Word: cabaret
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Dates: during 1990-1999
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...production that affirms the wide creative possibilities of musical theater. Drawing upon the works of young writers facing a dizzying array of both comical and serious issues, Swados and her team of student actors, musicians, producers and designers have converted these pieces poetry and prose into a highly effective cabaret format...
...show's scenic design is intentionally sparse, fitting its cabaret-style presentation, but what does exist is used to great effect. The main props are ten chairs, varying wildly in artistic design, that are "introduced" by the cast members in the show's humorous opening segment. The chairs are moved around the stage constantly and are integrated into almost every number, functioning as a stable counterpart to the show's quickly changing tone. The costumes also mimic the progress of the show, as each actor occasionally puts on additional layers and styles of clothing to fit the mood...
...described by co-producer Elena Jacobson '99, Cantata 2000 is performed cabaret style with no single plot strand and consists of about 35 different songs of various musical styles, moods and words. Issues dealt with in the show include bisexuality, AIDS and the identity struggle of "Generation X." Next to these serious issues the show places more comical matters to "reflect the conflicting nature of the turn of the millenium," Jacobson says...
...most interested in the many stories of inspiring derring-do, as well as cautionary tales of derring-don't--the weight of which tends to suggest that they don't make fabulous spies, or spy catchers, the way they used to. For instance, Josephine Baker, the storied American cabaret star who made her home in Paris, spied for the Allies during World War II. She slipped out of Vichy France with intelligence information written on her music in invisible ink and with photographs hidden in her clothes. In Belgium a group of women known as Dames Blanches seemed...
...vamps, it camps; it does Mozart and Sondheim, Gershwin and Strauss. What more, indeed, could Kate deLima need? Singlehandedly, she's taken over Harvard musical theater; one could hardly imagine a "Marriage of Figaro" or a "Fledermaus" getting off the ground without her. Not to mention a one-woman cabaret act, complete with schmaltz, Catskills-style patter, and a big band...