| 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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