Cabaret

created by phantange
(place) by Kit Lo (4.6 y) (print)   (I like it!) 1 C! Sat Nov 13 1999 at 14:18:43
A musical written by John Kander and Fred Ebb (music and lyrics), and Joe Masteroff (book). Yes, Kander and Ebb were also the songwriters for Chicago: The Musical.

In 1972, it was made into a movie (starring Liza Minelli and Joel Grey) was directed by none other than Bob Fosse.

Ute Lemper also played the role of Sally Bowles in the 1986 production of this musical in Paris.

The show is currently playing in Studio 54 in Broadway. Very appropriate for the setting of this musical, n'est-ce pas?

What good is sitting alone in your room?
Come hear the music play.
Life is a cabaret, old chum.
Come to the cabaret...

Web Site: http://www.cabaret-54.com

December 17, 1999:

Today, I've gone to see the show in Studio 54. For Tuesdays through Thursdays, day-of-performance tickets are available (mezzaine seats) for $25.

The show, as it works in the Studio 54 environment, has more life into it, more "realness" to the decadent and raw feelings to match the Kit Kat Girls and Boys. The Emcee (Michael Hall), though he doesn't look the part of a weird-ass silly "narrator" of a guy with his build (unlike Alan Cumming in the first year of this revival and Joel Grey from the movie), has the voice and has the attitude that fits the stage. The "Toast of Mayfair" Sally Bowles, (played by Susan Egan) is a very lively girl but to the expense of American Clifford Bradshaw (Michael Hayden) in the end of 1932 to 1933's Berlin, the Weimar Republic.

The first act of the show goes to the meeting with Clifford and Ernst Ludwig (Martin Moran) through the emotions of Bowles in love with Mr. Bradshaw, to the love between Herr Schultz (Dick LaTessa) and Fraulein Schneider (Carole Shelley). Mr. Hall's performance with the song "Money" with the Kit Kat Girls is one piece I loved.

However, the second act has more of a jarring effect like the sound of a window broken with a brick (which the emcee drops between the older lovers as a sign, a piece of the social wall which leads to the intending breakup between them). The second act becomes the anticlimax with Ms. Egan singing "Cabaret" as though her character is having a nervous breakdown, crying her guts out, and throwing the microphone stand to the floor with fury.

In her one-woman cabaret act, Ute Lemper quoted from Kurt Weill that musicals were too narcotic to the masses. Well, this rendition (obviously being a musical) is definitely not narcotic. After all, the real-life Weill had to leave at the same time as with the fictional Bradshaw.

(idea) by pukesick (5.4 d) (print)   (I like it!) Tue Feb 29 2000 at 8:33:00
1. To listen to a radio program of night-club bands, until the central set is turned off. 2. To lie awake indulging in erotic fantasy and masturbation. "You better knock off (stop) reading that hot stuff (pornography) and going cabareting or you'll wind up bugged (committed to the insane asylum)."

- american underworld dictionary - 1950
(thing) by tribbel (2.1 y) (print)   (I like it!) Sat Sep 30 2000 at 0:33:37

In the Netherlands, the word "cabaret" is used to describe something like stand-up comedy, but with added depth.

A stand-up comedian usually just ... well, stands up, and makes jokes. In cabaret, the performer (called "cabaretier") makes jokes, varied with songs, short poems, his political views, etc.

The use of props and orchestras is also quite common in cabaret.

The "new year's eve conference" is held every year. Here, one of the best cabaretiers in the country states his views on the past year, and discusses what he thinks will follow. Of course, this is done with a lot of comedy in between.

(idea) by JDWActor (12.2 hr) (print)   (I like it!) Sat Feb 16 2002 at 3:24:00
Interestingly, the title song from this musical is a regular on the drag performance circuit, which strikes me as a bit odd: in context, it is a desperate, anguished cry on the part of Sally Bowles. The drag queens that I've seen perform it take it as a jazzy, upbeat song, which, in context, it most certainly is not.
(idea) by Cornflakes (2.2 y) (print)   (I like it!) 1 C! Thu May 22 2003 at 16:22:08

This was an essay I had to write for my history class, discussing the topic "For all its show of fun and careless self-indulgence, Cabaret confronts some dark and serious issues." It's about the movie, not the play, and may give away a few key moments in the film, so read at your own risk if you haven't yet seen the movie. (Also, any constructive criticism is *very* welcome).

Cabaret, an enchanting spectacle full of good times and playfulness, manages to do what most musicals do not - it mixes its entertaining numbers with the serious and disturbing issues that were significant during the time that the musical takes place - the decadent Berlin of 1931.

From the first scene we are lured in a cabaret, the Kit Kat Club by the MC. We are told to 'leave all your troubles outside' and that 'here, life is beautiful'. Indeed, things are tempting inside the club, and we are introduced to the dancers, orchestra and main protagonist of the film - the memorable Sally Bowles. Sally revels in her 'divine decadence', falls in love with Brian and Maximilian and tries to borrow the illusion of a delightful and thrilling world from the stage into her life. Things inside the Kit Kat club might be all fun and games, but out in the real world it is not so.

Even though life in the Kit Kat Club is inviting, outside the club Germany is recovering from the effects of the Great Depression. The beauty of this film is that it uses its songs to parallel the story line while we see it unravel before us. So songs like 'Money' with lyrics claiming 'Money makes the world go around' reflect what was going on economically in Germany at the time. Other songs, like 'Mein Leiber Herr' boast lyrics like 'Farewell mein lieber Herr / It was a fine affair / but now its over' which can be interpreted as a farewell to the Weimar Republic as it makes way for Nazi Germany. 'Maybe This Time' expresses the hope felt by the German people as they picked up the pieces of their broken society and set out to rebuild, with lyrics like 'Not a loser anymore / Like the last time / And the time before'.

Because the film is set in 1930s Berlin it also deals with the issue of Nazism, and namely its growing popularity at the time. Towards the start of the film the Nazis aren't yet the dominant political party; a Nazi donation collector being thrown out of the Kit Kat Club demonstrates this. We are then exposed to Nazi brutality as the owner of the club is beaten to death. But the display of ruthless Nazi cruelty does not stop there. Brian is later beaten up for telling a group of brown shirts (i.e. Nazi party supporters) that their party is 'crap'. Finally, in the closing scene of the film, we are shown through a distorted mirror that the club is full of Nazis. This paints the picture of a society that has gradually allowed itself to be swallowed up by the party and their racist ideals.

Interestingly, Maximilian's character and betrayal can be seen as a metaphor for the Nazis and their betrayal of the people of Germany. His blonde, blue-eyed Aryan appearance was the same as the stereotypical pureblooded German. He treats people as objects and disposes them at will -- as he does with Sally and Brian -- and after seducing and `corrupting' them, he abandons them.

The disheartening Beer Garden scene furthers the issue of Nazism in the film. In this scene, a young blonde Aryan boy starts singing 'Tomorrow belongs to me' and is quickly joined by a large number of Germans in the beer garden. As the boy starts singing he seems innocent enough, but the camera descends and we are shown the swastika armband he wears -- revealing he is a member of the Hitler Youth. With this image and lyrics like 'A morning will come when the world is mine / Tomorrow belongs to me', we come to realise this is innocent tune is actually a prophetic song about Nazi world domination. To add to the disturbing nature of this scene, an elderly man makes a point of not singing. We can assume that he is either Jewish or does not agree with the Nazis, and because of this, tomorrow does not belong to him.

Where there are Nazis, there is anti-Semitism, and that too is a dominant issue in the film. There are some subtle references to the feeling towards Jews at the time, like the dead body in the street which Sally walks past without a second thought, and the people making racist comments about Jews and the discussion of an `international Jewish conspiracy' in the guesthouse.

There are some more obvious examples of the prevalent feeling towards Jews. Natalia, a Jewish heiress, finds her dog murdered and dumped at her gate, as well as the words `Juden' scrawled as if a taunt. The relationship between Natalia and Fritz comes to a halt when Natalia tells Fritz she cannot marry him because she is a Jew, which leads to Fritz revealing he is a Jew as well, and he stops hiding it. This was a hard thing for Fritz to do considering the political climate in Berlin. Finally, one of the more nasty anti-Jewish moments in the film was when the MC was performing the gorilla song, 'If you could see her through my eyes'. During this the MC is dancing on stage with a Gorilla in a dress and sings what seems a pretty harmless song, until the lyrics at the end 'If you could see her through my eyes / She wouldn't look Jewish at all'. That cruel final line expresses the general feeling amongst Nazi Germany, where the Jewish were seen by most as nothing more than animals.

In addition to the political issues Cabaret raises, it also brings up some serious social issues, too. Cross-dressing, bisexuality, homosexuality, promiscuity, decadence and abortion all emerge in the film, which was quite a thing for a movie made in 1972.

In conclusion, beneath all the good times and fun, there are serious points that the movie tries to make. When we watch the movie for its songful exterior, we see a dazzling musical mixed in with a few romances and heartbreaks. But really this is an illusion, a cover-up, for when we delve deeper into the story we are presented with numerous issues - the rise of Nazism in Germany, Anti-Semitism, promiscuity, decadence, identity - all which were prevalent issues in Nazi Germany at the time.

(thing) by allseeingeye (1.2 mon) (print)   (I like it!) Mon Jun 09 2003 at 19:18:22
Roughly 3/4 the size of a full size upright arcade cabinet, the cabaret was an option offered by some video arcade game manufacturers in the 1980s, targeted mainly at restaurants and bars. The reduced size and weight made slipping a cabaret into a small space easy, and they contained the same hardware as a full size version. Cabarets filled a niche market, in close competition with the cocktail cabinet configuration.

Cabarets were also known as Minis, Midis, or Slimlines. All of these were various smaller versions of a standard size stand alone cabinet. They usually have 3 or less buttons on them, as there isn't room for many more. As such, the growing complexity of games and the advent of the 2 player fighter in the late 80s saw the end of most cabaret production. The style was also popular with video poker and video slot manufacturers, again second only to the cocktail layout.

Standard dimensions

Height: 60.00 inches
Width: 20.44 inches
Depth: 30.75 inches
Weight: 220 pounds, allowing 20 pounds for quarters or tokens
Viewable screen area average: 13.00 inches
(definition) by Webster 1913 (print) Tue Dec 21 1999 at 22:17:56

Cab"a*ret (kab"a*ret; 277), n. [F.]

A tavern; a house where liquors are retailed. [Obs. as an English word.]

 

© Webster 1913


Cab"a*ret (?), n.

In the United States, a café or restaurant where the guests are entertained by performers who dance or sing on the floor between the tables, after the practice of a certain class of French taverns; hence, an entertainment of this nature.

 

© Webster 1913

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