experience). They represent a different side of Berlin life in the 1920s, perhaps the more authentic lived one and, to me, are the heart and soul of the piece. I don't particularly like the way that this production stages 'What Would You Do' - bordering on torch song on the cabaret stage complete with heroics and flashy lighting - but that's maybe because I've seen at least a dozen different productions of Cabaret and have favourite moments from each of them, and this moment didn't move me (it seemed staged to elicit, and then get, whoops from the audience - the curse of the x-factor response). I guess that's my biggest issue with this production which has many strength and great moments particularly in the book scenes - but it doesn't really move or shock me. I'm not sure whether that's because I'm over familiar with the material, or that I've seen other productions which did move me - or whether I just couldn't get beyond the cynical high ticket prices and drinks and nibbles packages which resulted in Liza-esque audience arm gestures during Jessie Buckley's gut wrenching rendition of 'Cabaret' or swaying along to 'Tomorrow Belongs To Me' - both of which happened all three times I've seen it (thankfully the sing along only happened once). It will be interesting whether a less starry cast will change the audience dynamic. Out of interest, what was your favourite production and who were your favourite; Sally, Emcee, Schneider and Schultz? |
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1,285 posts
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Post by theatrefan77 on Feb 28, 2022 15:34:37 GMT
The other thing about Lotte Lenya was that she was the real deal. She'd been living and working in Berlin during the last days of the Weimar Republic - so would be familiar with the cabaret bars of that era (though too big a star to have worked there I imagine). She also fled Germany in the early 1930s because of the rise of the nazism in the country. Also Jack Gifford who played Herr Shultz in the original production was a big star both as a comedian and on Broadway, indeed he had a high enough profile to be included on the McCarthy blacklist. Whereas Jill Haworth who played Sally was a 21 year old film ingenue with almost no theatre credits - who, as mentioned above, got terrible reviews - with the NYT calling her casting "the evening's single and all too obvious mistake."....."she is a damaging presence, worth no more to the show than her weight in mascara". The Times also noted that with this hole in the centre of the production - Lenya and Gilford became the focus at least during the first act of the show. I think that it's a great shame that the characters of Schneider and Schultz have become less central as the years have gone - largely driven the changes made in the film and then by productions which want to put the whole cabaret location front and centre (even if that is sometimes a fine line between immersive theatre and theme park experience). They represent a different side of Berlin life in the 1920s, perhaps the more authentic lived one and, to me, are the heart and soul of the piece. I don't particularly like the way that this production stages 'What Would You Do' - bordering on torch song on the cabaret stage complete with heroics and flashy lighting - but that's maybe because I've seen at least a dozen different productions of Cabaret and have favourite moments from each of them, and this moment didn't move me (it seemed staged to elicit, and then get, whoops from the audience - the curse of the x-factor response). I guess that's my biggest issue with this production which has many strength and great moments particularly in the book scenes - but it doesn't really move or shock me. I'm not sure whether that's because I'm over familiar with the material, or that I've seen other productions which did move me - or whether I just couldn't get beyond the cynical high ticket prices and drinks and nibbles packages which resulted in Liza-esque audience arm gestures during Jessie Buckley's gut wrenching rendition of 'Cabaret' or swaying along to 'Tomorrow Belongs To Me' - both of which happened all three times I've seen it (thankfully the sing along only happened once). It will be interesting whether a less starry cast will change the audience dynamic. I agree with your comments. Good as this production might be it didn't move me like other productions have. The ending of the of the Sam Mendes production still gives me chills even when watching the TV version. As a contrast the ending in this production didn't do anything for me with whole cast in male suits, I found it a bit pointless. And the immersive thing when you arrive at the theatre is just too gimmicky for my liking, I got bored of it after 5 minutes. There are of course parts of the show that I did enjoyed. Thought Redmayne was excellent and the score is without a doubt one of the best Kander and Ebb. Most of the cast were good too, but I didn't rate Buckley's much, although it's probably the way she's directed. Another one I didn't warm up to was Liza Sadovy as Fraulein Schneider, but that's probably because I have some strong memories of Sara Kestelman in the part. I will be happy to see it again with new cast, but only if they drop the prices. |
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721 posts
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Post by theatremiss on Feb 28, 2022 18:44:12 GMT
Well having seen Fra in most of the shows he has been in, plus been at his concerts I can say he has a superb voice and is a true musical performer. I’d happily see him in the role, but from what I can gather he is in the film of Beauty and the Beast and not sure if that starts in the next couple of months. Rehearsals for the new cast start on the 19th March so I suspect there will be an announcement soon. I have booked a couple of seats for July just on the off chance there’s a good cast
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Post by jaggy on Feb 28, 2022 18:47:22 GMT
Well having seen Fra in most of the shows he has been in, plus been at his concerts I can say he has a superb voice and is a true musical performer. I’d happily see him in the role, but from what I can gather he is in the film of Beauty and the Beast and not sure if that starts in the next couple of months. Rehearsals for the new cast start on the 19th March so I suspect there will be an announcement soon. I have booked a couple of seats for July just on the off chance there’s a good cast I believe that Beauty and the Beast prequel series is on hold. It was the one with Rita Ora, right? So I guess he's free. |
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583 posts
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Post by princeton on Feb 28, 2022 23:39:53 GMT
I think it's wrong to say that the old couple are the only ones that represent the "authentic lived" life of Weimar Berlin You're right and it wasn't my intention to suggest otherwise. I was going to say 'the authentic lived life of ordinary Germans' then I decided that ordinary germans was an unhelpful, and rather judgemental phrase. I think that as written in the original libretto - there's a very good balance between those characters involved in the cabaret and those who are not. Adding additional songs for Sally and the Emcee and removing them from the older couple has, in my opinion, rather unbalanced things. |
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Post by Kubrick on Mar 1, 2022 0:07:33 GMT
Saw this tonight.
Life changing theatrical experience. Truly.
Redmayne’s performance is brave and absolutely thrilling.
Buckley gives the performance of a lifetime.
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5,877 posts
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Post by mrbarnaby on Mar 1, 2022 9:34:37 GMT
Cast announcement this morning…
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19,750 posts
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Post by BurlyBeaR on Mar 1, 2022 9:55:49 GMT
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321 posts
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Post by ilovewemusicals on Mar 1, 2022 10:53:15 GMT
Gonna do a Masked Singer and seal in my final guesses.
I reckon it’s Fra Fee and Billie Piper
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Post by ladidah on Mar 1, 2022 10:54:33 GMT
I'm going to guess Paul Zerdin and Carrie Hope Fletcher  |
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321 posts
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Post by ilovewemusicals on Mar 1, 2022 10:56:28 GMT
I'm going to guess Paul Zerdin and Carrie Hope Fletcher You’re TheatreBoard’s answer to Jonathan Ross |
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Post by ThereWillBeSun on Mar 1, 2022 11:00:07 GMT
Billie blew me away in Yerma. I could totally see her in this! If I can see it again...I will. I think whomever they cast will bring a completely new take on Sally hopefully!
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Post by pomegranate on Mar 1, 2022 11:06:49 GMT
I know she’s doing Prima Facie but wouldn’t Jodie Comer be a great Sally!
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19,750 posts
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Post by BurlyBeaR on Mar 1, 2022 11:09:30 GMT
It’s Darius Campbell and Sheridan Smith. Reunited again!
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Post by ThereWillBeSun on Mar 1, 2022 11:11:19 GMT
It’s Darius Campbell and Sheridan Smith. Reunited again! I have mixed feelings if this is true. |
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Post by ladidah on Mar 1, 2022 11:11:47 GMT
I can imagine him doing Cabaret but in the style of his Popstars 'hit me baby one more....timeeeee timeeeee'
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Post by ThereWillBeSun on Mar 1, 2022 11:14:01 GMT
All credit due - he was excellent in Funny Girl!
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19,750 posts
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Post by BurlyBeaR on Mar 1, 2022 11:14:40 GMT
All credit due - he was excellent in Funny Girl! And very pleasant to look at ☺️ |
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Post by ladidah on Mar 1, 2022 11:15:42 GMT
It's out!!
Taking on the roles from 21 March 2022 will be Fra Fee (Hawkeye, The Ferryman) as the Emcee alongside Amy Lennox (Kinky Boots, Lazarus) as Sally Bowles. Also joining the show will be Omar Baroud (Baptiste) as Cliff Bradshaw and Vivien Parry (Half a Sixpence) as Fraulein Schneider. Continuing in their roles will be Elliot Levey as Herr Schultz, Stewart Clarke as Ernst Ludwig and Anna-Jane Casey as Fraulein Kost.
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Post by ThereWillBeSun on Mar 1, 2022 11:18:04 GMT
Fra Fee will star as the Emcee alongside Amy Lennox as Sally Bowles between 21st March and 25th June, with Omar Baroud (Cliff) and Vivian Parry (Fraulein Schneider) also joining the cast.
Fra Fee most recently starred as Kazi in the hit Disney+ series Hawkeye, set in the Marvel Cinematic Universe and his past theatrical productions include The Ferryman (Royal Court, Gielgud, Broadway), Translations and As You Like It (National Theatre).
OK!
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