Word: cabareting
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Playwright John van Druten dresses up Nazism in cabaret clothes, spotlighting the rise of the political party on the stage of a nightclub. The specter of Nazism looms over Berlin, transforming the frantic pursuit of pleasure in the cabaret from an escape into a form of participation in the new cause. As Cabaret progresses, the interspersed dance numbers lose their decadent innocence and turn into vicious political diatribes...
...little singing, a little dancing, a little hootchy-koo: these alone, some would say, make up a musical. Cabaret piles political and historical meaning on top of the basic elements, in a melange that often trips up directors. This production's director, Scott Goldsmith, however, masterfully sidesteps a problem that plagues many musicals: uneven singing, acting or dancing, by performers cast for their talent in only one area. Cabaret's strength lies in a group of multi-talented performers who never let any side of the show down, handling its weighty acting demands as skillfully as the song-and-dance...
...ghostly interpretation Sellon brings to his part, mostly mime except for his songs, helps tie the carefree world of the cabaret to the despairing lives of the characters. the frenetic chase of pleasure, which first draws people to the cabaret, slowly creeps into their lives outside it. The middle-aged widow, Fraulein Schneider (Holly Sargent), calls off her engagement to the Jewish Schultz (Joshua Milton) because of her terror of the Nazis. Sargent's singing starts off a little shakily, but she recovers quickly. The only changes that creep into the life of Fraulein Kost, deftly portrayed by Holley Stewart...
...KURT WEILL CABARET...
...Datelined 1928, here is the authentic shiver of Nazi gangsterism stalking the streets of doom. All the great numbers follow - Alabama-Song, Surabaya Johnny, Bilbao Song, Ballad of the Pimp and the Whore. In all these songs, a caustic social vision is wedded to a winningly expansive lyricism. This Cabaret is a feast for Broadway...