Cabaret with Joel Grey (1988, Pro-Shot) Part 1
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- Опубликовано: 28 сен 2024
- This is a ultra rare recording of a performance of Cabaret during it's 1987 revival on broadway.
This production stars Joel Grey as his signature role of the Master of Ceremonies.
This recording dates back to 1988 and may have been recorded for the cast and production team. I'm not sure how it got out to the public.
*I will take this video down if the copyright owners wish me to.
I don’t care what people say. This version and the version and the roundabout theater runs are completely different in there own ways. We need a revival of this/original version
I AGREE OMG
Or maybe reinterpret the original production in a new way. For me, find a real nightclub (one large enough to accommodate lots of people , maybe 200 people) and use the original design (with the mirror hanging ) of the stage on the nightclub stage. It would incorporate both different productions while paying homage to the original 1966 production.
I'll see what I can do, just give me a few years.
@@thesamuelwattersonbro I kinda forgot I wrote this lmao (please cast me)
@@AutismThespian1993naaaah the newer version is 1000000000000000000000% better. The added grime and sex is soooo much better than this version. F off if you don’t think the new is better. This one has none of the new lyrics/lines/SEX the SHOW NEEDS. Things can evolve to be better. No need to protect a lame original when a golden new exists
Edit: why in the f**k do you think the movie LITERALLY did not follow this version lmao
That first version of Tomorrow Belongs to Me is so haunting. It sent shivers down my spine
This is an archival recording that as somehow been leaked. Every Broadway show is recorded and archived.
This is not the one in the NYPL thought. Probably, it was made for the cast and company. Not sure though.
William Blake Hall, every Broadway show is not recorded for the Theatre on Film and Tape archive of the Library for the Performing Arts. Some are, some aren't.
The shows began being filmed by the NYPL TOFT collection in the 1970s, with some of the first ones filmed being A Chorus Line and the first national tour of Company (both in black and white), but I'm not sure how many others were filmed in the 70s and 80s. I know Sweeney Todd was filmed.
I hope they have the 1975 chicago, I'd love to watch that
Grey originated the role of the Master of Ceremonies in the Broadway musical Cabaret in 1966 for which he won a Tony Award.
there's something magical about being able to watch these great 'retro' recordings. :) ty for this.
Absolutely!
Wow! I saw this tour when it came to SF before it went to New York. Great seeing Joel Grey live.
Unexpectedly, the combo of the two money songs, one from the stage show and one from the movie, really works quite well.
I thought it was a great addition!! Wish they used it in the current revival playing on Broadway.
I thank you for this I can't get over how young Joel grey was back then
He would have been in his mid-50s at the time.
@@alexmeyer5260he moves like a 70 year old. zero energy in this performance
I LOVE regina resnik SOOO GLAD recording exists of her in this role as Fraulein Schneider
Isn't she fabulous? Also her turn as Madame Armfeldt in around 1990 was phenomenal in Night Music.
I forgot Werner Klemperer did Cabaret. Thanks so much for posting, I haven't seen this version since 1987/88. I must have saw it at least half a dozen times during it's run.If I'm remembering right, it was at that Imperial Theatre.
TheDavidG54 I keep thinking "COL KLINK"
I dig how they combined the money songs into one and added a tap section
Wow, great to see this gem as it was performed on Broadway!
I think some of the original orchestra was in the OBC from 1966 too. Very cool to see the original form of the Broadway production, before more recent interpretations. The time period prevented it from being as risque as it has become, while also being ahead of its time when dealing with the subject matter.
This version is the most loyal to what a Cabaret show would have been like, I have never been particularly fond of how the musical distorts history, there always feels like there was a version that was more loyal to Isherwood buried the original, less in the film, and almost removed by the Cumming version and the latest one.
Thank you for the entertaining musical experience.
I love Joel grey but there’s no denying that Alan Cummings emcee was amazing
Alan Cummings did a great job, but I’m personally not a fan of their decision for changing Emcee. I just like the role better as the least intimidating, clown-like character. Just an entertainer, through & through. It’s better for the story, I feel. Idk.
While I love this, I much prefer the 1998 revival. Just my personal preference
I was only able to listen to the 1998 revival version 's soundtrack. I would love to find a digital copy of the entire musical on youtube, like this one. If you know any place where i can see the 1998 version online, that would be great! And, as for preferences, I much rather the 1993 west end procution, which was basicly the predecessor of the 1998 ( With Alan Cumming playing the role of Emcee for the first time, I think)
CrazyDude there’s one up now if you haven’t found it already
@@jppage3292if you dislike Alan Cumming you’re gonna have a field day with Eddie Redmayne. I think he is an excellent Emcee in terms of his acting and singing but the costumes in that production don’t impress me at all, especially the ones for don’t tell mama 🤮 Cabaret is a very visual piece and I feel that have the right costumes are deeply important. I’m still planning to go the Broadway production and hopefully my expectations will be defied.
@@AHHHHHHHHHHHHHHHHHHHHHHHHHHHHsthere's a video of the entire 1998 footage?
@@roymackenzie-jy4lr on youtube
This one has the original songs, unlike the Mendes version which, like most revivals of shows after the movie, replaces some of the songs with those from the movie.
Not really. The song “why should I wake up” was replaced by “don’t go” and the “sitting pretty” was mixed in with money. Also, “Meeskite” is missing.
as well as phantom and les mis i love carabret
I saw the original on Broadway with Joel Grey, Jill Haworth, Lotte Lenya, etc. The original was so much better than this production.
I was only able to listen to the soundtrack of the '66 production, i envy you for being able to witness the first Cabaret version, it was probably marvelous.
Ah, i wish there was a video recording of the original production, but oh well
Likewise. And that includes the original sets by the great Boris Aronson. His scenic design and the presence of Lotte Lenya in the cast anchored the show in something deeply authentic.
Was the show much different? I think this one is much closer to the original than the 1993/1998 revivals or the movie, which completely cut out the entire Schneider portion.
@@smurf902 As I remember it, it wasn't that far off in general from the original production -- both were directed by Hal Prince, after all -- but scenically it had a distinctly cheap look compared to the brilliant Aronson original, the casting of opera singer Regina Resnik as Fr. Schneider was only a partial success, and the incorporation of some material from the film -- the two "Money" numbers were combined, I recall -- wasn't a plus. Incidentally, the movie script was NOT an adaptation of the Broadway one, but entirely new, with quite different plot lines and (of course) with all of the non-cabaret numbers omitted entirely. (Exceptions: "Tomorrow Belongs to Me" takes place in a beer garden, and "Married" is heard briefly on the radio -- in German!).
Joel Grey is genius.
This is extraordinary!! Although not the real thing without Lotte Lenya.
And without Jack Gilford!
Loved them both on the original Broadway Cast Recording. Seems appropriate since Lotte Lenya was in the German Cabaret/theatre scene and originated the role of Jenny in the Threepenny Opera.
I love Joel Grey but he’s so out of sync with the beat in places and it kills me 😂
This is my first time ever coming across this and the opening alone had me cringing. Pretty disappointing since I've heard a lot about the versions involving him.
Yeah idk what is up with this performance.
It’s called stolen time, and it’s an intentional choice.
Very curious. I just saw the Mendes version on the Broadway tour last night. A very different show. Although this classical version is the true version and characteristic to the German Expressionism of the time it portrays, do you think Mendes' revival can be considered more of a much needed modern adaptation, especially appropriate for Studio 54 and yielding to 21st century audiences?
Plus, some of the acting appears forced. How many shows has this cast done up until this recording? Can you say burn out Fräulein Schneider?
the Studio 54 revival was truly a modern interpretation. The expressions would not have been expressed in the early 30s the extreme way the S54 did (esp. some of the sex scenes...that would not have happened, even in that liberal time period)
I disagree with this comment. If you study the Weimar period sex clubs and nudity on stage within cabarets were a prominent part of the liberalism of the era. I believe that there was very little left to the imagination and that this was an era of excess. A major exhibition of works from the Weimar period 'Glandz & Elend' demonstrates the prominence of outrageous liberalism within this sector of society.
I agree with your statement. Not I have lived through the Weimar Republic, have known, in my time, people who did. Several British and Americans and a number of Germans. And yes, the 'under-belly' of Berlin Nightlife, was quiet exhibitionist and 'in-your-face'. One should also note the 'risque' Outness/Gayness of the Social attitudes in the Nightlife and upper Society in France, and particularly--Paris. LOL. 'going bottomless' i.e. naked from the waste down to parties or Clubs, was a common sight.
P.s. this was ground breaking! Tickets?$2.50!
Wouldn’t that add up to more with inflation
@@S-pw2jh still cheaper compared to today
I've adopted music, e.g piano, composition, opera etc. amongst various abilities since early youth, being in later 50's now. I admit, my heart gives 'Cabaret' a space - the same year Destiny urged me to stumble into Mr. W. Klemperer, he emerged conveying joy, a magical force- sharing of art began, and after, a special unity. I'm holding close a souvenir- a wonderful gem.......
Is that Regina Resnik as Fraulein Schneider?
Pardon my asking, but what was the reason for the Emcee to join in “Tomorrow Belongs to Me” I mean, it’s not like he was a nazi or anything... right?
Broadway Boy - Daniel I was thinking the same thing. Idk but I went for dramatic effect 🤷♂️
At the time the song takes place, the Emcee as well as many in Germany think the Nazis are a silly gang, and he is making fun of them as he does several times throughout the show
1:47:45 "If You Could See Her (The Gorilla Song)" - Emcee
Who plays Heir Shultz in this? Should I know him? I mean the audience clapped
According to the ever reliable Wikipedia, Werner Klemperer
Werner Klemperer, from TV's Hogans Heroes. "...After Hogan's Heroes ended in 1971, Klemperer continued his career in stage and film roles and guest starring roles on television. In 1987, he portrayed Herr Schultz in the Broadway revival of Cabaret. The role earned Klemperer a Best Featured Actor Tony Award nomination. His final television work was a guest voice role in a 1993 episode of The Simpsons, as "Homer's Guardian Angel as Colonel Klink"..."
Mad respect for this rendition but I prefer Alan Cumming and his version of it.
You do realize this is Joel Grey?
Grey originated the role of the Master of Ceremonies in the Broadway musical Cabaret in 1966 for which he won a Tony Award.
J B Yeah I know this is Gray. I said that I have respect for his rendition. He did pioneer the role. But I just prefer the Alan Cumming version.
@@chinesegovernment989 ORIGINATED the role. Rendition isn't a word we ever use to describe the original production. And the word pioneer is misused. Alan Cumming's performance is a rendition of the Master of Ceremonies.
Mad respect for Joel Grey, but I prefer Alan Cumming's rendition of the Master of Ceremonies.
@@zyxw2024 Bro why u getting so tight about this.....I legit just said I liked Cummings version better. Chill
@@chinesegovernment989 lol Just pointing out your errors. Not for any other reason, stranger. Constructive criticism. Ain't gonna kill you. Chill.
And I'm not your bro. Why would you assume that?
Hearing Nazi's sing a nationalist anthem so proudly is CHILLING
And now it's the U.S. nationalist anthem that's CHILLING. Come to think of it, it always was. WAR MONGER...USA.
@@zyxw2024the sad part is that white supremacists have adapted it as their anthem.
Wheres the part.2???
ruclips.net/video/Ph5tahV0a4g/видео.html
ruclips.net/video/Ph5tahV0a4g/видео.html
Why is a big mirror?
if you are in the audience you are reflected. it is symbolic of history repeating itself
it's so the audience can see how they're there and can't do anything. if you look it up there's probs a better explanation lol
This was terribly disappointing. Joel Grey seems to be running on 7/8 speed. And "So What" is too fast and not acted at all. "Don't Tell Mama" was annoyingly done. Very strange choices by the musical director here.
3:46
Saw it in LA pre-NY. Having seen the original on tour and then on B'way, this is the most lethargic performance ever and the cast has clearly been downsized. Grey looks bored and like he's walking through it - all you have to do is watch Wilkommen on the Tony Awards of 1967 - it's like a whole different person. This entire revival was just weird straight down the line - it wasn't "quite" the original and Mr. Prince didn't improve anything. He needed a fresh cast but Grey was the draw. Even the set was adjusted and peculiar.
If that's Pro shot......................SAD
+Dan McMahon These were the resources we had back in the day, Dan. You know, in those years before you were born.
Considering this was the same decade that Sweeney Todd and Into the Woods were professionally shot, two professional recordings that look absolutely incredible, this is really a major step back in terms of recording quality. It's a shame the production was shot this way- it really is an excellent production.
This clearly was not pro-shot in the sense of being intended for television or a home-video format. "Pro-shot" is a term people often use for videos shot from a tripod, usually from the back of the orchestra, with closeups and steady camera work, differentiating them from videos made by audience members holding camera in their hands.
It was a pro recording bc the video was on tripod and music was recorded directly from soundboard. It doesn't mean it was a professional recording for use beyond the production's actors, directors & staff, usually stored in the theatre archives (until someone leaks it). Lol
Are you kidding, if you compare this to that one recording of the original Chorus Line or a performance of the original cast of Sweeney Todd, the audio and video quality here are absolutely excellent for a recording that wasn't necessarily intended to be shared around.
Saw the original. I talked to fred ebb often.
Go back to original if they can. Nothing is as good.
I’m just questioning how the audio is so good.
It's probably sourced directly from the soundboard.
Same!
@@talkingtadpole3001 in 88, im not sure there *was* a soundboard in that theater. Iistening to the 'air' in it, and i think it might have been 3 stand mics jacked into the Camcorder.
To make it easier to navigate the songs, I wrote a list for each song's time.
PART 1:
Willkommen 0:53-5:33
Welcome to Berlin 9:02-9:36
So What? 10:54-13:43
Famous Novelist 16:10-17:15
Don't Tell Mama 18:12-22:03
The Telephone Song 27:10-32:01
Perfectly Marvelous 40:30-44:02
Two Ladies 44:18-46:50
It Couldn't Please Me More 49:45-53:09
Tomorrow Belongs to Me 54:08-56:25
Don't Go 59:56-1:03:34
The Money Song 1:06:31-1:13:00
Married 1:18:24-1:20:20
Sailor Dance 1:24:30-1:28:08
Tomorrow Belongs to Me Reprise 1:32:52-1:34:30
Intermission Band 1:35:30-1:39:30
Tiller Girls 1:40:30-1:43:34
Married Reprise 1:46:35-1:47:20
If You Could See Her 1:47:56-1:51:35
What Would You Do? 1:54:05-1:57:08
PART 2 (Next Video)
I Don't Care Much 1:38-3:43
Cabaret 4:43-9:09
Finale 16:00-19:33
Thank you, that must have been a lot of work
Thank you a lot, that really helped me so, so much!
Thank you
Aww, thank you very much!
So cool!! I found it funny that they didn’t have Meeskite or Why Should I wake Up.
The only reason I watched this was to see Werner Klemperer who was nominated for a Tony award for his role of herr Schultz. Such a multi talented actor. From playing Adolph Eichmann to Colonel Klink, and later on conducting symphony orchestras and appearing in operas.
OMG where did you find this?
OMG.....I was at this play.... thank you
I much prefer the stage version over the movie. The stage version is so much darker than the movie.
Try watching 93 it's more sad because the acting for cliff, herr schutz and fraulein snyder are definitely better
I like the movie more because it immerses you in the escapism more.
These actors aren't very good imo (minus joel grey ofc). The 93 cast is much better and nothing tops the movie cast (imo).
I remember being showed this when I was like 5 🧍
Don’t go is such an underrated song. I wish more productions included it.
I always feel like there is an effort to removed Cliff/Isherwood from his own story to push the Nazi narrative that isn't what the source material is about.
it’s so beautiful! I adore maybe this time ofc maybe add both? Like cliff bares his heart and then Sally has what’s essentially in her head just a thought
@@S-pw2jh The Isherwood makes so much more sense, the Zionist propaganda is strong.
@@S-pw2jh ooh I love that!
Joel tem magnetismo magia e o dom, gênio
Can anyone tell me who is in the rest of the cast here?
Sally Bowles: Mary Munger (replacement)
Fraulein Schneider: Regina Resnik
Herr Schultz: Werner Klemperer
Cliff Bradshaw: Gregg Edelman
Fraulein Kost: Nora Mae Lyng
Ernst Ludwig: David Staller
@@lilyhogwart Thanks!!
@@lilyhogwart where did you find this list.
I saw the production closing weekend. I know who was in it. I may still have the playbill. I'm not positive. But I had seen it before, and the only cast change in a principal role was Mary Munger replacing Alyson Reed. According to The Best Plays of 1987-1988, she took over on May 17, 1988.
Also, Grey, Resnik, Klemperer and Edelman all have very distinctive voices.
I knew that was Werner Klemperer
Who plays Sally?
Who is the actress singing tomorrow belongs to me?
Kost is the great Nora Mae Ling
First time seeing the full music
Something seems off- the voice sounds like Joel Grey but the face is different and the electricity he generated is missing(?) I thought maybe it's his understudy or he wasn't feeling well?! Seriously! Not
like other clips of the same # stage or screen!
Back then, someone who was the star of a Broadway style musical would drag themselves onstage even when they were sick. They were either in the show or being restrained in hospital!! Lol