I seem to recall, from accounts over many years, that Harold Prince's original conception was to draw the present audience into the intent through stealth, letting the full realization of the threat of corruption creep up on them. The Emcee was at first entertaining, nothing more; later, a reflection of corrupted sexuality, then an amicable partner to the patriotic promises of the Nazis, then a sneering racist, finally a denier of the horror.
Accounts speak of the gasp when Cliff's friend takes off his coat at the end-of-act-one party and reveals a swastika on his arm.
Realization through well-developed intrigue.
That is powerful theater. That is how the script seems to be structured.
Have we become that stupid? |
