… You’re like, ‘Oh yeah, I’m watching a musical!’ That’s part of the structure of the piece, it’s meant to suck you in, then pull the rug out from underneath.”Īmid this backdrop, we get a biting songbook by John Kander and Fred Ebb. … It’s very enticing, so you forget what you’re watching because you’re seeing these beautiful decadent costumes.
“You can easily get sucked into the beauty of it all. “Aesthetically speaking, all of the designers heavily researched a lot of dance halls and cabarets that were a little more decadent, upper class,” Park said. You’re seeing a really beautiful world, a very expensive entry fee, and something you’re very sad to see decay.”ĭirector Alan Paul and scenic designer Wilson Chin present a rear wall mirror, giant red drapes and six chandeliers loaned by the Washington National Opera. “At one moment it’s lighthearted, then suddenly it can no longer be. “The Emcee functions as a contemporary political cartoon / late-night comedian, the satirist that takes liberties to explain and comment upon what is happening sociologically,” Silber said. Indeed, the Emcee laces his charming showmanship with underlying warnings. … So, it gives you a lot of freedom to play with different colors in your acting and vocal coloring book.” The Emcee gets to be this conduit as to what was happening in Germany and what’s happening in the story. “The emcee is both within the story but also provides commentary on things that are happening socioeconomically and politically at the time. “He’s a very elusive, weird, creepy, androgynous person that tries to bring the audience in like a ghostly narrator,” Park said. He loves that the Emcee is detached from the story as the show’s conscience. I remember watching it saying, ‘This is some of the best theater I’ve ever seen.’ It was dark, twisted and something I wanted to be a part of.” It was pro-shot, it looked like it was for PBS or BBC. “I watched Alan Cumming’s version at the Donmar Warehouse … before it came to. “When I was in high school, I saw YouTube videos of it,” Park said. Likewise, co-star Mason Alexander Park said the 1998 revival was also his first exposure, meaning his first Emcee template was Alan Cumming, not Joel Grey. … You realize you’re being intoxicated, entertained and slowly creeping in with the social message.” I was a 14-year-old in the mezzanine, profoundly moved / deeply scarred. “It was the second Broadway show I ever saw. “My first exposure was the 1998 revival,” Silber said.
Ironically, Silber’s first encounter was not Minnelli, but Natasha Richardson. “‘Cabaret’ is a play about the price of complicity, the price of a neutral stance in an increasingly antagonistic world and an answer to the question: How did this happen? … When bigotry and hatred looms, what are you going to do about it?” “It basically is about the rise of fascism in the Weimar Republic,” Silber said. It explores the divinely decadent Kit Kat Club, where American writer Cliff Bradshaw falls for British cabaret star Sally Bowles amid the orchestrations of a ravishing Emcee. … Not only will you be entertained, but hopefully also moved and most importantly galvanized to leave the theater and do something.”Īdapted by Joe Masteroff from John Van Druten’s 1951 play “I Am a Camera,” which was itself based on Christopher Isherwood’s 1939 novella “Goodbye to Berlin,” the show is set in 1931 Berlin during the rise of Nazi Germany. “You will see beautiful costumes, hear a 17-piece orchestra, a perfectly cast version of this classic. “This is a classic piece of musical theater,” lead actress Alexandra Silber said. Now, “Cabaret” turns Olney Theatre Center into the Kit Kat Klub until Oct.
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In 1972, the movie version won eight Oscars, including Best Director for Bob Fosse, Best Actress for Liza Minnelli and Best Supporting Actor for Joel Grey. In 1966, the Broadway musical won eight Tonys, including Best Musical. Business & Finance Click to expand menu.
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