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| re: I don’t think you understand how Weimar cabaret functioned | |
| Posted by: theatreguy40 04:21 pm EDT 03/31/23 | |
| In reply to: re: I don’t think you understand how Weimar cabaret functioned - AlanScott 03:16 pm EDT 03/31/23 | |
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| I tend to agree with you -- but with one minor possible clarification. I think even what you call the "metaphorical Kit Kat Klub" --- can also be interpreted as the actual Kit Kat Klub --- those numbers actually being performed in the Kit Kat Klub but (as you say, and I agree) reflecting Germany and the changes in the German psyche. Either way - in your interpretation and in my slightly altered one to yours --- it clearly doesn't have anything to do with the Emcee as a "person". He is just performing "numbers". |
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| re: I don’t think you understand how Weimar cabaret functioned | |
| Posted by: AlanScott 05:02 pm EDT 03/31/23 | |
| In reply to: re: I don’t think you understand how Weimar cabaret functioned - theatreguy40 04:21 pm EDT 03/31/23 | |
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| Oh, I think I agree. And I would add that even if the Master of Ceremonies is partly not a real person, the actor must play him as a real person. Something that may be of interest: Over the last couple of days I have been re-reading reviews of the original production. I think the show is perceived as having been controversial but still having generally gotten very favorable reviews. In fact, the reviews were extremely mixed. If not for Kerr's Times rave (even with his negative appraisal of Jill Haworth), it might not have been the hit that it was. And it's surprising how many of the critics, even the favorable ones, seem to have not understood importan things about the show. It's surprising how many critics either didn't get the connections between the metaphorical numbers and the book, or just plain misunderstood things that should be obvious, and this includes some smart critics. I guess it was more confusing in 1966 than we might think possible. And a musical does give us a lot to take in on a first viewing. |
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| re: I don’t think you understand how Weimar cabaret functioned | |
| Last Edit: PlayWiz 11:57 pm EDT 03/31/23 | |
| Posted by: PlayWiz 11:51 pm EDT 03/31/23 | |
| In reply to: re: I don’t think you understand how Weimar cabaret functioned - AlanScott 05:02 pm EDT 03/31/23 | |
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| I don't think Joel Grey has ever gone into too much detail of his preparation for the MC character, other than to say that he based it on one particular person (with perhaps parts of several similar), but a second-, third- or fourth- rate comedian (and maybe one who sang and danced?) he had seen in the Catskills Borscht Belt or elsewhere in some variety shows which Grey had done for many years. He said this person was pretty awful, with connotations of flop sweat and just really giving off all kinds of audience apathy (or antipathy, i.e. bombing with them). I'm guessing as an actor maybe Mr. Grey made up a name for his MC (or Emcee) character, but has kept it hidden from others; of course, this is all conjecture, but with such a tremendously successful performance, winning a Tony on Broadway (as well as long-in-coming overnight stardom) and an Oscar for the film, he was very specific in the kinds of choices he made in making this character very indelible and true for him, and thus his audience. Btw, in the film, there are a few moments where the MC is off-stage not doing a number; I do recall at one point he kind of sticks his tongue out at Liza Minnelli's Sally Bowles for some reason. Maybe he's jealous she got a big hand? The MC is supposed to be seductive and kind of charming to the audience, with his opening to literally welcome us into the Kit Kat Klub before we see it's a facade that is in the process of breaking down, like the society at that time. The film added stuff like mud wrestling and violence from members of the Nazis against patrons in the club intercut during some other performance on stage as well. All this added to what the new screenplay and direction had to say, but it's different from the original. I, for one, actually love the "Meeskite" number and Jack Gilford's performance of it on the OCR (and I think Haworth sounds absolutely perfect for her role). I don't know when it's last been done in the show, as it really works as a very humanizing, gently funny song for Herr Schultz, who unfortunately most likely will be a victim of the Holocaust (and it's a better number than "Pineapple"!). |
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| re: I don’t think you understand how Weimar cabaret functioned | |
| Posted by: AlanScott 12:22 am EDT 04/01/23 | |
| In reply to: re: I don’t think you understand how Weimar cabaret functioned - PlayWiz 11:51 pm EDT 03/31/23 | |
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| I adore "Meeskite," and I think cutting it leaves us with a very bald way of Ernst learning that Schultz is Jewish. Also, I think we want another song in that scene. | |
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| re: I don’t think you understand how Weimar cabaret functioned | |
| Posted by: PlayWiz 12:36 am EDT 04/01/23 | |
| In reply to: re: I don’t think you understand how Weimar cabaret functioned - AlanScott 12:22 am EDT 04/01/23 | |
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| Have any recent productions included the "Meeskite" song? I don't mind "Pineapple" actually -- it works fine as a number for Schultz and Schneider, especially well when I saw Hal Linden sing it quite beautifully opposite Polly Bergen. If only he had been allowed to do "Meeskite"! | |
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| re: I don’t think you understand how Weimar cabaret functioned | |
| Posted by: simbo 04:22 pm EDT 04/01/23 | |
| In reply to: re: I don’t think you understand how Weimar cabaret functioned - PlayWiz 12:36 am EDT 04/01/23 | |
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| Kander and Ebb said in their book "colored Lights" that Meeskite only worked when Jack Gilford was singing it (and it was only really necessary when they were playing the censored version of "If You could See Her Through My Eyes"). It does have the unfortunate effect of pushing Herr Schulz in a particularly schmalzy direction which is not the tone of the rest of the show. | |
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| re: I don’t think you understand how Weimar cabaret functioned | |
| Last Edit: PlayWiz 06:39 pm EDT 04/01/23 | |
| Posted by: PlayWiz 06:36 pm EDT 04/01/23 | |
| In reply to: re: I don’t think you understand how Weimar cabaret functioned - simbo 04:22 pm EDT 04/01/23 | |
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| But Herr Schultz is intended to be rather schmaltzy and sentimental (you think "Pineapple" isn't?), especially given his status as outsider which the politics of the time, personified most overtly in that scene by Ernst, is very much against and being used as a scapegoat. Gilford's version is wonderful, but I remember years ago seeing another performer in a nightclub do an excellent job of it. It works as a standalone number too. Regardless of what Kander & Ebb wrote years later, and after years of my listening to it on the OCR, I still think it's a wonderful song, and I miss it in productions. | |
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| re: I don’t think you understand how Weimar cabaret functioned | |
| Posted by: AlanScott 07:02 pm EDT 04/01/23 | |
| In reply to: re: I don’t think you understand how Weimar cabaret functioned - PlayWiz 06:36 pm EDT 04/01/23 | |
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| I'm with you. I think it's a wonderfully touching song and just what the show needs at that moment. That scene is kind of flat without the song. And I love Peter Sallis doing it on the original London cast recording. And I've never read complaints about it in the tour reviews or replacement reviews after Gilford left on Broadway. |
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