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The events depicted in the 1966 musical are derived from Anglo-American writer Christopher Isherwood's autobiographical tales of his colorful escapades in the Weimar Republic.[1][2] In 1929, Isherwood visited Weimar-era Berlin during the final months of the Golden Twenties.[3] He relocated to Berlin to avail himself of boy prostitutes and to enjoy the city's orgiastic Jazz Age cabarets.[4][5] He socialized with a coterie of gay writers that included Stephen Spender, Paul Bowles,[a] and W.H. Auden.[8] At the time, Isherwood viewed the rise of fascism in Germany with political indifference[b] and instead focused on writing his first novel.[11][12]
In Berlin, Isherwood shared modest lodgings with 19-year-old British flapper Jean Ross,[c] an aspiring film actress who earned her living as a chanteuse in lesbian bars and second-rate cabarets.[14][15] While room-mates at Nollendorfstrasse 17 in Schöneberg,[16] Isherwood settled into a same-sex relationship with a young German man,[17] and Ross became pregnant after engaging in a series of sexual liaisons.[18][19] She believed the father of the child to be jazz pianist and later film actor Peter van Eyck.[19]
Two weeks after Adolf Hitler implemented the Enabling Act which cemented his dictatorship, Isherwood fled Germany and returned to England on April 5, 1933.[28][29] Afterwards, the Nazis shuttered most of Berlin's seedy cabarets,[d] and many of Isherwood's cabaret acquaintances fled abroad or perished in concentration camps.[31] These events served as the genesis for Isherwood's Berlin stories. In 1951, playwright John Van Druten adapted Isherwood's 1939 novel Goodbye to Berlin into the Broadway play I Am a Camera which in turn became a 1955 film starring Laurence Harvey and Julie Harris.[32]
In fall 1966, the musical entered rehearsals.[43] After viewing one of the last rehearsals before the company headed to Boston for the pre-Broadway run, Prince's friend Jerome Robbins suggested cutting the songs outside the cabaret, but Prince ignored his advice.[43] In Boston, lead actress Jill Haworth struggled with her characterization of Sally Bowles.[44][45] Critics thought Sally's blonde hair and white dress suggested a debutante at a senior prom instead of a cabaret singer, so Sally became a brunette before the show opened on Broadway.[44][45]
Prince staged the show in an unusual way for the time.[46] As the audience entered the theater, they saw the curtain raised, exposing a stage with only a large mirror that reflected the auditorium.[47][48] Instead of an overture, a drum roll and cymbal crash introduced the opening number. The show mixed dialogue scenes with expository songs and standalone cabaret numbers that provided social commentary. This innovative concept initially surprised audiences.[49] Over time, they discerned the distinction between the two and appreciated the rationale behind them.[49]
When Cliff visits the Kit Kat Klub, the Emcee introduces an English chanteuse, Sally Bowles, who performs a flirtatious number ("Don't Tell Mama").[g] Afterward, she asks Cliff to recite poetry for her, and he recites Ernest Thayer's mock-heroic poem "Casey at the Bat". Cliff offers to escort Sally home, but she says that her boyfriend Max, the club's owner, is too jealous.[h] Sally performs her final number at the Kit Kat Klub aided by a female ensemble of jazz babies ("Mein Herr"). The cabaret ensemble performs a song and dance, calling each other on inter-table phones and inviting each other for dances and drinks ("The Telephone Song").[i]
Originally, the Emcee sang "Sitting Pretty" accompanied by the cabaret girls in international costumes with their units of currency representing Russian rubles, Japanese yen, French francs, American dollars, and German reichsmarks.[69] In the 1972 film, the Emcee and Sally Bowles sang "Money, Money" instead of "Sitting Pretty." The film soundtrack briefly played "Sitting Pretty" as orchestral background music. In the 1987 revival, they presented a special version that combined a medley of both money songs, and they incorporated motifs from the later song into the "international" dance that featured "Sitting Pretty." In the 1998 revival, they used only the later song written for the film. This version included the cabaret girls and carried a darker undertone.
There were a number of changes made between the 1993 and 1998 revivals, despite the similarities in creative team. The cabaret number "Two Ladies" was staged with the Emcee, a cabaret girl, and a cabaret boy in drag and included a shadow play simulating various sexual positions.[83] The score was re-orchestrated using synthesizer effects and expanding the stage band, with all the instruments now being played by the cabaret girls and boys. The satiric "Sitting Pretty", with its mocking references to deprivation, despair and hunger, was eliminated, as it had been in the film version, and where in the 1993 revival it had been combined with "Money" (as it had been in 1987 London production), "Money" was now performed on its own. "Maybe This Time", from the film adaptation, was added to the score.[83]
The 1972 film was based upon Christopher Isherwood's semi-autobiographical stories about Weimar-era Berlin during the Jazz Age.[12][13] In 1929, Isherwood moved to Berlin in order to pursue life as an openly gay man and to enjoy the city's libertine nightlife.[12][13] His expatriate social circle included W.H. Auden, Stephen Spender, Paul Bowles, and Jean Ross.[14][15] While in Berlin, Isherwood shared lodgings with Ross, a British cabaret singer and aspiring film actress from a wealthy Anglo-Scottish family.[16][17]
Josie jones is an international circus performer. Originally from the UK Josie has recently returned from Florida where she performed at Universal studios for the past two years. Alongside this her work in the cabaret and circus scene includes various venues across the west end of London, international events, tv and screen and works closely with the fire performance group The Fuel Girls. Josie began studying the ancient art of hair suspension four years ago. She has been increasingly interested in combining her physical theatre and dance training within her circus work and now travels globally perfoming her acts.
Renowned international artists, singer-actress, Yael Rasooly, and pianist, Daniel Rein transport cabaret-goers to the richly decadent world of 1920s-30s Berlin and Paris through their distinctive, theatrical approach to a varied repertoire of Berlin cabaret songs and poetic French chansons. Evoking the exuberance and glamor of the final years of the Weimar Republic, the program is inflected by themes of passion, longing, resilience and dreams that exist in the fragile yet powerful interval between the past and the future.
A cabaret license can be issued to any establishment licensed to sell alcohol which offers or provides live entertainment or dancing for its guests. Live entertainment includes karaoke music or entertainment offered by a disc jockey.
An annual celebration of the cabaret community near and far in a pop up bar every September as part of the FringeArts Festival and Opera Philadelphia's O-Fest. Come for the party, stay for the subversion therapy.
The Mabel Mercer Foundation was established in 1985 as a nonprofit to preserve and advance an endangered part of American musical heritage: the intimate art of Cabaret performance and the Great Songbook of its repertoire. Through sponsorship of live performances and broadcasts, the Foundation endeavors to entertain and educate a public raised on mass-produced pop music, to stem the effects of shrinking music education budgets, and to encourage practitioners in the present-day cabaret field. The Mabel Mercer Foundation has presented cabaret showcases around the country and abroad, including its flagship annual New York Cabaret Convention. In addition, the Foundation augments its worldwide reach with virtual music presentations and provides outreach to students via American Songbook competitions, scholarship awards, concert tickets, and masterclasses. Named after Mabel Mercer, arguably the supreme cabaret artist of the twentieth century, the Foundation also functions as a central source of information for artists, presenters, promoters, and the general public about Ms. Mercer and the art form she exemplified.
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