I don't really see that. The Emcee seems to me pretty much the same from beginning to end: campy, mocking and vaguely sadistic. That seems to be underlined by the repititions in the finale of lines from Wilkommen. And the first attempt to equate the Emcee with Nazism comes in Tomorrow Belongs to Me, pretty early in the show. His mocking leer in Two Ladies doesn't seem very different to me from his mocking leer in If You Could See Her, though the latter number of course has the anti-Semitic content. It seems to me evident that the Emcee is an attempt to equate campiness with decadence and evil. I remember the OBC album notes used to say that the Emcee welcomes us "in three langages, and as many genders." I'm always struck by the indignant gay reaction to The Boys in the Band, a play that clearly seems to be making an honest attempt to deal with anguish in gay men, while Cabaret seems to get away unscathed.