Cabaret (musical)

Tomorrow Belongs to Me redirects here. For the American writer who teaches English; the anti-Semitic
Sensational Alex Harvey Band album, see Tomorrow landlady was transformed into a tolerant woman with
Belongs to Me (album). a Jewish beau, Herr Schultz, who owned a fruit store;
For the 1972 lm, see Cabaret (1972 lm). two language students were eliminated; and two loath-
some but integral charactersprostitute Frulein Kost
Cabaret is a musical based on a book written by and Nazi Ernst Ludwigwere added to the mix. The
musical ultimately expressed two stories in one: the rst
Christopher Isherwood, with music by John Kander and
lyrics by Fred Ebb. The 1966 Broadway production be- a revue centered on the decadence of the seedy Kit Kat [1]
came a hit, inspiring numerous subsequent productions Klub; the second a story set in the society of the club.
in London and New York, as well as the 1972 lm by the After seeing one of the last rehearsals before the com-
same name. pany headed to Boston for the pre-Broadway run, Jerome
It is based on John Van Druten's 1951 play I Am a Cam- Robbins suggested the musical sequences outside the
era, which was adapted from the short novel Goodbye to cabaret be eliminated. Prince ignored his advice. In
Berlin (1939) by Christopher Isherwood. Set in 1931 Boston, Jill Haworth struggled with her characterization
Berlin as the Nazis are rising to power, it is based in of cabaret performer Sally Bowles; critics thought the
nightlife at the seedy Kit Kat Klub, and revolves around blonde dressed in a white dress suggested senior prom
young American writer Cli Bradshaw and his relation- more than tawdry nightclub so Sally was changed [2]
to
ship with 32-year-old English cabaret performer Sally brunette before the show opened on Broadway.
Bowles. Princes staging was unusual for the time. As the audi-
ence lled the theater, the curtain was already up, reveal-
A sub-plot involves the doomed romance between Ger-
man boarding house owner Frulein Schneider and her ing a stage containing nothing but a large mirror reecting
elderly suitor Herr Schultz, a Jewish fruit vendor. Over- the auditorium. There was no overture; instead, a drum
seeing the action is the Master of Ceremonies at the Kit roll and cymbal crash led into the opening number. The
Kat Klub. The club serves as a metaphor for ominous juxtaposition of dialogue scenes with songs used as ex-
political developments in late Weimar Germany. position and separate cabaret numbers providing social
commentary was a novel concept that initially startled the
audience, but as they gradually came to understand the
dierence between the two, they were able to accept the
1 Background reasoning behind them.[3]

Sandy Wilson, who had achieved success with The Boy

Friend in the 1950s, had completed the book and most
of the score for Goodbye to Berlin, his adaptation of I
Am a Camera, when he discovered that producer David
Blacks option on both the 1951 Van Druten play and its
source material by Christopher Isherwood had lapsed and
been acquired by Harold Prince. Prince commissioned
Joe Mastero to work on the book. When Prince and
Mastero agreed that Wilsons score failed to capture the
essence of late-1920s Berlin, John Kander and Fred Ebb
were invited to join the project.
The new version was initially a dramatic play preceded
by a prologue of songs describing the Berlin atmosphere
from various points of view. As the composers began
to distribute the songs between scenes, they realized the
story could be told in the structure of a more traditional
book musical, and they replaced some of the songs with
tunes more relevant to the plot. Isherwoods original char-
acters were changed as well. The male lead became an
2 Productions
2.1 Original Broadway production
The musical opened on Broadway on November 20,
1966, at the Broadhurst Theatre, transferred to the
Imperial Theatre and then the Broadway Theatre before
closing on September 6, 1969 after 1,165-performances
and 21 previews.[4] Directed by Harold Prince and
choreographed by Ron Field, the cast featured Jill Ha-
worth as Sally, Bert Convy as Cli, Lotte Lenya as
Frulein Schneider, Jack Gilford as Herr Schultz, Joel
Grey as the Master of Ceremonies (Emcee), Edward
Winter as Ernst and Peg Murray as Frulein Kost. Re-
placements later in the run included Anita Gillette and
Melissa Hart as Sally, Ken Kercheval and Larry Kert as
Cli, and Martin Ross as the Emcee. In addition, John
Serry Sr. performed as the orchestral accordionist.

1
2 2 PRODUCTIONS

The 1967-1968 US national tour featured Melissa Hart
(Sally), Signe Hasso (Frulein Schneider) and Leo Fuchs
(Herr Schultz). The tour included the Shubert The-
atre in New Haven, Connecticut in December 1967; the
Ahmanson Theatre in Los Angeles; Cleveland, Ohio;
Baltimore, Maryland; and Atlanta, Georgia.[5]
2.2 Original London production
In the nal scene, the Emcee removes his outer clothes
to reveal a striped suit of the type worn by the in-
ternees in concentration camps; on it are pinned a yellow
badge (identifying Jews) and a pink triangle (denoting
homosexuals). Other changes included added references
to Clis bisexuality, including a brief scene where he
kisses one of the Cabaret boys.[8] I Don't Care Much,
which was cut from the original production, was rein-
stated, and Mein Herr was added from the lm.

The rst West End production opened on February 28,

1968 at the Palace Theatre with Judi Dench as Sally, 2.6 1998 Broadway revival
Kevin Colson as Cli, Barry Dennen as the Emcee, Lila
Kedrova as Frulein Schneider and Peter Sallis as Herr The second Broadway revival was based on the 1993
Schultz. It ran for 336 performances.[6] Mendes-Donmar Warehouse production. For the Broad-
way transfer, Rob Marshall was brought on board as
co-director and choreographer. The production opened
2.3 1986 London revival after 37 previews on March 19, 1998 at the Kit Kat
Klub, housed in what previously had been known as
In 1986, the show was revived in London at the Strand Henry Millers Theatre. Later that year it transferred to
Theatre starring Kelly Hunter as Sally, Peter Land as Studio 54, where it remained for the rest of its 2,377-
Cli and Wayne Sleep as the Emcee, directed and chore- performance run, becoming the third longest-running re-
ographed by Gillian Lynne. vival in Broadway musical history, third only to Oh! Cal-
cutta! and Chicago. For the Broadway production, Cum-
ming reprised his role as the Emcee, opposite newcom-
2.4 1987 Broadway revival ers Natasha Richardson as Sally, John Benjamin Hickey
as Cli, Ron Rifkin as Herr Schultz, Denis O'Hare as
The rst Broadway revival opened on October 22, 1987, Ernst Ludwig, Michele Pawk as Frulein Kost, and Mary
with direction and choreography by Prince and Field. The Louise Wilson as Frulein Schneider, along with Joyce
revival opened at the Imperial Theatre, eventually trans- Chittick, Leenya Rideout, Erin Hill, Christina Pawl, Kris-
ferring to the Minsko to complete its 261-performance ten Olness, Michael O'Donnell, Bill Szobody and Fred
run. Joel Grey received star billing as the Emcee, with Rose. The Broadway production was nominated for ten
Alyson Reed as Sally, Gregg Edelman as Cli, Regina Tony Awards, winning four for Cumming, Richardson
Resnik as Frulein Schneider, Werner Klemperer as Herr and Rifkin, as well as the Tony for Best Revival of
Schultz, and David Staller as Ernst Ludwig. The song a Musical. This production featured a number of no-
Don't Go was added for Clis character. table replacements later in the run: Jennifer Jason Leigh,
Susan Egan, Joely Fisher, Gina Gershon, Deborah Gib-
son, Teri Hatcher, Melina Kanakaredes, Jane Leeves,
2.5 1993 London revival Molly Ringwald, Brooke Shields, and Lea Thompson as
Sally; Michael C. Hall, Ral Esparza, Neil Patrick Har-
In 1993, Sam Mendes directed a new production of the ris, Adam Pascal, Jon Secada, Norbert Leo Butz and John
show for the Donmar Warehouse in Londons West End.
Stamos as the Emcee; Boyd Gaines and Michael Hayden
It starred Jane Horrocks as Sally, Adam Godley as Cli, as Cli; Tom Bosley, Dick Latessa, Hal Linden, Laurence
Alan Cumming as the Emcee and Sara Kestelman as
Luckinbill, and Tony Roberts as Herr Schultz; and Blair
Frulein Schneider. Cumming received an Olivier Award Brown, Polly Bergen, Mariette Hartley and Carole Shel-
nomination for his performance and Kestelman won the ley as Frulein Schneider.
Olivier for Best Supporting Performance in a Musical.
Mendes conception was very dierent from either the There were a number of changes made between the 1993
original production or the conventional rst revival. and 1998 revivals, despite the similarities in creative
team. The cabaret number Two Ladies was staged
The most signicant change was the character of the Em- with the Emcee, a cabaret girl, and a cabaret boy in drag
cee. The role, as played by Joel Grey in both prior in- and included a shadow play simulating various sexual
carnations, was an asexual, edgy character dressed in a positions.[8] The score was entirely re-orchestrated, us-
tuxedo with rouged cheeks. Alan Cumming's portrayal ing synthesizer eects and expanding the stage band, with
was highly sexualized, as he wore suspenders (i.e. braces) all the instruments now being played by the cabaret girls
around his crotch and red paint on his nipples.[7] and boys. The brutally satiric Sitting Pretty, with its
Staging details diered as well; instead of Tomorrow mocking references to deprivation, despair and hunger,
Belongs To Me being performed by a male choir, the was eliminated entirely, as it had been in the lm ver-
Emcee plays a recording of a boy soprano singing it. sion, and where in the '93 revival it had been combined
2.10 Other productions 3

with Money (as it had been in '87 London produc-
tion), Money was now performed on its own. Maybe
This Time, from the lm adaptation, was added to the
score.[8]
2.7 2006 London revival
In September 2006, a new production of the show opened
at the Lyric Theatre, directed by Rufus Norris,[9] and
starring Anna Maxwell Martin as Sally, James Drey-
fus as the Emcee, Harriet Thorpe as Frulein Kost and
Sheila Hancock as Frulein Schneider. Hancock won
the Olivier Award for Best Supporting Performance in
a Musical. Replacements later in the run included Kim
Medcalf and Amy Nuttall as Sally, Honor Blackman and
Angela Richards as Frulein Schneider, and Julian Clary
and Alistair McGowan as the Emcee. This production
closed in June 2008 and toured nationally for two years
with a cast that included Wayne Sleep as the Emcee and
Samantha Barks and Siobhan Dillon as Sally.
limited engagement with previews from March 21, 2014
with opening night on April 24, 2014. This engagement
was later extended to a 36-week run concluding on Jan-
uary 4, 2015.[16]
On August 21, 2014 it was ocially conrmed that
Emma Stone would replace Michelle Williams as Sally
until February 1, 2015 after Williams left the production
on November 9, and Alan Cumming would continue in
the role of The Emcee until the shows closing date in
March 2015.[17] The Roundabout Theatre Company an-
nounced on January 5, 2015, that Stone would extend her
run as Sally until February 15.[18] On February 17, Sienna
Miller replaced Stone as Sally through to the shows clos-
ing on March 29, 2015.[19]
The production later toured the US from January 2016
with Randy Harrison as the Emcee and Andrea Goss (fol-
lowing her appearance as Frenchie in the Broadway pro-
duction). They were later replaced by Jon Peterson and
Leigh Ann Larkin.

2.10 Other productions

2.8 2012 London revival
A BBC Radio 2 radio broadcast in 1996 at the Golders
A revival opened in the West End at the Savoy Theatre on Green Hippodrome starred Claire Burt (Sally Bowles),
3 October 2012, following a four-week tour of the UK, Steven Berko (Emcee), Alex Hanson (Cliord Brad-
including Bromley, Southampton, Nottingham, Norwich shaw), Keith Michell (Herr Schultz), and Rosemary
and Salford.[10] Will Young plays the Emcee and Michelle Leach (Fraulein Schneider).
Ryan portrays Sally Bowles.[11] It was announced on 10
August 2012 that Sin Phillips, Harriet Thorpe and Matt Since 2003, there have been successful international stag-
Rawle would also be joining the cast. The production ings of the show (many of which have been inuenced by
was made by the creative team behind the 2006 London Mendes concept), including productions in Texas (US),
Colombia, Canada, Malaysia, Brazil, South Africa, Mex-
revival, but they had created a dierent set, lighting, cos-
tumes, choreography and direction. The 2012 revival fo- ico, Melbourne, Peru, France, Venezuela, Serbia, Spain,
Argentina, Israel and Greece. In 2008, the Stratford
cuses more on comic aspects, but still expresses the harsh-
ness of 1931 Germany.[12] In August 2013 the show went Shakespeare Festival performed an extremely powerful
on tour, again with Young as The Emcee, Siobhan Dillon production at the Avon Theatre designed by Douglas
reprising her role of Sally and Lyn Paul joining the castParaschuk and directed by Amanda Dehnert,[20] featuring
as Fraulein Schneider.[13] Bruce Dow as the Emcee, Trish Lindstrm as Sally, Sean
Arbuckle as Cli, Nora McClellan as Fraulein Schneider
The production will tour the UK again from September and Frank Moore as Herr Schultz.
2017, with cast and further dates to be announced.
The Shaw Festival at Niagara-on-the-Lake, Ontario,
Canada included Cabaret in its 2014 season.[21] The pro-
2.9 2014 Broadway revival duction, which ran from April 10 October 26, 2014 at
the Festival Theatre, was directed by Peter Hinton (in-
In September 2013 Roundabout Theatre Company an- uenced by the Mendes production) with choreography
nounced plans to return the companys acclaimed 1998 by Denise Clarke and featured Juan Chioran as the Em-
production to Studio 54 in New York.[14] For this, the cee, Deborah Hay as Sally, Gray Powell as Cli, Benedict
shows third Broadway revival, Sam Mendes and Rob Campbell as Herr Schultz, Corrine Koslo as Fraulein
Marshall reprised their respective roles as director and Schneider and Jay Turvey as Ernst.
co-director/choreographer to recreate their work from A new major revival production with new direction
the earlier production. Alan Cumming starred again played Sydney and Melbourne, Australia in 2017. The
as the Emcee while Academy Award-nominee Michelle production starred Paul Capsis as the Emcee and Chelsea
Williams made her Broadway debut as Sally Bowles. On Gibb as Sally. The production mixed elements of the
October 7, 2013, Tony Award nominees Danny Burstein Mendes production, such as its version of Two-Ladies
and Linda Emond joined the cast as Herr Schultz and and its portrayal of a gay Cli, with the highly colourful
Fraulein Schneider.[15] The production began a 24-week art design of the original(the Emcee is in full makeup and
4 3 SYNOPSIS

clothed) and most of the additional songs from the 1972 decides to get an abortion. Cli reminds her that it could
lm.[22] be his child, and seems to convince her to have the baby.
Ernst enters and oers Cli a jobpicking up a suitcase
in Paris and delivering it to his client in Berlineasy
money. The Emcee comments on this Sitting Pretty, or
3 Synopsis (in later versions) Money.
Meanwhile, Frulein Schneider has caught one of her
3.1 Act I boarders, Frulein Kost, bringing sailors into her room.
Frulein Schneider forbids her from doing it again, but
At the dawn of the 1930s in Berlin, the Nazi party is Frulein Kost threatens to leave. She also mentions that
growing stronger. The Kit Kat Klub is a seedy cabaret, she has seen Frulein Schneider with Herr Schultz in her
a place of decadent celebration. The Klubs Master of room. Herr Schultz saves Frulein Schneiders reputation
Ceremonies, or M.C., together with the cabaret girls and by telling Frulein Kost that he and Frulein Schneider
waiters, warm up the audience ("Willkommen"). In a are to be married in three weeks. After Frulein Kost
train station, Cli Bradshaw arrives, a young American leaves, Frulein Schneider thanks Herr Schultz for lying
writer coming to Berlin to work on his new novel. He to Frulein Kost. Herr Schultz says that he was serious
meets Ernst Ludwig, a German who oers Cli work and and proposes to Frulein Schneider (Married).
recommends a boardinghouse. At the boardinghouse,
At Frulein Schneider and Herr Schultzs engagement
Frulein Schneider oers Cli a room for one hundred
party, Cli arrives and delivers the suitcase to Ernst.
marks; he can only pay fty. After a brief debate, she
A tipsy Herr Schultz sings Meeskite (Meeskite, he
relents and lets Cli live there for fty marks. Frulein
explains, is Yiddish for ugly or funny-looking), a song
Schneider observes that she has learned to take whatever
with a moral (Anyone responsible for loveliness, large
life oers (So What?").
or small/Is not a meeskite at all). Afterward, looking for
As Cli visits the Kit Kat Klub, the Emcee introduces revenge on Frulein Schneider, Frulein Kost tells Ernst,
a British singer, Sally, who performs a racy, irtatious who now sports a Nazi armband, that Schultz is a Jew.
number (Don't Tell Mama). Afterward, she asks Cli Ernst warns Frulein Schneider that marrying a Jew may
to recite poetry for her; he recites "Casey at the Bat". Cli not be wise. Frulein Kost and company reprise Tomor-
oers to take Sally home, but she says that her boyfriend row Belongs to Me, with more overtly Nazi overtones,
Max, the clubs owner, is too jealous. Sally performs her as Cli, Sally, Frulein Schneider, Herr Schultz and the
nal number at the Kit Kat Club aided by the female en- Emcee look on.
semble (Mein Herr). The cabaret ensemble performs a
song and dance, calling each other on inter-table phones
and inviting each other for dances and drinks (The Tele- 3.2 Act II
phone Song).
The next day, Cli has just nished giving Ernst an En- The cabaret girls, along with the Emcee in drag, perform
glish lesson when Sally arrives. Max has red her and a kick line routine which eventually becomes a goose-
thrown her out, and now she has no place to live, and step. Frulein Schneider expresses her concerns about
so she asks him if she can live in his room. At rst he her union to Herr Schultz, who assures her that every-
resists, but she convinces him (and Frulein Schneider) thing will be all right (Married (Reprise)). They are
to take her in (Perfectly Marvelous). The Emcee and interrupted by the crash of a brick being thrown through
two female companions sing a song (Two Ladies) that the window of Herr Schultzs fruit shop. Schultz tries to
comments on Cli and Sallys unusual living conditions. reassure her that it is just children making trouble, but
Herr Schultz, an elderly Jewish fruit-shop owner who Frulein Schneider is afraid.
lives in her boardinghouse, has given Frulein Schneider Back at the Kit Kat Klub, the Emcee performs a song-
a pineapple as a gift (It Couldn't Please Me More). In and-dance routine with a girl in a gorilla suit, singing that
the Kit Kat Klub, a young waiter starts to sing a songa their love has been met with universal disapproval (If
patriotic anthem to the Fatherland that slowly descends You Could See Her). Encouraging the audience to be
into a darker, Nazi-inspired marching songbecoming more open-minded, he defends his ape-woman, conclud-
the strident Tomorrow Belongs to Me. He initially sings ing with, if you could see her through my eyes... she
a cappella, before the customers and the band join in. (In wouldn't look Jewish at all. (The line was intended to
the 1998 and 2014 revivals, this is replaced by the Emcee shock the audience and make them consider how eas-
playing a recording of a boy soprano). ily and unthinkingly they accepted prejudice, but protests
Months later, Cli and Sally are still living together and and boycott threats from Jewish leaders in Boston led Ebb
have fallen in love. Cli knows that he is in a dream, but to write an alternate nal line, She isn't a Meeskite at
he enjoys living with Sally too much to come to his senses all.[23] ) Frulein Schneider goes to Cli and Sallys room
(Why Should I Wake Up?"). Sally reveals that she is and returns their engagement present, explaining that her
pregnant, but she does not know the father and reluctantly marriage has been called o. When Cli protests, say-

ing that she can't just give up this way, she asks him what
other choice she has (What Would You Do?").
Cli tells Sally that he is taking her back to America so
that they can raise their baby together. Sally protests,
declaring how wonderful their life in Berlin is, and Cli
sharply tells her to wake up and take notice of the grow-
ing unrest around them. Sally retorts that politics have
nothing to do with them or their aairs. Following their
argument, Sally returns to the club (I Don't Care Much)
(in the 1998 Broadway and 2012 London revivals, Sally
takes cocaine before leaving Clis room). At the Kit
Kat Klub after another heated argument with Sally, Cli
is accosted by Ernst, who has another delivery job for
him. Cli tries to brush him o, but when Ernst asks if
Clis attitude towards him is because of that Jew at the
party, Cli attacks himonly to be badly beaten up by
Ernsts Nazi bodyguards and dragged out of the club. On
stage, the Emcee introduces Sally, who enters to perform
again, singing that life is a cabaret, old chum, cement-
ing her decision to live in carefree ignorance and freedom
(Cabaret).
The next morning, the bruised Cli is packing, when Herr
Schultz visits. He tells Cli that he is moving to another
boardinghouse, but is condent that the bad times will
soon pass. He understands the German people, he says,
because he is a German too. When Sally returns, she re-
veals that she has had an abortion; Cli slaps her. He
still hopes that she will join him, but Sally says that she
has always hated Paris and hopes that when Cli nally
writes his novel, he will dedicate it to her. Cli leaves,
heartbroken.
On the train to Paris, Cli begins to write his novel, re-
ecting on his experiences: There was a cabaret, and
there was a master of ceremonies ... and there was a city
called Berlin, in a country called Germany ... and it was
the end of the world. (Willkommen Reprise). In the
Kit Kat Klub, the Emcee welcomes us (in the 1998 re-
vival, he strips o his overcoat to reveal a concentration
camp prisoners uniform marked with a yellow Star of
David and a pink triangle, and the backdrop raises to re-
veal white space with the ensemble standing within. The
cabaret ensemble reprises Willkommen, but it is now
harsh and violent as the Emcee sings, "Auf Wiederse-
hen... bientt... followed by a crescendo drum roll and
a cymbal crash. Some productions have the white space
then ashing with a strobe eect, implying the Cabaret
performers, except for Sally (who is not standing in the
white space), will fall victim to Nazi atrocities towards
the Jews.
4 Character list
Sally Bowles The headlining British singer at the
Kit Kat Klub
The Emcee The Emcee (MC: Master of Cere-
5
monies) of the Kit Kat Klub, a leering, ghoulish,
amboyant gure
Cliord Cli Bradshaw An American writer
traveling through Berlin
Frulein Schneider An older woman who runs
the boarding house that Cli and Sally live in
Herr Schultz An elderly Jewish fruit shop owner
who falls in love with Fraulein Schneider
Ernst Ludwig A German man who befriends Cli
when he arrives in Berlin, later revealed to be a Nazi
Frulein Kost A prostitute who rents in Fraulein
Schneiders boarding house
Rosie, LuLu, Frenchie, Texas, Fritzie, and Helga
Girls who perform alongside Sally at the Kit Kat
Klub
Bobby, Victor, Hans, and Herman The Cabaret
boys of the Kit Kat Klub (Bobby and Victor are
twins)
Nazi Youth A young boy involved in the Nazi
Party.
Sailors #1 and #2 Fraulein Kosts sailors
Nazi Guard Ernsts bodyguard at the Kit Kat Klub
Max Owner of the Kit Kat Klub
5 Casts
6 Songs
Every production of Cabaret has modied the original
score, with songs being changed, cut, or added from the
lm version. This is a collective list featuring all songs
from every major production.
6.1 Changes
Telephone Song is cut in the 1998, 2012, and 2014
revivals and is replaced by Mein Herr.
The character Bobby replaces one of the ladies in
Two Ladies for the 1998 and 2014 revivals.
For the 1998 and 2014 revivals, Tomorrow Belongs
to Me was changed from a group number by the
waiters in the cabaret, to a gramophone recording of
a boy tenor singing the song, with the leading player
speaking the last words.
Don't Go replaced Why Should I Wake Up?" in
the 1987 revival, but was removed from the score
afterwards.
6 6 SONGS

Maybe This Time, a song from the lm, was added In addition, there were two Money songs. Originally,
in the 1998, 2012, and 2014 revivals. the song Sitting Pretty was sung by the Emcee and
backed up by the Cabaret girls in international costumes
Money, a song from the lm, was mashed up with and their units of currency (representing Russian rubles,
Sitting Pretty in the 1987 revival, and replaced Japanese yen, French francs, American dollars, and Ger-
Sitting Pretty in the 1998 and 2014 revivals. man Reichsmarks). For the movie, this number was then
For the 1998 revival, Frulein Kost sings the lms replaced by Money, Money, and sung by the Emcee and
German translation of Married after two English Sally Bowles. However, Sitting Pretty was still heard
verses. briey in the lm. For the 1987 revival, there was a spe-
cial version comprising a medley of both money songs,
Meeskite was cut in the 1987, 98, 2012, and 2014 and motifs from the later song were incorporated into the
revivals. international dance that had Sitting Pretty. For the
Married (Reprise)" was cut in the 2012 revival. 1998 revival, only the later song written for the movie
was used. This version added the Cabaret Girls, and had
I Don't Care Much was added for the 1987, 98, a darker and raunchier edge to it.
2012, and 2014 revivals.

6.3 Recordings
6.2 Notes on the music
The rst recording of Cabaret was the original cast album,
Of the prologue of songs originally planned, only
with some of the songs (especially Sitting Pretty"/"The
Willkommen remained. One of the dropped num-
Money Song) heavily edited to save disk space, and oth-
bers, I Don't Care Much, was eventually restored to
ers (especially Telephone Song) taken at a faster tempo.
the 1987 production. Roommates was replaced by
When this album was released on compact disc, Kander
Perfectly Marvelous, but largely serves the same pur-
and Ebbs voice-and-piano recording of songs cut from
pose, for Sally to convince Cli to let her move in with
the musical was added as bonus material.
him. Good Time Charlie was to be sung by Sally to
Cli while they are on their way to Frulein Schneider The 1972 movie soundtrack with Liza Minnelli is perhaps
and Herr Schultzs engagement party, with Sally mock- the best-known of the recordings, although the movie is
ing the overly dour and pessimistic Cli with the lines much re-written and eliminates all but six of the original
You're such a Good Time Charlie/What'll we do with songs from the stage production.
you?/You're such a Good Time Charlie/frolicking all the The original London cast recording (1968) was released
time...). It'll All Blow Over was planned for the end of in the UK and reissued on the CBS Embassy label in
the rst act: Frulein Schneider is concerned that marry- 1973. Both the 1986 London and 1998 Broadway revival
ing a Jew might not be wise, and Cli is concerned about casts were recorded.
the citys growing Nazism. In the song, Sally tells them
both that they have nothing to worry about and that all will A 1999 two-CD studio recording contains more or less
turn out well in the end. She eventually convinces Cli the entire score, including songs written for the movie
and Frulein Schneider to sing the song with her. (Both or for later productions, and many incidentals and in-
this song and Roommates are occasionally underscored strumentals not usually recorded. This recording features
by the ostinato rhythm of the piece.) These three deleted Jonathan Pryce as the Emcee, Maria Friedman as Sally,
songs were recorded by Kander and Ebb, and the sheet Gregg Edelman as Cli, Judi Dench as Frulein Schnei-
music for the songs was included in The Complete Cabaret der, and Fred Ebb as Herr Schultz.
Collection, a book of vocal selections from the musical. The most recent recording of Cabaret is the cast record-
Lyricist Fred Ebb received letters accusing him of using ing of the 2006/2007 London revival at the Lyric The-
an actual Nazi anthem, Tomorrow Belongs to Me. Peo- atre. The recording includes James Dreyfus as emcee and
[2] Anna Maxwell Martin as Sally Bowles. The recording
ple claimed they had heard the song in Nazi Germany.
peaked number 107 on the French Albums Chart[24] and
The song Mein Herr, which was written for the 1972 number 49 and the Dutch Albums Chart.[25]
lm, and Maybe This Time (an earlier song of Kander
and Ebbs, written for the unproduced musical Golden In addition to these recordings, cast albums for
Gate) were included in the 1998 revival. In this re- the French, Spanish, Greek, Hebrew, Italian, Aus-
vival, Mein Herr would replace The Telephone Song, trian, Dutch, and two German productions have been
[26]
which already had a small appearance before Don't Tell released.
Mama. Maybe This Time replaced Why Should I
Wake Up?", and was sung by Sally in her own personal re-
ection (both were included in the 2006 London revival). 6.4 Instrumentation
Previously, in the 1987 revival, a new song was written
for Cli entitled Don't Go. Cabaret uses this instrumentation in some productions:
 7

Stage band Green, Stanley (1980). Encyclopedia of the Musi-

cal Theatre. Da Capo Press. ISBN 0-306-80113-2.
Sax reprint.
Trumpet Jones, John Bush (2003). Our musicals, ourselves: a
social history of the American musical theatre. Uni-
Trombone
versity Press of New England. p. 243. ISBN
Piano 9780874519044.
Drum Set

Pit band 9 Notes

Reed I [1] Mordden 2001, pp. 15254

Reed II [2] Bloom & Vlastnik, Ken & Frank (2004). Broadway
Msuicals - The 101 Greatest Shows of All Time. New York,
Reed III New York: Black Dog & Leventhal Publishers, Inc. pp.
4749. ISBN 1-57912-390-2.
Trumpet I-II
[3] Mordden 2001, pp. 15657
Trombone
[4] Cabaret ibdb.com
Guitar
[5] " 'Cabaret' National Tour, 1967 ovrtur.com, accessed
Bass
July 5, 2016
Piano
[6] Green 1980, p. 53
Accordion
[7] Reice, Sylvie (March 10, 1998). Curtain Up Review.
Drum Set curtainup.com.

Percussion [8] Brantley, Ben (March 20, 1998). Desperate Dance at

Oblivions Brink. The New York Times.
Violins
[9] Listing for 2006 revival. thisistheatre.com. Retrieved
Violas July 29, 2010.
Cello [10] Will Young to make West End musical debut in Cabaret".
BBC. 18 May 2012. Retrieved 17 July 2012.

[11] Michelle Ryan to join Will Young in Cabaret revival.

7 Awards and honors BBC. 25 May 2012. Retrieved 17 July 2012.

[12] Heads its Lia tails its Kristin: The toss of a coin
7.1 Original Broadway production will decide leading lady for Harold Pinters revived play.
Daily Mail. 10 August 2012. Retrieved 10 August 2012.
7.2 1987 Broadway revival
[13] Rosie Bannister (26 Jun 2013). Will Young returns to
emcee Cabaret tour Theatre News. Whatsonstage.com.
7.3 1993 London revival Retrieved 2013-09-09. Will Young is set to reprise his
role of Emcee in a UK tour of Rufus Norris production of
7.4 1998 Broadway revival Cabaret, which will open at the New Wimbledon Theatre
on 28 August 2013.
7.5 2006 London revival [14] Willkommenn! Roundabout Will Welcome Tony-
Winning Cabaret Back to Broadway With Alan Cumming
7.6 2012 London revival and Michelle Williams in 2014. Playbill.com. 4 Septem-
ber 2013. Retrieved 4 September 2013.
7.7 2014 Broadway revival [15] BWW News Desk (7 October 2013). Danny Burstein
and Linda Emond to Play 'Herr Schultz' and 'Fraulein
8 References Schneider' in CABARET Revival. Broadway-
World.com.
Mordden, Ethan (2001). Open a New Window: The [16] BWW News Desk (21 July 2014). Michelle Williams
Broadway Musical in the 1960s. New York: Pal- Extends Run in Broadways CABARET. Broadway-
grave. ISBN 0-312-23952-1. World.com.
8 10 EXTERNAL LINKS

[17] Emma Stone to join Broadways Cabaret in November.

New York Daily News. 2014-08-20. Retrieved 2016-01-
07.

[18] Emma Stone extends 'Cabaret' run on Broadway. En-

tertainment Weeklys EW.com.

[19] Sienna Miller to replace Emma Stone in Broadways

'Cabaret'". Entertainment Weeklys EW.com.

[20] Stratford Festival Review: Terric Cabaret in both senses

of the word. Southwestern Ontario news.

[21] Archived November 19, 2013, at the Wayback Machine.

[22] http://www.cometothecabaret.com.au. Missing or empty

|title= (help)

[23] Jones 2003, p. 243

[24] Musical Cabaret (Album). lescharts.com. Accessed on

August 8, 2013. (in France).

[25] Musical Cabaret (Album). dutchcharts.nl. Accessed on

August 8, 2013. (in Dutch).

[26] Cast album information. Cast Album DB.

10 External links
Cabaret at the Internet Broadway Database

Plot and production information at the Guide to Mu-

sical Theatre
 9

11 Text and image sources, contributors, and licenses

11.1 Text
Cabaret (musical) Source: https://en.wikipedia.org/wiki/Cabaret_(musical)?oldid=780311116 Contributors: Edemaine, Someone else,
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post, MusicMaker5376, Harryboyles, J 1982, Michael Bednarek, A591, Pedantic of Purley, Pamina, E-Kartoel, KirrVlad, Phaeton23,
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