Hi Barbara I so much appreciate and enjoy your insights when you analyze how the music, lyrics , etc… reflect on society as a whole on your videos. Whenever I watch your videos it is like having a conversation with a fellow musical theater nerd. Keep them coming!😊😊
Have you seen the 1972 movie with Joel Grey and Liza Minnelli? I would love to hear your thoughts on how that movie compares to the current London production.
Hallo! I know I'm certainly a bit late, but if you're a fan of Cabaret I recommend watching the 1993 performance with Alan Cumming and Jane Horrocks - the full thing is uploaded to RUclips and it is absolutely excellent! Keep up the good work
In the original Broadway production of CABARET, the line "She wouldn't look Jewish at all" obviously got backlash - including from people who didn't realize the line's intent - but it was backlash enough for director Hal Prince to decide to take the line out, replacing it with "She isn't a meeskite at all" (a reference to a song in that original production, "Meeskite"). Sometimes, Joel Grey (who played the Emcee) would "forget" the new line and use the old one.
The ending for the 1993/2014 Broadway version was slightly different. Well, it had two endings, I have no idea when they made the change, but I'm gonna talk about the latter one. (!TRIGGER WARNING!) A train conductor comes to talk to Cliff, asking for his ticket. Cliff then begins recollecting all the events, singing the opening lines. Joining him is the Emcee, who reveals himself as the conductor. He then whispers those haunting lines: "Where are your troubles now? Forgotten? ...I told you! We have. No. Troubles. Here! Here, life is beautiful. The girls are beautiful. Even the orchestra is beautiful..." The Emcee turns towards the orchestra level as the curtains reveals...the orchestra is gone. Music still plays but the musicians are nowhere to be seen. And the song is getting more and more dissonant. The characters walk slowly, soulless. They turn to the set, which transforms into a sun-bright, sanitized white. The Emcee takes off his leather trenchcoat and reveals no funny, sexy outfits, not again... ...He's wearing a concentration camp uniform, complete with two badges: a yellow Star of David, marking a Jew, and a pink triangle, marking a "sex offender". In other words, a gay or bisexual man or a transwoman. The man looks around, scared and confused, before taking one last bow, spreading his arms like they've been tied and pulled, like a tortured scarecrow.
This show fvcked me up in the best way possible. The £30 seats have perfect view btw! It's not the same as being at a table of course but if you want cheap tickets!
Another splendid video commentay. ❤️ If you haven't already, both the original 1966 production and 1993 London Revival production soundtracks are also wonderful to listen to. The 1966 has songs that weren't used in the revival which are equally wonderful. Joel Grey and Alan Cummings, both legends in their own rights!
I prefer the Alan Cummings version of this musical. I forgot the year of the revival. It feels like this version of the story the emcee is performative rather than its true self. You can hear the Emcees real voice, his character voice and his singing voice in this recording are distinguishable. My got feeling is that they probably change the ending of instead the emcee becomes a Nazi sympathizer.
A React suggestion: If you want to learn more about Kander & Ebb, there was a critically-acclaimed revue of their songs in 1991 called AND THE WORLD GOES 'ROUND that I think you'd enjoy. It's an especially helpful recording, given that Kander & Ebb are beloved songwriters, but also wrote a whole lot of shows that either flopped or were kind of forgotten (even CHICAGO was forgotten until it got rediscovered for its 1996 revival), so this revue collects a lot of their songs in one easy package :) One notable thing about the production is that it was choreographed by Susan Stroman, who went on to become one of the biggest Broadway director/choreographers of her generation (with productions like THE PRODUCERS, CONTACT and CRAZY FOR YOU).
I also saw Amy Lennox and Fra Fee in this show! They were absolutely insane. I feel like I sometimes throw around "life-changing" quite a lot, but this production truly was life-changing. I have never experienced anything like it and I don't think I ever will again. Holy shit it's just perfect! Also I saw another production in Göteborg (Sweden) this fall and it was really great BUT they didn't have Maybe This Time, and the song Cabaret was performed as like purely a show-number and I felt like so much of Sally's arc disappeared. So yeah I feel like nothing can ever, ever top this London production! I still think about it every single day.
If you haven't listened to it, the original London cast recording of Cabaret is my favourite. Judi Dench was Sally Bowles and as you said, has quite a few different songs in it, including a solo for Cliff, that has been cut in more recent productions. It would be a great contrast to this recording. Maybe you could do a video listening to it 😀 Also in Performance, Jessie Buckley screamed Cabaret far more than she did on the recording, because who could listen to that? It says in the notes that some of the songs were recorded in a studio.
I just subscribed and I've been watching a couple videos in this series ! Love your reactions and insights in the musicals ^^ Have you watched 21 Chump Street the Musical yet? It's a really short musical, i think 15 minutes, available on youtube :DDD you might like it
Hi, definitely recommend checking out Hello Dolly if you haven't seen it! It's also made into a movie from the 60s and has amazing songs, one of my all time favourites!
Here's a song that was cut from later versions of the show: The original Broadway production had a different song about money, called "The Money Song (Sitting Pretty)", and it's very good :) It was eventually replaced by the current "Money". ruclips.net/video/Nr3Vo5Atb2Q/видео.html
I am so jealous of the people who got to see this live I became obsessed with Cabaret the first time I listened to it I am curious about the ending though, was it very visually impactful? so, in the original it ends with the entire cast standing very still when the backdrop lifts revealing this white light (almost like the whole cast has entered a gas chamber) It is very haunting, but I think the ending that stayed with me the most was the Alan Cumming production (which you can find online somewhere), where the Emcee reveals that underneath the trenchcoat he wore during the whole act, he's been wearing a concentration camp uniform (with a pink star, of course) I just love the message of this production, about how the biggest allies to injustice are often the people who stand by while this horrible crimes happen, and how it is a reminder to stay vigilant and critical. I feel like we often forget that all art is inherently political, it always serves a purpose, even if it isn't obvious I would love an in depth analysis about this production, since I feel it would have even more to say after everything we have live through these past years, would love to know the new interpretations we could give it
Wow that ending for the Alan Cumming production... I got chills just thinking about it!! And yes, the London ending is very haunting as well given it leaves you with this emptiness once you see them become shells of people. Will need to try to make a video comparing productions. Thank you for sharing that!
I love the Alan Cumming revival and revival of that revival the way you live this one. I saw the performance the current cast did on the Graham Norton Show and didn't like it. It seemed to be a parody of previous versions. But I would rather you enjoy yourself than agree with me. Especially since I have only Seen such a small part that might not be representative of the whole piece.
Hi Barbara I so much appreciate and enjoy your insights when you analyze how the music, lyrics , etc… reflect on society as a whole on your videos. Whenever I watch your videos it is like having a conversation with a fellow musical theater nerd. Keep them coming!😊😊
Have you seen the 1972 movie with Joel Grey and Liza Minnelli? I would love to hear your thoughts on how that movie compares to the current London production.
That's so kind of you! And very happy that it feels like a conversation because that's how I feel every time I upload too ❤
Hallo! I know I'm certainly a bit late, but if you're a fan of Cabaret I recommend watching the 1993 performance with Alan Cumming and Jane Horrocks - the full thing is uploaded to RUclips and it is absolutely excellent!
Keep up the good work
In the original Broadway production of CABARET, the line "She wouldn't look Jewish at all" obviously got backlash - including from people who didn't realize the line's intent - but it was backlash enough for director Hal Prince to decide to take the line out, replacing it with "She isn't a meeskite at all" (a reference to a song in that original production, "Meeskite").
Sometimes, Joel Grey (who played the Emcee) would "forget" the new line and use the old one.
Wow to me, the show without that line is a different show completely
The ending for the 1993/2014 Broadway version was slightly different. Well, it had two endings, I have no idea when they made the change, but I'm gonna talk about the latter one.
(!TRIGGER WARNING!)
A train conductor comes to talk to Cliff, asking for his ticket. Cliff then begins recollecting all the events, singing the opening lines. Joining him is the Emcee, who reveals himself as the conductor. He then whispers those haunting lines:
"Where are your troubles now? Forgotten? ...I told you! We have. No. Troubles. Here! Here, life is beautiful. The girls are beautiful. Even the orchestra is beautiful..."
The Emcee turns towards the orchestra level as the curtains reveals...the orchestra is gone. Music still plays but the musicians are nowhere to be seen. And the song is getting more and more dissonant. The characters walk slowly, soulless. They turn to the set, which transforms into a sun-bright, sanitized white.
The Emcee takes off his leather trenchcoat and reveals no funny, sexy outfits, not again...
...He's wearing a concentration camp uniform, complete with two badges: a yellow Star of David, marking a Jew, and a pink triangle, marking a "sex offender". In other words, a gay or bisexual man or a transwoman. The man looks around, scared and confused, before taking one last bow, spreading his arms like they've been tied and pulled, like a tortured scarecrow.
When I thought it couldn't get more chilling...
You should give Amy Lennox’s performance from the Oliviers a watch, she absolutely takes the roof off!
I saw her live, that's the life-changing performance of Cabaret I mention on the video hahaha
This show fvcked me up in the best way possible. The £30 seats have perfect view btw! It's not the same as being at a table of course but if you want cheap tickets!
Another splendid video commentay. ❤️
If you haven't already, both the original 1966 production and 1993 London Revival production soundtracks are also wonderful to listen to. The 1966 has songs that weren't used in the revival which are equally wonderful. Joel Grey and Alan Cummings, both legends in their own rights!
I prefer the Alan Cummings version of this musical. I forgot the year of the revival. It feels like this version of the story the emcee is performative rather than its true self. You can hear the Emcees real voice, his character voice and his singing voice in this recording are distinguishable. My got feeling is that they probably change the ending of instead the emcee becomes a Nazi sympathizer.
He’s done multiple revivals I believe and he truly made the emcee his own after such a remarkable and iconic portrayal!
A React suggestion: If you want to learn more about Kander & Ebb, there was a critically-acclaimed revue of their songs in 1991 called AND THE WORLD GOES 'ROUND that I think you'd enjoy. It's an especially helpful recording, given that Kander & Ebb are beloved songwriters, but also wrote a whole lot of shows that either flopped or were kind of forgotten (even CHICAGO was forgotten until it got rediscovered for its 1996 revival), so this revue collects a lot of their songs in one easy package :) One notable thing about the production is that it was choreographed by Susan Stroman, who went on to become one of the biggest Broadway director/choreographers of her generation (with productions like THE PRODUCERS, CONTACT and CRAZY FOR YOU).
Which musical theatre character would you like to play if you could choose only one?
The Emcee
@@anthonyyoung-ovalle8625 dido
Pierre
I also saw Amy Lennox and Fra Fee in this show! They were absolutely insane. I feel like I sometimes throw around "life-changing" quite a lot, but this production truly was life-changing. I have never experienced anything like it and I don't think I ever will again. Holy shit it's just perfect! Also I saw another production in Göteborg (Sweden) this fall and it was really great BUT they didn't have Maybe This Time, and the song Cabaret was performed as like purely a show-number and I felt like so much of Sally's arc disappeared. So yeah I feel like nothing can ever, ever top this London production! I still think about it every single day.
bae PLEASE react to in the green cuz id feel like you would be OBSESSEDDDD
If you haven't listened to it, the original London cast recording of Cabaret is my favourite. Judi Dench was Sally Bowles and as you said, has quite a few different songs in it, including a solo for Cliff, that has been cut in more recent productions. It would be a great contrast to this recording. Maybe you could do a video listening to it 😀 Also in Performance, Jessie Buckley screamed Cabaret far more than she did on the recording, because who could listen to that? It says in the notes that some of the songs were recorded in a studio.
I just subscribed and I've been watching a couple videos in this series ! Love your reactions and insights in the musicals ^^ Have you watched 21 Chump Street the Musical yet? It's a really short musical, i think 15 minutes, available on youtube :DDD you might like it
Welcome to the channel!! :D Haven't done that one yet, will add to the list. Thank you!
Hi, definitely recommend checking out Hello Dolly if you haven't seen it! It's also made into a movie from the 60s and has amazing songs, one of my all time favourites!
Here's a song that was cut from later versions of the show: The original Broadway production had a different song about money, called "The Money Song (Sitting Pretty)", and it's very good :) It was eventually replaced by the current "Money". ruclips.net/video/Nr3Vo5Atb2Q/видео.html
Although this is a great soundtrack my favourite version of Cabaret is the version with Alan Cummings 😍
Watch the movie!
Is it only audio or is there a video version too?
will you do comparison of the new broadway revival and this new london cast recording.
I really want to, yes. Just don't know when
I am so jealous of the people who got to see this live
I became obsessed with Cabaret the first time I listened to it
I am curious about the ending though, was it very visually impactful?
so, in the original it ends with the entire cast standing very still when the backdrop lifts revealing this white light (almost like the whole cast has entered a gas chamber)
It is very haunting, but I think the ending that stayed with me the most was the Alan Cumming production (which you can find online somewhere), where the Emcee reveals that underneath the trenchcoat he wore during the whole act, he's been wearing a concentration camp uniform (with a pink star, of course)
I just love the message of this production, about how the biggest allies to injustice are often the people who stand by while this horrible crimes happen, and how it is a reminder to stay vigilant and critical. I feel like we often forget that all art is inherently political, it always serves a purpose, even if it isn't obvious
I would love an in depth analysis about this production, since I feel it would have even more to say after everything we have live through these past years, would love to know the new interpretations we could give it
Wow that ending for the Alan Cumming production... I got chills just thinking about it!! And yes, the London ending is very haunting as well given it leaves you with this emptiness once you see them become shells of people. Will need to try to make a video comparing productions. Thank you for sharing that!
@@Barbara2.0 there's a version with Alan's Cumming recorded maybe for TV or something and it's on RUclips.
I love the Alan Cumming revival and revival of that revival the way you live this one. I saw the performance the current cast did on the Graham Norton Show and didn't like it. It seemed to be a parody of previous versions. But I would rather you enjoy yourself than agree with me. Especially since I have only Seen such a small part that might not be representative of the whole piece.
You should listen to the Epic the Musical soundtracks! They’re so incredible ❤