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WEILL: The Rise and Fall of the City Mahagonny (Columbia K3L-243). The most elaborate of the collaborations by Weill and Bertolt Brecht, with the great Lotte Lenya heading the cast...

Author: /time Magazine | Title: Recordings: Last Chances for Mono | 7/26/1968 | See Source »

...PLAYHOUSE (shown on Fridays). Lotte Lenya sings the compositions of her late husband in "The World of Kurt Weill," while telling the life story of the composer whose music is equally at home on the opera stage and in the lowliest dive...

Author: /time Magazine | Title: Time Listings: Feb. 24, 1967 | 2/24/1967 | See Source »

Grosz, the sardonic sadomasochism of Bertolt Brecht, the tinkling melancholic musical style of Kurt Weill, and the plumpish, thigh-bared, black-gartered allure of Marlene Dietrich in The Blue Angel. Add a living link to the period in Weill's widow, Actress Lotte Lenya, with her cynical eyes and big-city-scarred voice. Set this musical by committee in a chic-sleazy nightspot called the Kit Kat Klub, supply a rouged M.C. played with androgynous guile by Joel Grey, bring on hip-roiling, braless chorines with soft-boiled smiles and any kind of love for sale, orchestrate...

Author: /time Magazine | Title: Theater: Kit Kat Kutups | 12/2/1966 | See Source »

...rare instances when something works do we get an idea of what Cabaret was meant to be. Joel Gray, as the master of ceremonies, does a brilliant love song with a female gorilla, titled "If You Could See Her Through My Eyes." The obvious parallel to Miss Lenya's relationship with Mr. Gilford gives the song a relevance all the other cabaret numbers lack. A song of popular unrest, "Tomorrow Belongs to Me," is later twisted into a grotesque Nazi rallying cry, and the meaning is again clear...

Author: By James Lardner, | Title: Cabaret | 10/27/1966 | See Source »

Maybe Miss Lenya was brought in to lend the thing an air of Brechtian respectability. If so, it didn't work...

Author: By James Lardner, | Title: Cabaret | 10/27/1966 | See Source »

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