Cabaret is an American musical with music by John Kander and lyrics by Fred Ebb, based on the 1951 play I Am a Camera by John Van Druten, itself adapted from Goodbye to Berlin by Christopher Isherwood. Set in 1929–1930 Berlin during the rise of the Nazis, it centers on the nightlife at the Kit Kat Klub and the American writer Clifford Bradshaw’s relationship with cabaret performer Sally Bowles. The original Broadway production debuted in 1966 at the Broadhurst Theatre, winning eight Tony Awards and later inspiring the acclaimed 1972 film.
May 21 2021
Jul 20 2016
Dec 4 2014
bbc.co.ukBackground
Historical basis
Further information: Christopher Isherwood and Jean Ross
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.12 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.45 He socialized with a coterie of gay writers that included Stephen Spender, Paul Bowles,6 and W.H. Auden.7 At the time, Isherwood viewed the rise of Nazism in Germany with political indifference8 and instead focused on writing his first novel.910
In Berlin, Isherwood shared modest lodgings with 19-year-old British flapper Jean Ross,11 an aspiring film actress who earned her living as a chanteuse in lesbian bars and second-rate cabarets.1213 While room-mates at Nollendorfstrasse 17 in Schöneberg,14 a 27-year-old Isherwood settled into a sexual relationship with a 16-year-old German boy,1516 and Ross became pregnant after engaging in a series of sexual liaisons.1718 She believed the father of the child to be jazz pianist and later film actor Peter van Eyck.19 As a favor to Ross, Isherwood pretended to be her heterosexual impregnator in order to facilitate an abortion of which Ross nearly died due to the doctor's incompetence.202122 Visiting the ailing Ross in a Berlin hospital, Isherwood felt resentment by the hospital staff for, as they assumed, forcing Ross to undergo the abortion. This event inspired Isherwood to write his 1937 novella Sally Bowles and is dramatized as its narrative climax.2324
While Ross recovered from the botched abortion, the political situation rapidly deteriorated in Weimar Germany as the incipient Nazi Party grew stronger day by day.25 "There was a sensation of doom to be felt in the Berlin streets", Spender recalled.2627 As Berlin's daily scenes increasingly featured "poverty, unemployment, political demonstrations and street fighting between the forces of the extreme left and the extreme right",28 Isherwood, Ross, Spender, and other British nationals realized that they must leave the politically volatile country as soon as possible.29
Two weeks after the Enabling Act cemented Adolf Hitler's dictatorship, Isherwood fled Germany and returned to England on April 5, 1933.3031 Afterwards, the Nazis shuttered most of Berlin's seedy cabarets,32 and many of Isherwood's cabaret acquaintances fled abroad or perished in concentration camps.33 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.34
Musical development
Further information: Harold Prince and Kander and Ebb
In early 1963, producer David Black commissioned English composer and lyricist Sandy Wilson to undertake a musical adaptation of Van Druten's 1951 play I Am a Camera.35 Black hoped that singer Julie Andrews would agree to star in the adaptation, but Andrews' manager refused to allow her to accept the role of Sally Bowles due to the character's immorality.36 By the time Wilson completed his work, however, Black's option on both the 1951 Van Druten play and its source material by Isherwood had lapsed and been acquired by rival Broadway producer Harold Prince.37 Prince wished to create a gritty adaptation of Isherwood's stories that drew parallels between the spiritual bankruptcy of Germany in the 1920s and contemporary social problems in the United States at a time "when the struggle for civil rights for black Americans was heating up as a result of nonviolent but bold demonstrations being held in the Deep South."38
Prince hired playwright Joe Masteroff to work on the adaptation.39 Both men believed that Wilson's score failed to capture the carefree hedonism of the Jazz Age in late 1920s Berlin.40 They wanted a score that "evoked the Berlin of Kurt Weill and Lotte Lenya."41 Consequently, Prince invited the songwriting team of John Kander and Fred Ebb to join the project.42 Kander and Ebb envisioned the work as a dramatic play preceded by a prologue of songs describing the Berlin atmosphere from various points of view. As the composers distributed the songs between scenes, they realized the story could be told in the structure of a more traditional book musical, and they replaced several songs with tunes more relevant to the plot.43
For the musical adaptation, playwright Joe Masteroff significantly altered Isherwood's original characters.44 He transformed the English protagonist into an American writer named Clifford Bradshaw; the antisemitic landlady became a tolerant woman with a Jewish beau who owned a fruit store; they cut various supporting characters and added new characters such as the Nazi smuggler Ernst Ludwig45 for dramatic purposes.4647 The musical ultimately expressed two stories in one: the first, a revue centered on the decadence of the Kit Kat Klub, for which Hal Prince created the Master of Ceremonies (Emcee) character played by Joel Grey; the second, a story set in the society outside the club, thus juxtaposing the lives of the characters based on Isherwood's real-life associates and acquaintances with the seedy club.4849
In fall 1966, the musical entered rehearsals.50 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.51 In Boston, lead actress Jill Haworth struggled with her characterization of Sally Bowles.5253 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.5455
Prince staged the show in an unusual way for the time.56 As the audience entered the theater, they saw the curtain raised, exposing a stage with only a large mirror that reflected the auditorium.5758 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.59 Over time, they discerned the distinction between the two and appreciated the rationale behind them.60
Synopsis
Act I
At the twilight of the Jazz Age in Berlin, the incipient Nazi Party is growing stronger. The Kit Kat Klub is a seedy cabaret – a place of decadent celebration. The club's Master of Ceremonies (Emcee)61 together with the cabaret girls and waiters, warm up the audience ("Willkommen"). Meanwhile, a young American writer named Clifford Bradshaw arrives via a railway train in Berlin. He has journeyed to the city to work on a new novel. Cliff encounters Ernst Ludwig,62 a German smuggler who offers him black market work and recommends a boarding house. At the boarding house, the proprietress Fräulein Schneider offers Cliff a room for one hundred reichsmarks, but he can only pay fifty. After a brief debate, she relents and allows Cliff to live there for fifty marks. Fräulein Schneider observes that she has learned to take whatever life offers ("So What?").
When Cliff visits the Kit Kat Klub, the Emcee introduces an English chanteuse, Sally Bowles, who performs a flirtatious number ("Don't Tell Mama").63 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.64 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").65
The next day at the boarding house, Cliff has just finished giving an English lesson to Ernst when Sally arrives. Max has fired her and thrown her out, and now she has no place to live. Sally asks Cliff if she can live in his room. At first he resists, but she convinces him to take her in ("Perfectly Marvelous"). The Emcee and two female companions sing a song ("Two Ladies") that comments on Cliff and Sally's new living arrangement. Herr Schultz, an elderly Jewish fruit-shop owner who lives in the boarding house, gives a pineapple to Fräulein Schneider as a romantic gesture ("It Couldn't Please Me More"). In the Kit Kat Klub, a young waiter starts to sing a song – a patriotic anthem to the Fatherland that slowly descends into a darker, Nazi-inspired marching song ("Tomorrow Belongs to Me"). He initially sings a cappella, before the customers and the band join in.66
Months later, Cliff and Sally are still living together and have grown intimate.67 Cliff knows that he is in a "dream", but he enjoys living with Sally too much to come to his senses ("Why Should I Wake Up?"). Sally reveals that she is pregnant, but she does not know who the father is and decides to have an abortion. Cliff reminds her that it could be his child and tries to convince her to have the baby ("Maybe This Time").68 Ernst enters and offers Cliff a chance to earn easy money – picking up a suitcase in Paris and delivering it to a client in Berlin. The Emcee comments on this with the song "Sitting Pretty" (or, in later versions, "Money").
Meanwhile, Fräulein Schneider has caught one of her boarders, the prostitute Fräulein Kost, bringing sailors into her room. Fräulein Schneider forbids her from doing so again, but Kost threatens to leave. Kost reveals that she has seen Fräulein Schneider with Herr Schultz in her room. Herr Schultz saves Fräulein Schneider's reputation by telling Fräulein Kost that he and Fräulein Schneider are to be married in three weeks. After Fräulein Kost departs, Fräulein Schneider thanks Herr Schultz for lying to Fräulein Kost. Herr Schultz says that he still wishes to marry Fräulein Schneider ("Married").
At Fräulein Schneider and Herr Schultz's engagement party, Cliff arrives and delivers the suitcase of contraband to Ernst. Sally and Cliff gift the couple a crystal fruit bowl. A tipsy Schultz sings "Meeskite" ("meeskite", he explains, is Yiddish for ugly or funny-looking), a song with a moral ("Anyone responsible for loveliness, large or small/Is not a meeskite at all").69 Afterward, seeking revenge on Fräulein Schneider, Kost tells Ernst, who now sports a Nazi armband, that Schultz is a Jew. Ernst warns Schneider that marrying a Jew is unwise. Kost and company reprise "Tomorrow Belongs to Me", with more overtly Nazi overtones, as Cliff, Sally, Schneider, Schultz, and the Emcee look on.
Act II
The cabaret girls – along with the Emcee in drag – perform a kickline routine which eventually becomes a goose step. Fräulein Schneider expresses her concerns about her impending nuptials to Herr Schultz, who assures her that everything will be all right ("Married" (reprise)).70 They are interrupted by the crash of a brick being thrown through the glass window of Herr Schultz's fruit shop. Schultz tries to reassure her that it is merely rowdy children making trouble, but Fräulein Schneider is now afraid.
Back at the Kit Kat Klub, the Emcee performs a song-and-dance routine with a woman in a gorilla suit, singing that their love has been met with universal disapproval ("If You Could See Her"). Encouraging the audience to be more open-minded, he defends his ape-woman, concluding with, "if you could see her through my eyes... she wouldn't look Jewish at all."7172 Fräulein Schneider goes to Cliff and Sally's room and returns their engagement present, explaining that her marriage has been called off. When Cliff protests and states that she can't just give up this way, she asks him what other choice she has ("What Would You Do?").
Cliff begs Sally to leave Germany with him so that they can raise their child together in America. Sally protests and claims that their life in Berlin is wonderful. Cliff urges her to "wake up" and to notice the growing social upheaval around them.73 Sally retorts that politics have nothing to do with them and returns to the Kit Kat Klub ("I Don't Care Much").74 At the club, after another heated argument with Sally, Cliff is accosted by Ernst, who has another delivery job for him. Cliff tries to brush him off. When Ernst inquires if Cliff's attitude towards him is because of "that Jew at the party", Cliff attacks him – only to be beaten by Ernst's bodyguards and ejected from the club.75 On stage, the Emcee introduces Sally, who enters to perform again, singing that "life is a cabaret, old chum," cementing her decision to live in carefree ignorance ("Cabaret").
The next morning, a bruised Cliff is packing his clothes in his room when Herr Schultz visits. He informs Cliff that he is moving to another boarding house, but he is confident that these difficult times will soon pass. He understands the German people, he declares, because he is a German too. When Sally returns, she announces that she has had an abortion, and Cliff slaps her. She chides him for his previous insistence on keeping the baby, pointing out it would be a "terrible burden" for a child knowing it was the only reason the parents were together. Cliff still hopes that she will join him in France, but Sally retorts that she has "always hated Paris." She hopes that, when Cliff finally writes his novel, he will dedicate the work to her. Cliff leaves, heartbroken.
On the railway train to Paris, Cliff begins to compose his novel, reflecting on his experiences: "There was a cabaret, and there was a master of ceremonies ... and there was a city called Berlin, in a country called Germany – and it was the end of the world and I was dancing with Sally Bowles – and we were both fast asleep" ("Willkommen" (reprise)). In the Kit Kat Klub, the Emcee welcomes the audience once again as the ensemble reprises "Willkommen" but the song is now harsh and discordant.76 The Emcee sings, "Auf Wiedersehen... à bientôt..."77 followed by a drum roll crescendo and a cymbal crash.78
Musical numbers
Every production of Cabaret has modified the original score, with songs being changed, cut, or added from the film version. This is a collective list featuring all songs from every major production.
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Song modifications
Many songs planned for the 1966 production were cut.94 Three excised songs – "Good Time Charlie", "It'll All Blow Over", and "Roommates" – were recorded by Kander and Ebb, and the sheet music published in a collector's book.95 Sally sang "Good Time Charlie" to Cliff as they walked to Fräulein Schneider and Herr Schultz's engagement party, mocking Cliff for his gloominess.96 At the end of the first act, Fräulein Schneider sang "It'll All Blow Over," expressing her concerns about marrying a Jew, while Cliff voiced his worries about Germany's emerging Nazism.9798 In the song, Sally declares that all will turn out well in the end.99 "Perfectly Marvelous" replaced "Roommates" and serves the same plot function of Sally convincing Cliff to let her move in with him.100101
The 1972 film added several songs, notably "Mein Herr" and "Maybe This Time" which were included in later productions.102 The latter song had been written by Kander and Ebb for the unproduced musical Golden Gate.103 The later 1987 and 1998 Broadway revivals also added new songs such as "I Don't Care Much".104 In the 1987 revival, Kander and Ebb wrote a new song for Cliff titled "Don't Go".105 In the 1998 revival, "Mein Herr" replaced "The Telephone Song", and "Maybe This Time" replaced "Why Should I Wake Up?".
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.106 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.
Productions
Original Broadway production
The musical opened on Broadway on November 20, 1966,107 at the Broadhurst Theatre, transferred to the Imperial Theatre and then the Broadway Theatre before closing on September 6, 1969, after 1,166 performances and 21 previews.108 Directed by Harold Prince and choreographed by Ron Field, the cast featured Jill Haworth as Sally, Bert Convy as Cliff, Lotte Lenya as Fräulein Schneider, Jack Gilford as Herr Schultz, Joel Grey as the Emcee, Edward Winter as Ernst, and Peg Murray as Fräulein Kost.109110 Replacements later in the run included Anita Gillette and Melissa Hart as Sally, Ken Kercheval and Larry Kert as Cliff, and Martin Ross as the Emcee.111112 In addition, John Serry Sr. performed as the orchestral accordionist.
The original Broadway production was not an instant success according to playwright Joe Masteroff due to its perceived immoral content.113 "When the show opened in Boston," Masteroff recalled, "there were a lot of walkouts. Once the reviews came out, the public came back."114 At the time, actor Joel Grey was merely fifth-billed in the show. Nevertheless, audiences were hypnotized by Grey's sinister performance as the Emcee.115
In contrast, Jill Haworth's performance as Sally was less well-received and was criticized for its blandness.116 Emory Lewis, the reviewer for The Morning Call, wrote that "Jill Haworth, the lovely English actress who played Sally Bowles on opening night, was personable, but she was not sufficiently trained for so pivotal a role. And her voice was small and undramatic. Her performance threw 'Cabaret' out of kilter."117
The 1967–68 US national tour featured Melissa Hart as Sally, Signe Hasso as Fräulein Schneider, and Leo Fuchs as Herr Schultz.118 The tour included the Shubert Theatre in New Haven, Connecticut in December 1967, the Ahmanson Theatre in Los Angeles in May 1968, the Curran Theatre in San Francisco in September 1968, and many others.119
Original West End production
The musical premiered in the West End on February 28, 1968, at the Palace Theatre with Judi Dench as Sally, Kevin Colson as Cliff, Barry Dennen as the Emcee, Lila Kedrova as Fräulein Schneider and Peter Sallis as Herr Schultz. It ran for 336 performances.120121 Critics such as Ken Mandelbaum have asserted that "Judi Dench was the finest of all the Sallys that appeared in Hal Prince's original staging, and if she's obviously not much of a singer, her Sally is a perfect example of how one can give a thrilling musical theatre performance without a great singing voice."122
1986 West End revival
In 1986, the show was revived in London at the Strand Theatre starring Kelly Hunter as Sally, Peter Land as Cliff and Wayne Sleep as the Emcee, directed and choreographed by Gillian Lynne.123
1987 Broadway revival
The first Broadway revival opened on October 22, 1987, with direction and choreography by Prince and Field. The revival opened at the Imperial Theatre, and then transferred to the Minskoff Theatre to complete its 261-performance run.124 Joel Grey received star billing as the Emcee, with Alyson Reed as Sally, Gregg Edelman as Cliff, Regina Resnik as Fräulein Schneider, Werner Klemperer as Herr Schultz, and David Staller as Ernst Ludwig.125 The song "Don't Go" was added for Cliff's character.
1993 London revival
In 1993, Sam Mendes directed a new production for the Donmar Warehouse in London.126127 The revival starred Jane Horrocks as Sally, Adam Godley as Cliff, Alan Cumming as the Emcee and Sara Kestelman as Fräulein Schneider.128 Kestelman won the Olivier for Best Supporting Performance in a Musical, and Cumming was nominated for an Olivier Award. Mendes' concept was different from either the original production or the conventional first revival,129 particularly with respect to the character of the Emcee. The role, as played by Joel Grey in both prior productions, was a sexually aloof, edgy character with rouged cheeks dressed in a tuxedo. Alan Cumming's portrayal was highly sexualized, as he wore suspenders around his crotch and red paint on his nipples.130 Staging details differed as well. Instead of "Tomorrow Belongs to Me" being performed by a male choir of waiting staff, the Emcee plays a recording of a boy soprano singing it. In the final scene, the Emcee removes his outer clothes to reveal a striped uniform of the type worn by the internees in concentration camps; on it are pinned a yellow badge (identifying Jews), a red star (marking Communists and socialists), and a pink triangle (denoting homosexuals). Other changes included added references to Cliff's bisexuality, including a brief scene where he kisses one of the Cabaret boys.131 "I Don't Care Much," which was added for the 1987 Broadway revival, was maintained for this production, and "Mein Herr" was added from the film.
This production was filmed by Channel Four Film for airing on UK television.132
1998 Broadway revival
The second Broadway revival, by the Roundabout Theatre Company, was based on the 1993 Mendes-Donmar Warehouse production. For the Broadway transfer, Rob Marshall was co-director and choreographer.133134135 The production opened after 37 previews on March 19, 1998, at the Kit Kat Klub, housed in what previously had been known as Henry Miller's Theatre.136 Later that year it transferred to Studio 54,137 where it remained for the rest of its 2,377-performance run,138 becoming the third longest-running revival in Broadway musical history, third only to Oh! Calcutta! and Chicago. Cumming reprised his role as the Emcee, opposite newcomers Natasha Richardson as Sally, John Benjamin Hickey as Cliff, Ron Rifkin as Herr Schultz, Denis O'Hare as Ernst Ludwig, Michele Pawk as Fräulein Kost, and Mary Louise Wilson as Fräulein Schneider.139140
The Broadway production was nominated for ten Tony Awards, winning four for Cumming, Richardson and Rifkin, as well as the Tony for Best Revival of a Musical. This production featured a number of notable replacements later in the run: Susan Egan, Joely Fisher, Gina Gershon, Debbie Gibson, Milena Govich, Jennifer Jason Leigh, Melina Kanakaredes, Jane Leeves, Molly Ringwald, Brooke Shields, and Lea Thompson as Sally; Michael C. Hall, Raúl Esparza, Neil Patrick Harris, Adam Pascal, Jon Secada, and John Stamos as the Emcee; Boyd Gaines, Michael Hayden, and Rick Holmes as Cliff; Tom Bosley, Dick Latessa, Hal Linden, Laurence Luckinbill, and Tony Roberts as Herr Schultz; and Blair Brown, Carole Shelley, Polly Bergen, Alma Cuervo, Mariette Hartley as Fräulein Schneider, and Martin Moran as Ernst Ludwig.141
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.142 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.143
2006 West End revival
In September 2006, a new production presented by Bill Kenwright opened at the Lyric Theatre, directed by Rufus Norris,144 and starring Anna Maxwell Martin as Sally, James Dreyfus as the Emcee, Harriet Thorpe as Fräulein Kost, Michael Hayden as Cliff, and Sheila Hancock as Fräulein Schneider. Hancock won the Olivier Award for Best Supporting Performance in a Musical. Replacements later in the run included Kim Medcalf and Amy Nuttall as Sally, Honor Blackman and Angela Richards as Fräulein Schneider, and Julian Clary and Alistair McGowan as the Emcee. This production closed in June 2008 and toured the UK for two years opening at the Birmingham Repertory Theatre with a cast that included Wayne Sleep as the Emcee and Samantha Barks as Sally, before Siobhan Dillon took over the role.
2012 West End revival
A revival opened in the West End at the Savoy Theatre on October 3, 2012, following a four-week tour of the UK, including Bromley, Southampton, Nottingham, Norwich and Salford.145 Will Young played the Emcee and Michelle Ryan portrayed Sally Bowles.146 Siân Phillips, Harriet Thorpe and Matt Rawle also joined the cast. The production was made by the creative team behind the 2006 London revival, but with new sets, lighting, costumes, choreography and direction.
In August 2013 the show went on tour in the UK, again with Young as the Emcee, Siobhan Dillon reprising her role of Sally and Lyn Paul joining the cast as Fräulein Schneider.147 The same production toured the UK again in autumn 2017 with Young as the Emcee and Louise Redknapp as Sally.148 Another UK tour began in autumn 2019 starring John Partridge as the Emcee, Kara Lily Hayworth as Sally Bowles and Anita Harris as Fräulein Schneider.149
2014 Broadway revival
In September 2013 Roundabout Theatre Company announced plans to return the company's acclaimed 1998 production to Studio 54 in New York.150151 For this, the show's third Broadway revival, Sam Mendes and Rob Marshall reprised their respective roles as director and co-director/choreographer to recreate their work from the earlier production. Alan Cumming starred again as the Emcee while Academy Award-nominee Michelle Williams made her Broadway debut as Sally Bowles.152 On October 7, 2013, Tony Award nominees Danny Burstein and Linda Emond joined the cast as Herr Schultz and Fräulein Schneider.153 The production began a 24-week limited engagement with previews from March 21, 2014, with opening night on April 24, 2014, but the engagement was extended.154 Emma Stone replaced Michelle Williams as Sally from November 2014 to February 2015.155 Critics praised Stone's performance for her interpretation of the hard-drinking sybarite Sally Bowles "as a flaming flapper, the kind hymned by F. Scott Fitzgerald and embodied by the young Joan Crawford in silent movies."156 Sienna Miller took over the role on March 29, 2015, remaining through to the show's closing.157158 Alan Cumming continued in the role of the Emcee until the show's final curtain.159160
The production toured the US from January 2016 with Randy Harrison as the Emcee and Andrea Goss (who played Frenchie in the Broadway production). They were later replaced by Jon Peterson and Leigh Ann Larkin.161
2021 West End revival
Eddie Redmayne and Jessie Buckley starred as the Emcee and Sally Bowles in a West End production directed by Rebecca Frecknall, designed by Tom Scutt, choreographed by Julia Cheng, with lighting design by Isabella Byrd and sound design by Nick Lidster.162 The production also featured Omari Douglas as Cliff, Liza Sadovy as Fraulein Schneider, Elliot Levey as Herr Schultz, Stewart Clarke as Ernst and Anna-Jane Casey as Fraulein Kost.163164 Produced by Underbelly and Ambassador Theatre Group,165 and billed as Cabaret at the Kit Kat Club, the production began previews November 15, 2021 at Playhouse Theatre, which was reduced to a 550-seat capacity with an intimate in-the-round stage and table seating for some audience members, in effect transforming the theater into a Weimar-era nightclub.166167 The run was extended to October 2022. The production led the 2022 Olivier Award nominations with 11 nods,168 including Best Musical Revival, Best Actor in a Musical for Redmayne and Best Actress in a Musical for Buckley.169 The production won seven awards and set a record as the most award-winning revival in Olivier history and the first production to receive awards in all four eligible acting categories.
Following the departure of Redmayne and Buckley, notable players as the Emcee and Sally Bowles have been Fra Fee and Amy Lennox;170 Callum Scott Howells and Madeline Brewer; Aimee Lou Wood and John McCrea; Maude Apatow and Mason Alexander Park; Jake Shears and Rebecca Lucy Taylor (aka Self Esteem);171 Luke Treadaway and Cara Delevingne;172173 Layton Williams and Rhea Norwood;174 Adam Gillen and Katherine Langford;175 Billy Porter and Marisha Wallace.176
2024 Broadway revival
The 2021 West End production transferred to the August Wilson Theatre on Broadway, with previews from April 1, 2024, ahead of a gala night on April 20 and press night on April 21.177 As in the West End production, the August Wilson Theatre was refurbished as the "Kit Kat Club" with an intimate in-the-round staging.178 Redmayne reprised his role as the Emcee with Gayle Rankin and Ato Blankson-Wood co-starring as Sally and Cliff.179 Bebe Neuwirth, Steven Skybell, Natascia Diaz, and Henry Gottfried play Fraulein Schneider, Herr Schultz, Fraulein Kost, and Ernst Ludwig, respectively.180181182 The production was nominated for 9 Tony Awards,183 winning one for Best Scenic Design.184 Replacements in the production have included Adam Lambert and Orville Peck as the Emcee and Auli'i Cravalho and Eva Noblezada as Sally Bowles.185186
Other productions
A BBC Radio 2 radio broadcast in 1996 from the Golders Green Hippodrome starred Clare Burt as Sally Bowles, Steven Berkoff as the Emcee, Alexander Hanson as Clifford Bradshaw, Keith Michell as Herr Schultz, and Rosemary Leach as Fräulein Schneider.
Since 2003, international stagings of the show, many influenced by Mendes' concept, have included productions in Argentina, Australia, Brazil, Colombia, Costa Rica, France, Portugal, Greece, Israel, Malaysia, Mexico, Peru, Puerto Rico, Serbia, South Africa, Spain and Venezuela. A 2008 production at the Stratford Shakespeare Festival's Avon Theatre in Canada, designed by Douglas Paraschuk and directed by Amanda Dehnert, featured Bruce Dow as the Emcee, Trish Lindström as Sally, Sean Arbuckle as Cliff, Nora McClellan as Fräulein Schneider and Frank Moore as Herr Schultz.187 The Shaw Festival at Niagara-on-the-Lake, Ontario, included Cabaret in its 2014 season.188 The production, which ran from April 10 – October 26, 2014 at the Festival Theatre, was directed by Peter Hinton with choreography by Denise Clarke. It featured Juan Chioran as the Emcee, Deborah Hay as Sally, Gray Powell as Cliff, Benedict Campbell as Herr Schultz, and Corrine Koslo as Fräulein Schneider; it was influenced by Mendes' 1993 revival.
A 2017 revival played in Sydney and Melbourne, Australia, starred Paul Capsis as the Emcee and Chelsea Gibb as Sally. The production mixed elements of the Mendes production, such as its version of "Two Ladies" and its portrayal of a gay Cliff, with the colorful art design of the original (the Emcee is in full makeup and clothed) and most of the additional songs from the 1972 film (with the exception of "Mein Herr").189
Cast and characters
Recordings
The first recording of Cabaret was the original Broadway cast album with a number of the songs either truncated (e.g., "Sitting Pretty"/"The Money Song") or outright cut to conserve disk space.195 When this album was released on compact disc, Kander and Ebb's voice-and-piano recordings of songs cut from the musical were added as bonus material.196 According to Mandelbaum, the 1968 London cast recording features "a more accurate rendering of the score" and includes the Act One finale "Tomorrow Belongs to Me" reprise, the second-act finale as performed in the theatre, and a number of other previously unrecorded bits and pieces."197 It was released in the UK and reissued on the CBS Embassy label in 1973.
The 1972 movie soundtrack with Liza Minnelli is much re-written and eliminates all but six of the original songs from the stage production.198
Both the 1986 London and 1998 Broadway revival casts were recorded.199 A 1993 two-CD studio recording contains nearly the entire score, including songs written for the movie and for later productions and much of the incidental music. This recording features Jonathan Pryce as the Emcee, Maria Friedman as Sally, Gregg Edelman as Cliff, Judi Dench as Fräulein Schneider, and Fred Ebb as Herr Schultz. The cast recording of the 2006 London revival at the Lyric Theatre includes James Dreyfus as the Emcee and Anna Maxwell Martin as Sally.
The 2021 London cast recording featuring Eddie Redmayne and Jessie Buckley was recorded live at the Playhouse Theatre, London) and released in January 2023. Cabaret: The Maida Vale Session is an EP that was released in March 2024 with four songs from the revival at the Playhouse Theatre, including "Willkommen", "Don't Tell Mama", "I Don't Care Much" and the title song. It was recorded for a BBC Radio 2 show with Jo Whiley at the BBC's Maida Vale Studios with Jake Shears as Emcee, Rebecca Lucy Taylor as Sally and the 2023 London cast and orchestra.
In addition to these recordings, cast albums for French, Spanish, Greek, Hebrew, Italian, Austrian, Dutch, Mexican, and German productions have been released.200
Awards and nominations
Original Broadway production
| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 1967 | Tony Award | Best Musical | Won | |
| Best Original Score | John Kander and Fred Ebb | Won | ||
| Best Actor in a Musical | Jack Gilford | Nominated | ||
| Best Actress in a Musical | Lotte Lenya | Nominated | ||
| Best Featured Actor in a Musical | Joel Grey | Won | ||
| Edward Winter | Nominated | |||
| Best Featured Actress in a Musical | Peg Murray | Won | ||
| Best Direction of a Musical | Harold Prince | Won | ||
| Best Choreography | Ron Field | Won | ||
| Best Scenic Design | Boris Aronson | Won | ||
| Best Costume Design | Patricia Zipprodt | Won | ||
| New York Drama Critics' Circle Award201 | Best Musical | Won | ||
| Outer Critics Circle Award | Best Musical | Won | ||
1987 Broadway revival
| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 1987 | Tony Award | Best Revival of a Musical | Nominated | |
| Best Featured Actor in a Musical | Werner Klemperer | Nominated | ||
| Best Featured Actress in a Musical | Alyson Reed | Nominated | ||
| Regina Resnik | Nominated | |||
| Drama Desk Award | Outstanding Revival of a Musical | Nominated | ||
| Outstanding Actor in a Musical | Joel Grey | Nominated | ||
| Outstanding Director of a Musical | Harold Prince | Nominated | ||
1993 London revival
| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 1994 | Laurence Olivier Award | Best Musical Revival | Nominated | |
| Best Actor in a Musical | Alan Cumming | Nominated | ||
| Best Performance in a Supporting Role in a Musical | Sara Kestelman | Won | ||
| Best Director of a Musical | Sam Mendes | Nominated | ||
1998 Broadway revival
2006 West End revival
| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 2007 | Laurence Olivier Award | Best Musical Revival | Nominated | |
| Best Performance in a Supporting Role in a Musical | Sheila Hancock | Won | ||
| Best Theatre Choreographer | Javier de Frutos | Won | ||
2012 West End revival
| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 2013 | Laurence Olivier Award | Best Musical Revival | Nominated | |
| Best Actor in a Musical | Will Young | Nominated | ||
| Best Performance in a Supporting Role in a Musical | Siân Phillips | Nominated | ||
2014 Broadway revival
| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 2014 | Tony Award | |||
| Best Featured Actor in a Musical | Danny Burstein | Nominated | ||
| Best Featured Actress in a Musical | Linda Emond | Nominated | ||
| Drama Desk Award | Outstanding Featured Actor in a Musical | Danny Burstein | Nominated | |
| Outer Critics Circle Award | Outstanding Revival of a Musical | Nominated | ||
| Outstanding Actress in a Musical | Michelle Williams | Nominated | ||
| Outstanding Featured Actor in a Musical | Danny Burstein | Nominated | ||
| Fred and Adele Astaire Award | Outstanding Choreographer in a Broadway Show | Rob Marshall | Nominated | |
| Outstanding Female Dancer in a Broadway Show | Gayle Rankin | Nominated | ||
2021 West End revival
| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 2022 | Laurence Olivier Award | Best Musical Revival | Won | |
| Best Actor in a Musical | Eddie Redmayne | Won | ||
| Best Actress in a Musical | Jessie Buckley | Won | ||
| Best Actress in a Supporting Role in a Musical | Liza Sadovy | Won | ||
| Best Actor in a Supporting Role in a Musical | Elliot Levey | Won | ||
| Best Director | Rebecca Frecknall | Won | ||
| Best Costume Design | Tom Scutt | Nominated | ||
| Best Set Design | Nominated | |||
| Best Sound Design | Nick Lidster | Won | ||
| Best Theatre Choreographer | Julia Cheng | Nominated | ||
| Best Lighting Design | Isabella Byrd | Nominated | ||
| Critics' Circle Theatre Award | Best Actress | Jessie Buckley | Won | |
| Best Director | Rebecca Frecknall | Won | ||
| Best Designer | Tom Scutt | Won | ||
2024 Broadway revival
| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 2024 | Tony Awards | Best Revival of a Musical | Nominated | |
| Best Actor in a Musical | Eddie Redmayne | Nominated | ||
| Best Actress in a Musical | Gayle Rankin | Nominated | ||
| Best Featured Actor in a Musical | Steven Skybell | Nominated | ||
| Best Featured Actress in a Musical | Bebe Neuwirth | Nominated | ||
| Best Scenic Design in a Musical | Tom Scutt | Won | ||
| Best Costume Design in a Musical | Nominated | |||
| Best Lighting Design in a Musical | Isabella Byrd | Nominated | ||
| Best Sound Design in a Musical | Nick Lidster for Autograph | Nominated | ||
| Drama Desk Award | Outstanding Revival of a Musical | Nominated | ||
| Outstanding Lead Performance in a Musical | Gayle Rankin | Nominated | ||
| Outstanding Featured Performance in a Musical | Bebe Neuwirth | Won | ||
| Outstanding Direction of a Musical | Rebecca Frecknall | Nominated | ||
| Outstanding Sound Design of a Musical | Nick Lidster for Autograph | Won | ||
| Outer Critics Circle Award | Outstanding Revival of a Musical | Nominated | ||
| Outstanding Featured Performer in a Broadway Musical | Bebe Neuwirth | Nominated | ||
| Chita Rivera Awards | Outstanding Choreography in a Broadway Show | Julia Cheng | Nominated | |
| Outstanding Ensemble in a Broadway Show | Nominated | |||
| Drama League Awards | Outstanding Revival of a Musical | Nominated | ||
| Distinguished Performance Award | Eddie Redmayne | Nominated | ||
| Gayle Rankin | Nominated | |||
| Outstanding Direction of a Musical | Rebecca Frecknall | Nominated | ||
| Dorian Theater Awards | Outstanding Broadway Musical Revival | Nominated | ||
| Outstanding Lead Performance in a Broadway Musical | Eddie Redmayne | Nominated | ||
| Outstanding Featured Performance in a Broadway Musical | Bebe Neuwirth | Nominated | ||
| Outstanding LGBTQ Broadway Production | Nominated | |||
Notes
Citations
Works cited
Print sources
- Anglesey, Natalia (October 21, 1993). "Bolton: Cabaret". The Stage. London. Retrieved February 9, 2021 – via British Newspaper Archive.
- Bloom, Ken; Vlastnik, Frank (October 2004). Broadway Musicals – The 101 Greatest Shows of All Time. New York City: Black Dog & Leventhal Publishers. pp. 46–49. ISBN 1-57912-390-2 – via Google Books.
- Brantley, Ben (March 20, 1998). "Desperate Dance at Oblivion's Brink". The New York Times. New York City. Retrieved January 31, 2021.
- "'Cabaret' Opens Its Doors Tuesday". Oakland Tribune. Oakland, California. September 8, 1968. p. 150. Retrieved March 13, 2022 – via Newspapers.com.
- Caudwell, Sarah (October 3, 1986). "Reply to Berlin". New Statesman. London. pp. 28–29.
- Farina, William (2013). "Christopher Isherwood, Reporting from Berlin". The German Cabaret Legacy in American Popular Music. London: McFarland & Company. ISBN 978-0-7864-6863-8 – via Google Books.
- Firchow, Peter Edgerly (2008). Strange Meetings: Anglo-German Literary Encounters from 1910 to 1960. Washington, D.C.: Catholic University of America Press. ISBN 978-0-8132-1533-4 – via Google Books.
- Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books.
- Green, Stanley (1980). Encyclopedia of the Musical Theatre. New York City: Da Capo Press. ISBN 0-306-80113-2 – via Internet Archive.
- Isherwood, Christopher (1976). Christopher and His Kind: A Memoir, 1929–1939. New York: Farrar, Straus and Giroux. ISBN 978-0374-53522-3 – via Google Books.
- Isherwood, Christopher (1963) [1945]. The Berlin Stories. New York City: New Directions. ISBN 0-8112-0070-1. LCCN 55-2508 – via Internet Archive. {{cite book}}: ISBN / Date incompatibility (help)
- Izzo, David Garrett (2001). Christopher Isherwood: His Era, His Gang, and the Legacy of the Truly Strong Man. Columbia, South Carolina: University of South Carolina Press. ISBN 978-1-57003-403-9 – via Google Books.
- Izzo, David Garrett (2005). Christopher Isherwood Encyclopedia. London: McFarland & Company. pp. 97, 144. ISBN 0-7864-1519-3 – via Google Books.
- Feldberg, Robert (December 9, 2014). "Emma Stone sallies forth, exhuberantly, in 'Cabaret' revival". The Record. Hackensack, New Jersey. p. F1. Retrieved March 13, 2022 – via Newspapers.com.
- Jones, John Bush (2003). Our Musicals, Ourselves: A Social History of the American Musical Theatre. Lebanon, New Hampshire: University Press of New England. p. 243. ISBN 978-0-87451-904-4 – via Internet Archive.
- Kander, John; Ebb, Fred (March 1999). Golden, Bob (ed.). The Complete Cabaret Collection. Milwaukee, Wisconsin: Hal Leonard. ISBN 978-1-4584-5040-1 – via Google Books.
- Kerr, Walter (November 21, 1966). "The Theater: 'Cabaret' Opens at the Broadhurst; Musical by Masteroff, Kander and Ebb Lotte Lenya Stars Directed by Prince". The New York Times. New York City. Retrieved February 10, 2021.
- Lehmann, John (1987). Christopher Isherwood: A Personal Memoir. New York City: Henry Holt and Company. ISBN 0-8050-1029-7 – via Internet Archive.
- Leonard, William (November 28, 1968). "A Maverick, 'Cabaret' Packs a Wallop". Chicago Tribune. Chicago, Illinois. p. 83. Retrieved March 13, 2022 – via Newspapers.com.
- Lewis, Emory (August 21, 1969). "Melissa Hart Is New Planet Find". The Morning Call. Paterson, New Jersey. p. 23. Retrieved March 13, 2022 – via Newspapers.com.
- Lyman, Rick (November 13, 1997). "'Cabaret' Revival to Be Staged in Real Nightclub". The New York Times. New York City. Retrieved February 2, 2021.
- Mandelbaum, Ken (February 1, 1998). "'Cabaret' on Disc". Playbill. New York City. Retrieved February 5, 2021.
- Masteroff, Joe (1967). Harold Prince's Cabaret. New York: Random House. LCCN 67-24365. Retrieved October 27, 2021 – via Internet Archive.
- "Melissa Hart Is Signed". The New York Times. New York City. October 13, 1967. p. 33. Retrieved February 10, 2021.
- Mordden, Ethan (2001). Open a New Window: The Broadway Musical in the 1960s. New York: Palgrave. ISBN 0-312-23952-1 – via Google Books.
- Moss, Howard (June 3, 1979). "Christopher Isherwood: Man and Work". The New York Times. New York City. Retrieved January 30, 2021.
- Parker, Peter (2005) [2004]. Isherwood: A Life Revealed. London: Picador. ISBN 978-0-330-32826-5 – via Google Books.
- Parker, Peter (September 2004). "Ross, Jean Iris (1911–1973)". Oxford Dictionary of National Biography (online ed.). Oxford: Oxford University Press. doi:10.1093/ref:odnb/74425. Retrieved June 18, 2017. (Subscription or UK public library membership required.)
- Spender, Stephen (October 30, 1977). "Life Wasn't a Cabaret". The New York Times. New York City. p. 198. Retrieved February 2, 2021.
- Spender, Stephen (September 1974). "On Being a Ghost in Isherwood's Berlin". Mademoiselle. No. 79. pp. 138–139.
- Spender, Stephen (1966) [1951]. World Within World: The Autobiography of Stephen Spender. Berkeley, California: University of California Press. ISBN 978-0-679-64045-5 – via Google Books.
- Smith, Cecil (May 23, 1968). "'Cabaret' in Summer Run at Ahmanson". Los Angeles Times. Los Angeles, California. pp. 83, 98. Retrieved March 13, 2022 – via Newspapers.com.
- Stansky, Peter (November 28, 1976). "Christopher and His Kind". The New York Times. New York City. p. 260. Retrieved February 6, 2021.
- Van Druten, John (1983). I Am a Camera: A Play in Three Acts. United Kingdom: Dramatists Play Service. ISBN 978-0-8222-0545-6 – via Internet Archive.
- Vidal, Gore (December 9, 1976). "Art, Sex and Isherwood". The New York Review of Books. New York City. Retrieved October 9, 2023.
Online sources
- Allen, Brooke (December 19, 2004). "Isherwood: The Uses of Narcissism". The New York Times. New York City. Retrieved February 1, 2021.
- Bannister, Rosie (June 26, 2013). "Will Young returns to emcee Cabaret tour". WhatsOnStage. London. Retrieved September 9, 2013. Will Young is set to reprise his role of Emcee in a UK tour of Rufus Norris's production of Cabaret, which will open at the New Wimbledon Theatre on 28 August 2013.
- Bowie-Sell, Daisy (June 5, 2017). "Louise Redknapp to join Will Young in new tour of Cabaret". WhatsOnStage. London. Retrieved August 10, 2019.
- Brantley, Ben (December 4, 2014). "Saucy Sally, Desperately Imbibing Your Gaze". The New York Times. New York City. Retrieved February 2, 2021.
- Brethauer-Hamling, Taylor (December 8, 2021). "Photos: First Look at Eddie Redmayne, Jessie Buckley & More in Cabaret". BroadwayWorld. New York City. Retrieved March 2, 2022.
- BWW News Desk (May 6, 2016). "Photo Flash: Broadway Workshop and Project Broadway Present Cabaret". BroadwayWorld. New York City. Retrieved July 10, 2021.
- "Cabaret (2017 Australian Production)". Sydney, Australia: Hayes Theatre. November 6, 2016. Archived from the original on November 6, 2016.
- "Cabaret Festival Theatre, April 10 – October 26". Ontario, Canada: Shaw Festival. 2014. Archived from the original on November 19, 2013.
- Culwell-Block, Logan (July 11, 2023). "Olivier-Winning London Cabaret Revival is Officially Broadway Bound". Playbill. Retrieved July 11, 2023.
- Darvill, Josh (August 24, 2019). "Cabaret UK tour cast confirmed in full for new production". Stagechat. London. Retrieved January 31, 2021.
- Doyle, Rachel (April 12, 2013). "Looking for Christopher Isherwood's Berlin". The New York Times. New York City. p. TR10. Retrieved February 5, 2021.
- Dziemianowicz, Joe (August 20, 2014). "Emma Stone to join Broadway's Cabaret in November". Daily News. New York. Retrieved January 7, 2016.
- Franklin, Marc J. (November 15, 2021). "Take a Sneak Peek at the London Revival of Cabaret Starring Eddie Redmayne". Playbill. New York City. Retrieved November 21, 2021.
- Gallagher, Paul (April 3, 2014). "Life is a Cabaret: Christopher Isherwood on the real Sally Bowles, Berlin, writing and W. H. Auden". Dangerous Minds. Presented by Richard Metzger. Retrieved October 2, 2019.
- Gioia, Michael (September 4, 2013). "Willkommenn! Roundabout Will Welcome Tony-Winning Cabaret Back to Broadway With Alan Cumming and Michelle Williams in 2014". Playbill. New York City. Retrieved March 3, 2022.
- Godfrey, Robyn (June 13, 2008). "Stratford Festival Review: Terrific Cabaret in both senses of the word". Southwestern Ontario News. Ontario, Canada. Archived from the original on January 13, 2015. Retrieved February 9, 2021.
- Gray, Margaret (July 20, 2016). "50 years of 'Cabaret': How the 1966 musical keeps sharpening its edges for modern times". Los Angeles Times. Los Angeles. Retrieved January 31, 2021.
- Healy, Patrick (September 3, 2013). "Michelle Williams to Make Broadway Debut in 'Cabaret'". The New York Times. New York City. Retrieved February 2, 2021.
- Healy, Patrick (January 7, 2015). "Sienna Miller Will Join 'Cabaret' on Broadway". The New York Times. New York City. Retrieved February 2, 2021.
- Hensher, Philip (May 15, 2005). "Christopher and His Kind". The Spectator. London. Retrieved March 9, 2022.
- Holcomb-Holland, Lori (January 5, 2015). "'Cabaret' to Close March 29, and Emma Stone Extends Her Run". The New York Times. New York City. Retrieved February 2, 2021.
- Jue, Teresa (January 5, 2015). "Emma Stone extends Cabaret run on Broadway". Entertainment Weekly. New York City. Retrieved January 31, 2021.
- "Cast & Creative | Cabaret | Kit Kat Club London | West End". kitkat.club. 2022. Retrieved October 25, 2022.
- "Main Stage – Broadway Workshop". Broadway Workshop. New York City. May 6, 2016. Retrieved July 10, 2021.
- Mendes, Sam (director), Cumming, Alan (actor) (1993). Cabaret (UK TV production) (Videotape). London: Channel Four Film. Retrieved March 10, 2022 – via YouTube.
- "Micaela Diamond". Playbill. New York City. 2021. Retrieved July 10, 2021.
- "Michelle Ryan to join Will Young in Cabaret revival". BBC News. London. May 25, 2012. Retrieved July 17, 2012.
- "Musical – Cabaret (Album)". Dutch Charts (in Dutch). Netherlands: GfK Benelux Marketing Services. 2007. Retrieved January 31, 2021.
- "Musical – Cabaret (Album)". Les Charts (in French). Neuilly-sur-Seine, France: Syndicat National de l'Édition Phonographique. 2007. Retrieved January 31, 2021.
- Paulson, Michael (July 11, 2023). "Award-Winning 'Cabaret' Revival Plans Spring Broadway Bow". The New York Times. New York. ISSN 0362-4331. Retrieved July 11, 2023.
- Peterson, Tyler (July 21, 2014). "Michelle Williams Extends Run in Broadway's Cabaret". BroadwayWorld. New York City. Retrieved January 31, 2021.
- Reice, Sylvie (March 10, 1998). "Cabaret by Sylvie Reice". Curtain Up. New York City. Retrieved January 31, 2021.
- Rosky, Nicole (October 7, 2013). "Danny Burstein and Linda Emond to Play 'Herr Schultz' and 'Fraulein Schneider' in Cabaret Revival". BroadwayWorld. New York City. Retrieved March 3, 2022.
- Royce, Graydon (January 13, 2014). "'Cabaret' looks very different from the original musical". Star Tribune. Minneapolis, Minnesota. Retrieved February 10, 2021.
- Simonson, Robert (April 10, 2006). "New London Cabaret, Directed by Rufus Norris, Will Open Sept. 26". Playbill. New York City. Retrieved February 5, 2021.
- Snetiker, Marc (January 7, 2015). "Sienna Miller to replace Emma Stone in Broadway's Cabaret". Entertainment Weekly. New York City. Retrieved January 31, 2021.
- Thomson, David (March 21, 2005). "The Observer as Hero". The New Republic. New York City. Retrieved January 30, 2021.
- "Will Young to make West End musical debut in Cabaret". BBC News. London. May 18, 2012. Retrieved February 2, 2021.
- Wiegand, Chris (May 21, 2021). "Eddie Redmayne to return to London theatre in Cabaret with Jessie Buckley". The Guardian. London. Retrieved May 24, 2021.
- Wiegand, Chris (August 14, 2023). "'Raring to take on this challenge': musicians Jake Shears and Self Esteem to star in Cabaret". The Guardian. London. ISSN 0261-3077. Retrieved August 15, 2023.
- Wood, Alex (March 1, 2022). "New West End Cabaret cast announced". WhatsOnStage. London. Retrieved March 1, 2022.
- Yossman, K. J. (March 8, 2022). "Eddie Redmayne, Jessie Buckley and Emma Corrin Nominated for Olivier Awards 2022". Variety. Los Angeles. Retrieved March 9, 2022.
External links
Wikimedia Commons has media related to Cabaret (musical).- Cabaret at the Internet Broadway Database
- Cabaret (1993 UK TV production starring Alan Cumming) at IMDb
- Plot and production information at the Guide to Musical Theatre
- The Making of Cabaret by Keith Garebian. OUP 2011 2nd edition.
References
Garebian 2011, p. 3; Gray 2016. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Bloom & Vlastnik 2004, p. 46. - Bloom, Ken; Vlastnik, Frank (October 2004). Broadway Musicals – The 101 Greatest Shows of All Time. New York City: Black Dog & Leventhal Publishers. pp. 46–49. ISBN 1-57912-390-2 – via Google Books. https://books.google.com/books?id=R-MAnn-PrxIC ↩
Isherwood 1976, pp. 3–8: In March 1929, Isherwood joined W. H. Auden in Berlin. Impressed by the city, Isherwood returned again soon after and stayed for several years until the rise of the Nazis. - Isherwood, Christopher (1976). Christopher and His Kind: A Memoir, 1929–1939. New York: Farrar, Straus and Giroux. ISBN 978-0374-53522-3 – via Google Books. https://books.google.com/books?id=n0IOAQAAMAAJ ↩
Moss 1979: Isherwood frequented "the boy-bars in Berlin in the late years of the Weimar Republic.... [He] discovered a world utterly different from the repressive English one he disliked, and with it, the excitements of sex and new subject matter." - Moss, Howard (June 3, 1979). "Christopher Isherwood: Man and Work". The New York Times. New York City. Retrieved January 30, 2021. https://www.nytimes.com/1979/06/03/archives/christopher-isherwood-man-and-work-isherwood.html ↩
Isherwood 1976, Chapter 1: "To Christopher, Berlin meant Boys... Christopher was suffering from an inhibition, then not unusual among upper-class homosexuals; he couldn't relax sexually with a member of his own class or nation. He needed a working-class foreigner. He had become clearly aware of this when he went to Germany in May 1928." - Isherwood, Christopher (1976). Christopher and His Kind: A Memoir, 1929–1939. New York: Farrar, Straus and Giroux. ISBN 978-0374-53522-3 – via Google Books. https://books.google.com/books?id=n0IOAQAAMAAJ ↩
Paul Bowles was an American writer who wrote the novel The Sheltering Sky.[6] After meeting the author in Berlin, Isherwood appropriated his surname for the character of Sally Bowles.[7] /wiki/Paul_Bowles ↩
Garebian 2011, pp. 6–7; Spender 1977; Spender 1966, pp. 125–130. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Jean Ross later claimed the political indifference of the Sally Bowles character more closely resembled Isherwood and his hedonistic friends,[9] many of whom "fluttered around town exclaiming how sexy the storm troopers looked in their uniforms."[10] /wiki/Jean_Ross ↩
Allen 2004: "The real Isherwood... [was] the least political of the so-called Auden group, [and] Isherwood was always guided by his personal motivations rather than by abstract ideas." - Allen, Brooke (December 19, 2004). "Isherwood: The Uses of Narcissism". The New York Times. New York City. Retrieved February 1, 2021. https://www.nytimes.com/2004/12/19/books/review/isherwood-the-uses-of-narcissism.html ↩
Stansky 1976: Isherwood was a "self-indulgent upper middle-class foreign tourist" who was "a good deal less dedicated to political passion than the legend has had it." - Stansky, Peter (November 28, 1976). "Christopher and His Kind". The New York Times. New York City. p. 260. Retrieved February 6, 2021. https://www.nytimes.com/1976/11/28/archives/christopher-and-his-kind.html ↩
Isherwood claimed he and Ross "had a relationship which was asexual but more truly intimate than the relationships between Sally and her various partners in the novel, the plays and the films."[13] /wiki/Asexuality ↩
Parker 2004; Parker 2005, p. 205. - Parker, Peter (September 2004). "Ross, Jean Iris (1911–1973)". Oxford Dictionary of National Biography (online ed.). Oxford: Oxford University Press. doi:10.1093/ref:odnb/74425. Retrieved June 18, 2017. https://www.oxforddnb.com/view/article/74425 ↩
Lehmann 1987, p. 18: "Jean Ross, whom [Isherwood] had met in Berlin as one of his fellow-lodgers in the Nollendorfstrasse for a time, when she was earning her living as a (not very remarkable) singer in a second-rate cabaret." - Lehmann, John (1987). Christopher Isherwood: A Personal Memoir. New York City: Henry Holt and Company. ISBN 0-8050-1029-7 – via Internet Archive. https://archive.org/details/christopherisher00lehm_0 ↩
Isherwood 1976, p. 63: "Jean moved into a room in the Nollendorfstrasse flat after she met Christopher, early in 1931." - Isherwood, Christopher (1976). Christopher and His Kind: A Memoir, 1929–1939. New York: Farrar, Straus and Giroux. ISBN 978-0374-53522-3 – via Google Books. https://books.google.com/books?id=n0IOAQAAMAAJ ↩
Parker 2005, pp. 205–206: "...a sixteen-year-old Berliner named Heinz Neddermeyer... Isherwood realized that he 'had found someone emotionally innocent, entirely vulnerable and uncritical, whom he could protect and cherish as his very own.' In other words, he had found the person for whom he had been looking in all his relationships with adolescents." - Parker, Peter (2005) [2004]. Isherwood: A Life Revealed. London: Picador. ISBN 978-0-330-32826-5 – via Google Books.Spender, Stephen (1966) [1951]. World Within World: The Autobiography of Stephen Spender. Berkeley, California: University of California Press. ISBN 978-0-679-64045-5 – via Google Books. https://books.google.com/books?id=CdF2UXFgcFcC ↩
Izzo 2005, p. 6; Vidal 1976. - Izzo, David Garrett (2005). Christopher Isherwood Encyclopedia. London: McFarland & Company. pp. 97, 144. ISBN 0-7864-1519-3 – via Google Books. https://books.google.com/books?id=vhAkCQAAQBAJ ↩
Isherwood 1976, pp. 244–245; Parker 2005, p. 205. - Isherwood, Christopher (1976). Christopher and His Kind: A Memoir, 1929–1939. New York: Farrar, Straus and Giroux. ISBN 978-0374-53522-3 – via Google Books. https://books.google.com/books?id=n0IOAQAAMAAJ ↩
Parker 2004: "An affair with a Jewish musician called Götz von Eick, who subsequently became an actor in Hollywood under the name Peter van Eyck, led to her becoming pregnant, and she nearly died after an abortion." - Parker, Peter (September 2004). "Ross, Jean Iris (1911–1973)". Oxford Dictionary of National Biography (online ed.). Oxford: Oxford University Press. doi:10.1093/ref:odnb/74425. Retrieved June 18, 2017. https://www.oxforddnb.com/view/article/74425 ↩
Parker 2004: "An affair with a Jewish musician called Götz von Eick, who subsequently became an actor in Hollywood under the name Peter van Eyck, led to her becoming pregnant, and she nearly died after an abortion." - Parker, Peter (September 2004). "Ross, Jean Iris (1911–1973)". Oxford Dictionary of National Biography (online ed.). Oxford: Oxford University Press. doi:10.1093/ref:odnb/74425. Retrieved June 18, 2017. https://www.oxforddnb.com/view/article/74425 ↩
Parker 2004: "An affair with a Jewish musician called Götz von Eick, who subsequently became an actor in Hollywood under the name Peter van Eyck, led to her becoming pregnant, and she nearly died after an abortion." - Parker, Peter (September 2004). "Ross, Jean Iris (1911–1973)". Oxford Dictionary of National Biography (online ed.). Oxford: Oxford University Press. doi:10.1093/ref:odnb/74425. Retrieved June 18, 2017. https://www.oxforddnb.com/view/article/74425 ↩
Parker 2005, p. 220. - Parker, Peter (2005) [2004]. Isherwood: A Life Revealed. London: Picador. ISBN 978-0-330-32826-5 – via Google Books.Spender, Stephen (1966) [1951]. World Within World: The Autobiography of Stephen Spender. Berkeley, California: University of California Press. ISBN 978-0-679-64045-5 – via Google Books. https://books.google.com/books?id=CdF2UXFgcFcC ↩
Isherwood 1976, pp. 244–245; Spender 1966, p. 127; Spender 1974, pp. 138–139; Thomson 2005. - Isherwood, Christopher (1976). Christopher and His Kind: A Memoir, 1929–1939. New York: Farrar, Straus and Giroux. ISBN 978-0374-53522-3 – via Google Books. https://books.google.com/books?id=n0IOAQAAMAAJ ↩
Lehmann 1987, pp. 28–9; Gallagher 2014; Spender 1974, pp. 138–139; Thomson 2005. - Lehmann, John (1987). Christopher Isherwood: A Personal Memoir. New York City: Henry Holt and Company. ISBN 0-8050-1029-7 – via Internet Archive. https://archive.org/details/christopherisher00lehm_0 ↩
Izzo 2005, p. 144: "The abortion is a turning point in the narrator's relationship with Sally and also in his relationship to Berlin and to his writing". - Izzo, David Garrett (2005). Christopher Isherwood Encyclopedia. London: McFarland & Company. pp. 97, 144. ISBN 0-7864-1519-3 – via Google Books. https://books.google.com/books?id=vhAkCQAAQBAJ ↩
Spender 1966, p. 129. - Parker, Peter (2005) [2004]. Isherwood: A Life Revealed. London: Picador. ISBN 978-0-330-32826-5 – via Google Books.Spender, Stephen (1966) [1951]. World Within World: The Autobiography of Stephen Spender. Berkeley, California: University of California Press. ISBN 978-0-679-64045-5 – via Google Books. https://books.google.com/books?id=CdF2UXFgcFcC ↩
Spender 1966, p. 129. - Parker, Peter (2005) [2004]. Isherwood: A Life Revealed. London: Picador. ISBN 978-0-330-32826-5 – via Google Books.Spender, Stephen (1966) [1951]. World Within World: The Autobiography of Stephen Spender. Berkeley, California: University of California Press. ISBN 978-0-679-64045-5 – via Google Books. https://books.google.com/books?id=CdF2UXFgcFcC ↩
Parker 2005, p. 219: In contrast to Stephen Spender's prescient realization of impending doom, Isherwood near the end of January 1933 "was complaining somewhat unpresciently to Spender that situation in Germany seemed 'very dull.'" - Parker, Peter (2005) [2004]. Isherwood: A Life Revealed. London: Picador. ISBN 978-0-330-32826-5 – via Google Books.Spender, Stephen (1966) [1951]. World Within World: The Autobiography of Stephen Spender. Berkeley, California: University of California Press. ISBN 978-0-679-64045-5 – via Google Books. https://books.google.com/books?id=CdF2UXFgcFcC ↩
Spender 1977. - Spender, Stephen (October 30, 1977). "Life Wasn't a Cabaret". The New York Times. New York City. p. 198. Retrieved February 2, 2021. https://www.nytimes.com/1977/10/30/archives/life-wasnt-a-cabaret-on-a-visit-to-the-berlin-festival-stephen.html ↩
Spender 1966, p. 129; Parker 2005, p. 254. - Parker, Peter (2005) [2004]. Isherwood: A Life Revealed. London: Picador. ISBN 978-0-330-32826-5 – via Google Books.Spender, Stephen (1966) [1951]. World Within World: The Autobiography of Stephen Spender. Berkeley, California: University of California Press. ISBN 978-0-679-64045-5 – via Google Books. https://books.google.com/books?id=CdF2UXFgcFcC ↩
Parker 2005, p. 221: "Isherwood recognized that he could not remain in Berlin much longer and on April 5, the day measures were brought in to ban Jews from the teaching professions and the Civil Service, he arrived back in London, bringing with him many of his possessions." - Parker, Peter (2005) [2004]. Isherwood: A Life Revealed. London: Picador. ISBN 978-0-330-32826-5 – via Google Books.Spender, Stephen (1966) [1951]. World Within World: The Autobiography of Stephen Spender. Berkeley, California: University of California Press. ISBN 978-0-679-64045-5 – via Google Books. https://books.google.com/books?id=CdF2UXFgcFcC ↩
Parker 2005, p. 220: Commenting on these dramatic change of events in Germany, Isherwood wrote to a friend that roving Nazi gangs could now murder anyone with impunity, and "it is illegal to offer any resistance". - Parker, Peter (2005) [2004]. Isherwood: A Life Revealed. London: Picador. ISBN 978-0-330-32826-5 – via Google Books.Spender, Stephen (1966) [1951]. World Within World: The Autobiography of Stephen Spender. Berkeley, California: University of California Press. ISBN 978-0-679-64045-5 – via Google Books. https://books.google.com/books?id=CdF2UXFgcFcC ↩
Many of Berlin's seedy cabarets located along the Kurfürstendamm avenue, an entertainment-vice district, had been marked for future destruction by Joseph Goebbels as early as 1928.[31] /wiki/Kurf%C3%BCrstendamm ↩
Isherwood 1976, pp. 164–166; Isherwood 1976, pp. 150, 297; Farina 2013, pp. 74–81. - Isherwood, Christopher (1976). Christopher and His Kind: A Memoir, 1929–1939. New York: Farrar, Straus and Giroux. ISBN 978-0374-53522-3 – via Google Books. https://books.google.com/books?id=n0IOAQAAMAAJ ↩
Lehmann 1987, pp. 28–29; Izzo 2001, pp. 97, 144. - Lehmann, John (1987). Christopher Isherwood: A Personal Memoir. New York City: Henry Holt and Company. ISBN 0-8050-1029-7 – via Internet Archive. https://archive.org/details/christopherisher00lehm_0 ↩
Garebian 2011, pp. 15–16. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Garebian 2011, p. 16: "David Black, a producer, had commissioned the show and sparked the interest of Julie Andrews, but the star's manager refused Andrews... to play such a part as Sally Bowles". - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Garebian 2011, p. 16. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Garebian 2011, pp. 15–16, 25, 28. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Garebian 2011, p. 24. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Garebian 2011, p. 16. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Garebian 2011, p. 16. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Garebian 2011, p. 16. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Garebian 2011, p. 16. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Mordden 2001, p. 154. - Mordden, Ethan (2001). Open a New Window: The Broadway Musical in the 1960s. New York: Palgrave. ISBN 0-312-23952-1 – via Google Books. https://books.google.com/books?id=R5O7wAEACAAJ ↩
The character of Ernst Ludwig shares similarities with Isherwood's acquaintance, Gerald Hamilton, an unscrupulous smuggler who inspired the fictional character of Arthur Norris.[40] Like the fictional character which he inspired, Hamilton was a "nefarious, amoral, sociopathic, manipulative conniver" who "did not hesitate to use or abuse friends and enemies alike."[40] /wiki/Gerald_Hamilton ↩
Mordden 2001, p. 154; Masteroff 1967, p. 7. - Mordden, Ethan (2001). Open a New Window: The Broadway Musical in the 1960s. New York: Palgrave. ISBN 0-312-23952-1 – via Google Books. https://books.google.com/books?id=R5O7wAEACAAJ ↩
Garebian 2011, p. 26. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Mordden 2001, pp. 152–54. - Mordden, Ethan (2001). Open a New Window: The Broadway Musical in the 1960s. New York: Palgrave. ISBN 0-312-23952-1 – via Google Books. https://books.google.com/books?id=R5O7wAEACAAJ ↩
Riedel, Michael (March 26, 2024). "The Untold History of Cabaret: Revived and Kicking". No. April 2024. Vanity Fair. Retrieved April 7, 2024. https://www.vanityfair.com/style/cabaret-revival ↩
Garebian 2011, p. 111. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Garebian 2011, p. 111. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Bloom & Vlastnik 2004, pp. 47–49. - Bloom, Ken; Vlastnik, Frank (October 2004). Broadway Musicals – The 101 Greatest Shows of All Time. New York City: Black Dog & Leventhal Publishers. pp. 46–49. ISBN 1-57912-390-2 – via Google Books. https://books.google.com/books?id=R-MAnn-PrxIC ↩
Lewis 1969. - Lewis, Emory (August 21, 1969). "Melissa Hart Is New Planet Find". The Morning Call. Paterson, New Jersey. p. 23. Retrieved March 13, 2022 – via Newspapers.com. https://www.newspapers.com/image/554024702/ ↩
Bloom & Vlastnik 2004, pp. 47–49. - Bloom, Ken; Vlastnik, Frank (October 2004). Broadway Musicals – The 101 Greatest Shows of All Time. New York City: Black Dog & Leventhal Publishers. pp. 46–49. ISBN 1-57912-390-2 – via Google Books. https://books.google.com/books?id=R-MAnn-PrxIC ↩
Lewis 1969. - Lewis, Emory (August 21, 1969). "Melissa Hart Is New Planet Find". The Morning Call. Paterson, New Jersey. p. 23. Retrieved March 13, 2022 – via Newspapers.com. https://www.newspapers.com/image/554024702/ ↩
Garebian 2011, pp. 39–42. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Gray 2016. - Gray, Margaret (July 20, 2016). "50 years of 'Cabaret': How the 1966 musical keeps sharpening its edges for modern times". Los Angeles Times. Los Angeles. Retrieved January 31, 2021. https://www.latimes.com/entertainment/arts/la-ca-cm-cabaret-pantages-20160718-snap-story.html ↩
Garebian 2011, p. 49: "There was no question that the single greatest element in the design was the giant mirror." - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Mordden 2001, pp. 156–57. - Mordden, Ethan (2001). Open a New Window: The Broadway Musical in the 1960s. New York: Palgrave. ISBN 0-312-23952-1 – via Google Books. https://books.google.com/books?id=R5O7wAEACAAJ ↩
Mordden 2001, pp. 156–57. - Mordden, Ethan (2001). Open a New Window: The Broadway Musical in the 1960s. New York: Palgrave. ISBN 0-312-23952-1 – via Google Books. https://books.google.com/books?id=R5O7wAEACAAJ ↩
The phonetic term "Emcee" is specifically used by playwright Joe Masteroff in the musical's script.[137] /wiki/Joe_Masteroff ↩
The character of Ernst Ludwig shares similarities with Isherwood's acquaintance, Gerald Hamilton, an unscrupulous smuggler who inspired the fictional character of Arthur Norris.[40] Like the fictional character which he inspired, Hamilton was a "nefarious, amoral, sociopathic, manipulative conniver" who "did not hesitate to use or abuse friends and enemies alike."[40] /wiki/Gerald_Hamilton ↩
Isherwood insisted Sally be depicted as a mediocre singer to reflect Jean Ross' lack of vocal talent: "She sang badly, without any expression, her hands hanging down at her sides – yet her performance was... effective because of her startling appearance and her air of not caring a curse of what people thought of her."[52] ↩
According to Isherwood, Sally Bowles should not be interpreted as a tart.[53] Sally "is a little girl who has listened to what the grown-ups had said about tarts, and who was trying to copy those things".[53] /wiki/Prostitution ↩
"Telephone Song" was cut in the 1993, 1998, 2012, 2014 and 2021 revivals, replaced by "Mein Herr". ↩
In the 1998 and 2014 revivals, "Tomorrow Belongs to Me" was changed from an ensemble number with the cabaret waiters to a gramophone solo recording of a boy soprano, with the Emcee speaking the last words.[61] In the 2021 and 2024 revivals, the Emcee sings the song. /wiki/Gramophone ↩
Isherwood claimed he and Ross "had a relationship which was asexual but more truly intimate than the relationships between Sally and her various partners in the novel, the plays and the films."[13] /wiki/Asexuality ↩
"Maybe This Time", popularized by the 1972 film, was added to stage revivals in 1998, 2012, 2014, and 2021. ↩
"Meeskite" was cut in the 1993 1987, 1998, 2012, 2014 and 2021 revivals. ↩
"Married" (reprise) was cut in the 2012 revival. ↩
The line "if you could see her through my eyes... she wouldn't look Jewish at all" was intended to illustrate how easily prejudice is accepted. However, boycott threats from Jewish leaders in Boston led Ebb to write an alternate line, "She isn't a Meeskite at all."[54] ↩
Riedel, Michael (March 26, 2024). "The Untold History of Cabaret: Revived and Kicking". No. April 2024. Vanity Fair. Retrieved April 7, 2024. https://www.vanityfair.com/style/cabaret-revival ↩
Jean Ross later claimed the political indifference of the Sally Bowles character more closely resembled Isherwood and his hedonistic friends,[9] many of whom "fluttered around town exclaiming how sexy the storm troopers looked in their uniforms."[10] /wiki/Jean_Ross ↩
"I Don't Care Much" was added for the 1987, 1993, 1998, 2012, 2014 and 2021 revivals.[62] ↩
Although the musical depicts Clifford Bradshaw as staunchly anti-racist, Christopher Isherwood was alleged to be an antisemite.[55] According to biographers, Isherwood was "fairly anti-Semitic to a degree that required some emendations of the Berlin novels when they were republished after the war".[55] /wiki/Anti-racist ↩
In some versions of the show, Herr Schultz, Fräulein Schneider, and Sally repeat lines from earlier in the show espousing their views: Schultz's belief that he will survive, Schneider choosing safety in the face of oppression, and Sally choosing to ignore politics as she sings a brief reprise of "Cabaret". ↩
In the 1998 revival, the Emcee strips off his overcoat to reveal a concentration camp prisoner's uniform marked with a yellow Star of David and a pink triangle, and the backdrop raises to reveal a white space with the ensemble standing within.[57] /wiki/Nazi_concentration_camps ↩
Several productions feature a finale with a white space flashing with a strobe effect, implying the cabaret performers – except for Sally who is not standing in the white space – will fall victim to Nazi atrocities towards the Jews and gays.[58] /wiki/The_Holocaust ↩
Masteroff 1967, Musical Numbers. - Masteroff, Joe (1967). Harold Prince's Cabaret. New York: Random House. LCCN 67-24365. Retrieved October 27, 2021 – via Internet Archive. https://archive.org/details/haroldprincescab00joem ↩
Bloom & Vlastnik 2004, p. 48; Kander & Ebb 1999, pp. 3–4. - Bloom, Ken; Vlastnik, Frank (October 2004). Broadway Musicals – The 101 Greatest Shows of All Time. New York City: Black Dog & Leventhal Publishers. pp. 46–49. ISBN 1-57912-390-2 – via Google Books. https://books.google.com/books?id=R-MAnn-PrxIC ↩
"Telephone Song" was cut in the 1993, 1998, 2012, 2014 and 2021 revivals, replaced by "Mein Herr". ↩
The character Bobby replaced one of the ladies in "Two Ladies" for the 1998 and 2014 revivals. ↩
Typically they are "Rosie" and "Frenchie". ↩
In the 1998 and 2014 revivals, "Tomorrow Belongs to Me" was changed from an ensemble number with the cabaret waiters to a gramophone solo recording of a boy soprano, with the Emcee speaking the last words.[61] In the 2021 and 2024 revivals, the Emcee sings the song. /wiki/Gramophone ↩
"Don't Go" replaced "Why Should I Wake Up?" in the 1987 revival but was removed from the score afterwards. ↩
"Maybe This Time", popularized by the 1972 film, was added to stage revivals in 1998, 2012, 2014, and 2021. ↩
"Money, Money", a song from the 1972 film, was blended with "Sitting Pretty" in the 1987 revival. It replaced "Sitting Pretty" in the 1998, 2014 and 2021 revivals. ↩
In the 1998 revival, Fräulein Kost sang the film's German translation of "Married" after two English verses. ↩
"Meeskite" was cut in the 1993 1987, 1998, 2012, 2014 and 2021 revivals. ↩
Masteroff 1967, Musical Numbers. - Masteroff, Joe (1967). Harold Prince's Cabaret. New York: Random House. LCCN 67-24365. Retrieved October 27, 2021 – via Internet Archive. https://archive.org/details/haroldprincescab00joem ↩
Bloom & Vlastnik 2004, p. 48; Kander & Ebb 1999, pp. 3–4. - Bloom, Ken; Vlastnik, Frank (October 2004). Broadway Musicals – The 101 Greatest Shows of All Time. New York City: Black Dog & Leventhal Publishers. pp. 46–49. ISBN 1-57912-390-2 – via Google Books. https://books.google.com/books?id=R-MAnn-PrxIC ↩
"Married" (reprise) was cut in the 2012 revival. ↩
"I Don't Care Much" was added for the 1987, 1993, 1998, 2012, 2014 and 2021 revivals.[62] ↩
Kander & Ebb 1999, pp. 3–4, 136–8. - Kander, John; Ebb, Fred (March 1999). Golden, Bob (ed.). The Complete Cabaret Collection. Milwaukee, Wisconsin: Hal Leonard. ISBN 978-1-4584-5040-1 – via Google Books. https://books.google.com/books?id=QXfEAQAAQBAJ ↩
Kander & Ebb 1999, pp. 3–4. - Kander, John; Ebb, Fred (March 1999). Golden, Bob (ed.). The Complete Cabaret Collection. Milwaukee, Wisconsin: Hal Leonard. ISBN 978-1-4584-5040-1 – via Google Books. https://books.google.com/books?id=QXfEAQAAQBAJ ↩
Garebian 2011, p. 71. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Garebian 2011, p. 29. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Kander & Ebb 1999, p. 150. - Kander, John; Ebb, Fred (March 1999). Golden, Bob (ed.). The Complete Cabaret Collection. Milwaukee, Wisconsin: Hal Leonard. ISBN 978-1-4584-5040-1 – via Google Books. https://books.google.com/books?id=QXfEAQAAQBAJ ↩
Garebian 2011, p. 29. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Garebian 2011, p. 71. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Kander & Ebb 1999, pp. 50, 162. - Kander, John; Ebb, Fred (March 1999). Golden, Bob (ed.). The Complete Cabaret Collection. Milwaukee, Wisconsin: Hal Leonard. ISBN 978-1-4584-5040-1 – via Google Books. https://books.google.com/books?id=QXfEAQAAQBAJ ↩
Kander & Ebb 1999, pp. 3–4, 136–8. - Kander, John; Ebb, Fred (March 1999). Golden, Bob (ed.). The Complete Cabaret Collection. Milwaukee, Wisconsin: Hal Leonard. ISBN 978-1-4584-5040-1 – via Google Books. https://books.google.com/books?id=QXfEAQAAQBAJ ↩
Garebian 2011, p. 141. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Kander & Ebb 1999, pp. 3–4, 129, 136–8. - Kander, John; Ebb, Fred (March 1999). Golden, Bob (ed.). The Complete Cabaret Collection. Milwaukee, Wisconsin: Hal Leonard. ISBN 978-1-4584-5040-1 – via Google Books. https://books.google.com/books?id=QXfEAQAAQBAJ ↩
Garebian 2011, p. 187. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Garebian 2011, p. 187. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Lewis 1969. - Lewis, Emory (August 21, 1969). "Melissa Hart Is New Planet Find". The Morning Call. Paterson, New Jersey. p. 23. Retrieved March 13, 2022 – via Newspapers.com. https://www.newspapers.com/image/554024702/ ↩
Garebian 2011, p. 197; Gray 2016. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Garebian 2011, p. 197. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Bloom & Vlastnik 2004, p. 49. - Bloom, Ken; Vlastnik, Frank (October 2004). Broadway Musicals – The 101 Greatest Shows of All Time. New York City: Black Dog & Leventhal Publishers. pp. 46–49. ISBN 1-57912-390-2 – via Google Books. https://books.google.com/books?id=R-MAnn-PrxIC ↩
Lewis 1969. - Lewis, Emory (August 21, 1969). "Melissa Hart Is New Planet Find". The Morning Call. Paterson, New Jersey. p. 23. Retrieved March 13, 2022 – via Newspapers.com. https://www.newspapers.com/image/554024702/ ↩
"Cabaret (Broadway, 1966)". Playbill. Retrieved May 2, 2024. https://playbill.com/production/cabaret-broadhurst-theatre-vault-0000002056 ↩
Gray 2016. - Gray, Margaret (July 20, 2016). "50 years of 'Cabaret': How the 1966 musical keeps sharpening its edges for modern times". Los Angeles Times. Los Angeles. Retrieved January 31, 2021. https://www.latimes.com/entertainment/arts/la-ca-cm-cabaret-pantages-20160718-snap-story.html ↩
Gray 2016. - Gray, Margaret (July 20, 2016). "50 years of 'Cabaret': How the 1966 musical keeps sharpening its edges for modern times". Los Angeles Times. Los Angeles. Retrieved January 31, 2021. https://www.latimes.com/entertainment/arts/la-ca-cm-cabaret-pantages-20160718-snap-story.html ↩
Royce 2014. - Royce, Graydon (January 13, 2014). "'Cabaret' looks very different from the original musical". Star Tribune. Minneapolis, Minnesota. Retrieved February 10, 2021. https://www.startribune.com/cabaret-looks-very-different-from-the-original-musical/239506801/ ↩
Kerr 1966. - Kerr, Walter (November 21, 1966). "The Theater: 'Cabaret' Opens at the Broadhurst; Musical by Masteroff, Kander and Ebb Lotte Lenya Stars Directed by Prince". The New York Times. New York City. Retrieved February 10, 2021. https://www.nytimes.com/1966/11/21/archives/the-theater-cabaret-opens-at-the-broadhurst-musical-by-masteroff.html ↩
Lewis 1969. - Lewis, Emory (August 21, 1969). "Melissa Hart Is New Planet Find". The Morning Call. Paterson, New Jersey. p. 23. Retrieved March 13, 2022 – via Newspapers.com. https://www.newspapers.com/image/554024702/ ↩
Hart 1967; Leonard 1968. - "Melissa Hart Is Signed". The New York Times. New York City. October 13, 1967. p. 33. Retrieved February 10, 2021. https://www.nytimes.com/1967/10/13/archives/melissa-hart-is-signed.html ↩
Leonard 1968; Smith 1968; Oakland Tribune 1968. - Leonard, William (November 28, 1968). "A Maverick, 'Cabaret' Packs a Wallop". Chicago Tribune. Chicago, Illinois. p. 83. Retrieved March 13, 2022 – via Newspapers.com. https://www.newspapers.com/image/376593133/ ↩
Green 1980, p. 53. - Green, Stanley (1980). Encyclopedia of the Musical Theatre. New York City: Da Capo Press. ISBN 0-306-80113-2 – via Internet Archive. https://archive.org/details/trent_0116403559523 ↩
"Cabaret London Cast Recording 1968". MasterworksBroadway. Retrieved May 2, 2024. https://masterworksbroadway.com/music/cabaret-london-cast-recording-1968/ ↩
Mandelbaum 1998. - Mandelbaum, Ken (February 1, 1998). "'Cabaret' on Disc". Playbill. New York City. Retrieved February 5, 2021. https://www.playbill.com/article/ken-mandelbaums-musicals-on-disc-cabaret-on-disc-com-73168 ↩
Mandelbaum 1998. - Mandelbaum, Ken (February 1, 1998). "'Cabaret' on Disc". Playbill. New York City. Retrieved February 5, 2021. https://www.playbill.com/article/ken-mandelbaums-musicals-on-disc-cabaret-on-disc-com-73168 ↩
Garebian 2011, p. 199. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
"Cabaret (Broadway, 1987)". Playbill. Retrieved May 2, 2024. https://playbill.com/production/cabaret-imperial-theatre-vault-0000006036 ↩
Bloom & Vlastnik 2004, p. 47. - Bloom, Ken; Vlastnik, Frank (October 2004). Broadway Musicals – The 101 Greatest Shows of All Time. New York City: Black Dog & Leventhal Publishers. pp. 46–49. ISBN 1-57912-390-2 – via Google Books. https://books.google.com/books?id=R-MAnn-PrxIC ↩
Royce 2014; Lyman 1997. - Royce, Graydon (January 13, 2014). "'Cabaret' looks very different from the original musical". Star Tribune. Minneapolis, Minnesota. Retrieved February 10, 2021. https://www.startribune.com/cabaret-looks-very-different-from-the-original-musical/239506801/ ↩
"Cabaret Donmar Warehouse Revival 1993". Ovrtur. Retrieved May 2, 2024. https://ovrtur.com/production/2896094 ↩
Bloom & Vlastnik 2004, p. 47. - Bloom, Ken; Vlastnik, Frank (October 2004). Broadway Musicals – The 101 Greatest Shows of All Time. New York City: Black Dog & Leventhal Publishers. pp. 46–49. ISBN 1-57912-390-2 – via Google Books. https://books.google.com/books?id=R-MAnn-PrxIC ↩
Reice 1998; Gray 2016. - Reice, Sylvie (March 10, 1998). "Cabaret by Sylvie Reice". Curtain Up. New York City. Retrieved January 31, 2021. http://www.curtainup.com/cabar98.html ↩
Brantley 1998. - Brantley, Ben (March 20, 1998). "Desperate Dance at Oblivion's Brink". The New York Times. New York City. Retrieved January 31, 2021. https://www.nytimes.com/1998/03/20/movies/theater-review-desperate-dance-at-oblivion-s-brink.html ↩
Mendes 1993. - Mendes, Sam (director), Cumming, Alan (actor) (1993). Cabaret (UK TV production) (Videotape). London: Channel Four Film. Retrieved March 10, 2022 – via YouTube. https://www.youtube.com/watch?v=KW5eFCFnW9c ↩
Gray 2016. - Gray, Margaret (July 20, 2016). "50 years of 'Cabaret': How the 1966 musical keeps sharpening its edges for modern times". Los Angeles Times. Los Angeles. Retrieved January 31, 2021. https://www.latimes.com/entertainment/arts/la-ca-cm-cabaret-pantages-20160718-snap-story.html ↩
Lyman 1997. - Lyman, Rick (November 13, 1997). "'Cabaret' Revival to Be Staged in Real Nightclub". The New York Times. New York City. Retrieved February 2, 2021. https://www.nytimes.com/1997/11/13/nyregion/cabaret-revival-to-be-staged-in-real-nightclub.html ↩
Riedel, Michael (March 26, 2024). "The Untold History of Cabaret: Revived and Kicking". No. April 2024. Vanity Fair. Retrieved April 7, 2024. https://www.vanityfair.com/style/cabaret-revival ↩
Lyman 1997. - Lyman, Rick (November 13, 1997). "'Cabaret' Revival to Be Staged in Real Nightclub". The New York Times. New York City. Retrieved February 2, 2021. https://www.nytimes.com/1997/11/13/nyregion/cabaret-revival-to-be-staged-in-real-nightclub.html ↩
Gray 2016. - Gray, Margaret (July 20, 2016). "50 years of 'Cabaret': How the 1966 musical keeps sharpening its edges for modern times". Los Angeles Times. Los Angeles. Retrieved January 31, 2021. https://www.latimes.com/entertainment/arts/la-ca-cm-cabaret-pantages-20160718-snap-story.html ↩
Garebian 2011, p. 199. - Garebian, Keith (2011). The Making of Cabaret. Oxford: Oxford University Press. ISBN 978-0-19-973250-0 – via Google Books. https://books.google.com/books?id=PuD3p2IGW5oC ↩
Lyman 1997. - Lyman, Rick (November 13, 1997). "'Cabaret' Revival to Be Staged in Real Nightclub". The New York Times. New York City. Retrieved February 2, 2021. https://www.nytimes.com/1997/11/13/nyregion/cabaret-revival-to-be-staged-in-real-nightclub.html ↩
"Cabaret (Broadway, 1998)". Playbill. Retrieved May 2, 2024. https://playbill.com/production/cabaret-kit-kat-klub-vault-0000004928 ↩
"Cabaret (Broadway, 1998)". Playbill. Retrieved May 2, 2024. https://playbill.com/production/cabaret-kit-kat-klub-vault-0000004928 ↩
Brantley 1998. - Brantley, Ben (March 20, 1998). "Desperate Dance at Oblivion's Brink". The New York Times. New York City. Retrieved January 31, 2021. https://www.nytimes.com/1998/03/20/movies/theater-review-desperate-dance-at-oblivion-s-brink.html ↩
Brantley 1998. - Brantley, Ben (March 20, 1998). "Desperate Dance at Oblivion's Brink". The New York Times. New York City. Retrieved January 31, 2021. https://www.nytimes.com/1998/03/20/movies/theater-review-desperate-dance-at-oblivion-s-brink.html ↩
Simonson 2006. - Simonson, Robert (April 10, 2006). "New London Cabaret, Directed by Rufus Norris, Will Open Sept. 26". Playbill. New York City. Retrieved February 5, 2021. https://www.playbill.com/article/new-london-cabaret-directed-by-rufus-norris-will-open-sept-26-com-131904 ↩
BBC News 2012. - "Will Young to make West End musical debut in Cabaret". BBC News. London. May 18, 2012. Retrieved February 2, 2021. https://www.bbc.co.uk/news/entertainment-arts-18114256 ↩
Michelle Ryan 2012. - "Michelle Ryan to join Will Young in Cabaret revival". BBC News. London. May 25, 2012. Retrieved July 17, 2012. https://www.bbc.co.uk/news/entertainment-arts-18203773 ↩
Bannister 2013. - Bannister, Rosie (June 26, 2013). "Will Young returns to emcee Cabaret tour". WhatsOnStage. London. Retrieved September 9, 2013. Will Young is set to reprise his role of Emcee in a UK tour of Rufus Norris's production of Cabaret, which will open at the New Wimbledon Theatre on 28 August 2013. http://www.whatsonstage.com/blackpool-theatre/news/06-2013/will-young-returns-to-emcee-cabaret-tour_31145.html ↩
Bowie-Sell 2017. - Bowie-Sell, Daisy (June 5, 2017). "Louise Redknapp to join Will Young in new tour of Cabaret". WhatsOnStage. London. Retrieved August 10, 2019. https://www.whatsonstage.com/london-theatre/news/will-young-louise-redknapp-cabaret-uk-tour_43766.html ↩
Darvill 2019. - Darvill, Josh (August 24, 2019). "Cabaret UK tour cast confirmed in full for new production". Stagechat. London. Retrieved January 31, 2021. https://stagechat.co.uk/news/tour/3983-cabaret-uk-tour-cast-confirmed-in-full-for-new-production.html ↩
Gioia 2013. - Gioia, Michael (September 4, 2013). "Willkommenn! Roundabout Will Welcome Tony-Winning Cabaret Back to Broadway With Alan Cumming and Michelle Williams in 2014". Playbill. New York City. Retrieved March 3, 2022. https://playbill.com/article/willkommen-roundabout-will-welcome-tony-winning-cabaret-back-to-broadway-with-alan-cumming-and-michelle-williams-in-2014-com-209167 ↩
Gray 2016. - Gray, Margaret (July 20, 2016). "50 years of 'Cabaret': How the 1966 musical keeps sharpening its edges for modern times". Los Angeles Times. Los Angeles. Retrieved January 31, 2021. https://www.latimes.com/entertainment/arts/la-ca-cm-cabaret-pantages-20160718-snap-story.html ↩
Healy 2013. - Healy, Patrick (September 3, 2013). "Michelle Williams to Make Broadway Debut in 'Cabaret'". The New York Times. New York City. Retrieved February 2, 2021. https://artsbeat.blogs.nytimes.com/2013/09/03/michelle-williams-to-make-broadway-debut-in-cabaret/ ↩
BroadwayWorld 2013. - Rosky, Nicole (October 7, 2013). "Danny Burstein and Linda Emond to Play 'Herr Schultz' and 'Fraulein Schneider' in Cabaret Revival". BroadwayWorld. New York City. Retrieved March 3, 2022. https://www.broadwayworld.com/article/Danny-Burstein-and-Linda-Emond-to-Play-Herr-Schultz-and-Fraulein-Schneider-in-CABARET-Revival-20131007 ↩
BroadwayWorld 2014. - Peterson, Tyler (July 21, 2014). "Michelle Williams Extends Run in Broadway's Cabaret". BroadwayWorld. New York City. Retrieved January 31, 2021. http://www.broadwayworld.com/article/Michelle-Williams-Extends-Run-in-Broadways-CABARET-20140721 ↩
Feldberg 2014; Jue 2015; Dziemianowicz 2014; Holcomb-Holland 2015. - Feldberg, Robert (December 9, 2014). "Emma Stone sallies forth, exhuberantly, in 'Cabaret' revival". The Record. Hackensack, New Jersey. p. F1. Retrieved March 13, 2022 – via Newspapers.com. https://www.newspapers.com/image/504967582/ ↩
Brantley 2014. - Brantley, Ben (December 4, 2014). "Saucy Sally, Desperately Imbibing Your Gaze". The New York Times. New York City. Retrieved February 2, 2021. https://www.nytimes.com/2014/12/05/arts/emma-stone-takes-over-in-cabaret.html ↩
Healy 2015. - Healy, Patrick (January 7, 2015). "Sienna Miller Will Join 'Cabaret' on Broadway". The New York Times. New York City. Retrieved February 2, 2021. https://artsbeat.blogs.nytimes.com/2015/01/07/sienna-miller-will-join-cabaret-on-broadway/ ↩
Snetiker 2015. - Snetiker, Marc (January 7, 2015). "Sienna Miller to replace Emma Stone in Broadway's Cabaret". Entertainment Weekly. New York City. Retrieved January 31, 2021. http://popwatch.ew.com/2015/01/07/sienna-miller-broadway-cabaret/ ↩
Dziemianowicz 2014. - Dziemianowicz, Joe (August 20, 2014). "Emma Stone to join Broadway's Cabaret in November". Daily News. New York. Retrieved January 7, 2016. http://www.nydailynews.com/entertainment/theater-arts/emma-stone-joins-cabaret-article-1.1910216 ↩
Holcomb-Holland 2015. - Holcomb-Holland, Lori (January 5, 2015). "'Cabaret' to Close March 29, and Emma Stone Extends Her Run". The New York Times. New York City. Retrieved February 2, 2021. https://artsbeat.blogs.nytimes.com/2015/01/05/cabaret-to-close-march-29/ ↩
Viagas, Robert (February 7, 2017). "Cabaret National Tour Introduces New Sally Bowles and Emcee". Playbill. Retrieved October 22, 2024. https://playbill.com/article/cabaret-national-tour-introduces-new-sally-bowles-and-emcee ↩
Brethauer-Hamling 2021. - Brethauer-Hamling, Taylor (December 8, 2021). "Photos: First Look at Eddie Redmayne, Jessie Buckley & More in Cabaret". BroadwayWorld. New York City. Retrieved March 2, 2022. https://www.broadwayworld.com/article/Photos-First-Look-at-Eddie-Redmayne-Jessie-Buckley-More-in-CABARET-20211208 ↩
Franklin 2021. - Franklin, Marc J. (November 15, 2021). "Take a Sneak Peek at the London Revival of Cabaret Starring Eddie Redmayne". Playbill. New York City. Retrieved November 21, 2021. https://www.playbill.com/article/take-a-sneak-peek-at-the-london-revival-of-cabaret-starring-eddie-redmayne ↩
"Life Is a Cabaret! The Shimmering Kander and Ebb Classic Heads Back to Broadway Starring Eddie Redmayne". Vogue. March 5, 2024. Retrieved March 6, 2024. https://www.vogue.com/article/cabaret-broadway-revival-april-2024 ↩
Kit Kat Club 2022. - "Cast & Creative | Cabaret | Kit Kat Club London | West End". kitkat.club. 2022. Retrieved October 25, 2022. https://kitkat.club/cabaret-london/cast-creative/ ↩
Wiegand 2021. - Wiegand, Chris (May 21, 2021). "Eddie Redmayne to return to London theatre in Cabaret with Jessie Buckley". The Guardian. London. Retrieved May 24, 2021. https://www.theguardian.com/stage/2021/may/21/eddie-redmayne-to-return-to-london-theatre-in-cabaret-with-jessie-buckley ↩
Riedel, Michael (March 26, 2024). "The Untold History of Cabaret: Revived and Kicking". No. April 2024. Vanity Fair. Retrieved April 7, 2024. https://www.vanityfair.com/style/cabaret-revival ↩
Yossman 2022. - Yossman, K. J. (March 8, 2022). "Eddie Redmayne, Jessie Buckley and Emma Corrin Nominated for Olivier Awards 2022". Variety. Los Angeles. Retrieved March 9, 2022. https://variety.com/2022/theater/news/olivier-awards-nominations-2022-1235199067/ ↩
Yossman 2022. - Yossman, K. J. (March 8, 2022). "Eddie Redmayne, Jessie Buckley and Emma Corrin Nominated for Olivier Awards 2022". Variety. Los Angeles. Retrieved March 9, 2022. https://variety.com/2022/theater/news/olivier-awards-nominations-2022-1235199067/ ↩
Wood 2022. - Wood, Alex (March 1, 2022). "New West End Cabaret cast announced". WhatsOnStage. London. Retrieved March 1, 2022. https://www.whatsonstage.com/london-theatre/news/new-west-end-cabaret-cast-announced_56014.html ↩
Wiegand 2023. - Wiegand, Chris (August 14, 2023). "'Raring to take on this challenge': musicians Jake Shears and Self Esteem to star in Cabaret". The Guardian. London. ISSN 0261-3077. Retrieved August 15, 2023. https://www.theguardian.com/stage/2023/aug/15/musicians-jake-shears-and-self-esteem-to-star-in-cabaret ↩
Wiegand, Chris (February 5, 2024). "Cara Delevingne to star as Sally Bowles in hit West End show Cabaret". The Guardian. ISSN 0261-3077. Retrieved February 6, 2024. https://www.theguardian.com/stage/2024/feb/05/cara-delevingne-to-star-as-sally-bowles-in-hit-west-end-show-cabaret ↩
"West End Cabaret, Starring Eddie Redmayne, Will Release a Cast Album". Playbill. Retrieved May 2, 2024. https://playbill.com/article/west-end-cabaret-starring-eddie-redmayne-will-release-a-cast-album ↩
Gans, Andrew (June 3, 2024). "Rhea Norwood and Layton Williams Are New Stars of London Cabaret Revival Beginning June 3". Playbill. Retrieved December 13, 2024. https://playbill.com/article/rhea-norwood-and-layton-williams-are-new-stars-of-london-cabaret-revival-beginning-june-3 ↩
"First-look Photos: More new Cabaret photos released starring Katherine Langford & Adam Gillen". West End Theatre. October 14, 2024. Retrieved December 14, 2024. https://www.westendtheatre.com/252129/news/show-photos/cabaret-new-cast-photos-videos-including-katherine-langford-adam-gillen/ ↩
Gans, Andrew. Photos: Billy Porter and Marisha Wallace Join Cast of London Cabaret Revival January 28, Playbill, January 28, 2025 https://playbill.com/article/photos-billy-porter-and-marisha-wallace-join-cast-of-london-cabaret-revival-january-28 ↩
Wild, Stephi. "Eddie Redmayne Will Reprise Role in Cabaret on Broadway Alongside Gayle Rankin". BroadwayWorld.com. Retrieved October 23, 2023. https://www.broadwayworld.com/article/Eddie-Redmayne-Will-Reprise-Role-in-CABARET-on-Broadway-Alongside-Gayle-Rankin-20231023 ↩
Paulson 2023; Culwell-Block 2023. - Paulson, Michael (July 11, 2023). "Award-Winning 'Cabaret' Revival Plans Spring Broadway Bow". The New York Times. New York. ISSN 0362-4331. Retrieved July 11, 2023. https://www.nytimes.com/2023/07/11/theater/cabaret-london-to-broadway.html ↩
Ato Blankson-Wood Joins Upcoming Broadway Cabaret https://www.playbill.com/article/ato-blankson-wood-joins-upcoming-broadway-cabaret ↩
Bebe Neuwirth and Steven Skybell Join Upcoming Broadway Cabaret Revival https://www.playbill.com/article/bebe-neuwirth-and-steven-skybell-join-upcoming-broadway-cabaret-revival ↩
Natascia Diaz and Henry Gottfried Board Upcoming Broadway Cabaret https://www.playbill.com/article/natascia-diaz-and-henry-gottfried-board-upcoming-broadway-cabaret ↩
"Cabaret (Broadway, 2024)". Playbill. Retrieved May 2, 2024. https://playbill.com/production/cabaret-broadway-august-wilson-theatre-2024 ↩
Youngs, Ian (April 30, 2024). "Tony Awards: Eddie Redmayne, Daniel Radcliffe and Rachel McAdam nominated". https://www.bbc.co.uk/news/articles/c043550nm81o ↩
Sarmiento, Isabella Gomez. "Tony Awards 2024: The complete list of winners", NPR, June 16, 2024 https://www.npr.org/2024/06/14/nx-s1-5006566/tony-award-winners ↩
Higgins, Molly and Logan Culwell-Block. "Adam Lambert and Auli'i Cravalho to Join Cabaret on Broadway", Playbill, July 24, 2024 https://playbill.com/article/adam-lambert-aulii-cravalho-to-join-cabaret-on-broadway ↩
Culwell-Block, Logan. "Orville Peck, Eva Noblezada Take Over Broadway's Cabaret March 31", Playbill, March 31, 2025 https://playbill.com/article/orville-peck-eva-noblezada-take-over-broadways-cabaret-march-31 ↩
Godfrey 2008. - Godfrey, Robyn (June 13, 2008). "Stratford Festival Review: Terrific Cabaret in both senses of the word". Southwestern Ontario News. Ontario, Canada. Archived from the original on January 13, 2015. Retrieved February 9, 2021. https://web.archive.org/web/20150113020208/http://www.southwesternontario.ca/news/stratford-festival-review-terrific-cabaret-in-both-senses-of-the-word/ ↩
Shaw Festival 2014. - "Cabaret Festival Theatre, April 10 – October 26". Ontario, Canada: Shaw Festival. 2014. Archived from the original on November 19, 2013. https://web.archive.org/web/20131119132722/http://www.shawfest.com/playbill/cabaret/story/ ↩
2017 Australian Production. - "Cabaret (2017 Australian Production)". Sydney, Australia: Hayes Theatre. November 6, 2016. Archived from the original on November 6, 2016. https://web.archive.org/web/20161106124022/http://www.cometothecabaret.com.au ↩
The Productions section above displays citations to sources verifying all performers mentioned in the table. ↩
Norbert Leo Butz Into Cabaret Tour w/ Teri Hatcher, Feb. 23 https://playbill.com/article/norbert-leo-butz-into-cabaret-tour-w-teri-hatcher-feb-23-com-79454 ↩
The phonetic term "Emcee" is specifically used by playwright Joe Masteroff in the musical's script.[137] /wiki/Joe_Masteroff ↩
Norbert Leo Butz Into Cabaret Tour w/ Teri Hatcher, Feb. 23 https://playbill.com/article/norbert-leo-butz-into-cabaret-tour-w-teri-hatcher-feb-23-com-79454 ↩
Randy Harrison Says "Willkommen" in New Cabaret Tour; First Pics Here! https://playbill.com/article/randy-harrison-says-willkommen-in-new-cabaret-tour-first-pics-here-com-383096 ↩
Mandelbaum 1998. - Mandelbaum, Ken (February 1, 1998). "'Cabaret' on Disc". Playbill. New York City. Retrieved February 5, 2021. https://www.playbill.com/article/ken-mandelbaums-musicals-on-disc-cabaret-on-disc-com-73168 ↩
Mandelbaum 1998. - Mandelbaum, Ken (February 1, 1998). "'Cabaret' on Disc". Playbill. New York City. Retrieved February 5, 2021. https://www.playbill.com/article/ken-mandelbaums-musicals-on-disc-cabaret-on-disc-com-73168 ↩
Mandelbaum 1998. - Mandelbaum, Ken (February 1, 1998). "'Cabaret' on Disc". Playbill. New York City. Retrieved February 5, 2021. https://www.playbill.com/article/ken-mandelbaums-musicals-on-disc-cabaret-on-disc-com-73168 ↩
Mandelbaum 1998. - Mandelbaum, Ken (February 1, 1998). "'Cabaret' on Disc". Playbill. New York City. Retrieved February 5, 2021. https://www.playbill.com/article/ken-mandelbaums-musicals-on-disc-cabaret-on-disc-com-73168 ↩
Mandelbaum 1998. - Mandelbaum, Ken (February 1, 1998). "'Cabaret' on Disc". Playbill. New York City. Retrieved February 5, 2021. https://www.playbill.com/article/ken-mandelbaums-musicals-on-disc-cabaret-on-disc-com-73168 ↩
Mandelbaum 1998. - Mandelbaum, Ken (February 1, 1998). "'Cabaret' on Disc". Playbill. New York City. Retrieved February 5, 2021. https://www.playbill.com/article/ken-mandelbaums-musicals-on-disc-cabaret-on-disc-com-73168 ↩
"New York Drama Critics' Circle Awards Past Winners". New York Drama Critics' Circle. Retrieved January 31, 2025. https://www.dramacritics.org/dc_pastawards.html ↩
"New York Drama Critics' Circle Awards Past Winners". New York Drama Critics' Circle. Retrieved January 31, 2025. https://www.dramacritics.org/dc_pastawards.html ↩