Cabaret: A Eulogy

[robbiej]

Posted: 9/4/03 at 12:38pm

I know it's a bit early for this, but the piece in the TIMES brought back incredible memories of one of the most incredible nights of my life.

I remember sitting at my desk at work, and picking up the phone to hear a dear friend invite me to attend the opening night of Cabaret (the current revival) with him. And to the shock and horror of most, I hemmed and hawwed (rlb...is this a Southern phrase and did I completely misspell?). You see, I was never a fan of the show. I saw a friend's production in college and although he made a wonderful Texas and our friend Liz made an intriguing MC (no, that wasn't a typo), it was a rather painful night in my life. It truly soured me to the show. I was not in any way, shape or form ready to sit through it again. But an opening is an opening (said the sailor to the trannie) so I donned my new Calvin Klein suit, muzzied my hair up and made my way down to the Henry Miller Theatre to see Miranda Richardson in CABARET.

Yes. I thought it was to be Miranda on that stage. I couldn't begin to imagine Natasha Richardson trodding those boards as Sally Bowles. 'Eegads!' I though. 'This is going to be a nightmare.'

And then, the drumroll hit and two incredibly spooky eyes appeared through a slit in the center door. The shivers started immediately. Out came a sickly apparition, with tracks on his arms, scratches down his back and glitter on his nipples. To say I was completely mesmerized is so not enough. As more and more of the cast filled the stage, tears began to form in my eyes. Tears that did not stop until about 10 minutes into the cast party. I cried because I was truly able to comprehend, in the moment, what I was seeing. I was always jealous of others who got to see the original Carousel or Follies, figuring those days were over and I would never have a comparable experience. But the dark and disturbing beauty of this piece and the simplicity to which it was brought to me were overwhelming. Those two+ hours reaffirmed my faith in theatre and, surprisingly, my faith in life.

And what a remarkable 2+ hours they were. Songs I never thought twice of ('Married' and 'The Pineapple Song') became moments filled with aching desire and, if you are familiar with the show, misguided hope. I was surprised to hear 'Maybe This Time' interpolated into the score. The staging was so beautifully fluid without relying on much spectacle. But the show sizzled for one reason, and one reason only: that cast.

Alan Cumming seemed to personify two things at once: the decadence of the Weimar and the encroaching menace of the Nazi party. The shocking coup du theatre that ended the show was so jarring because Mr. Cumming allowed us to believe in both sides of his characterization, making his (spoiler if you haven't seen it) appearance in concentration camp garb heartbreaking. The look on his face was that of a lost child, betrayed by a figure that promised protection. He most certainly deserved the accolades he received for that show.

Mary Louise Wilson was a flinty Frau Schneider who melted in the arms of her loving partner Ron Rifkin. The two brought a sensuality to their roles the worked perfectly in this production.

I truly believe bringing an accordian on stage during a Nazi musical may be a mistake. I mean, how can you not help but laugh at such a ludicrous instrument (apologies to Lawrence Welk). The fact that Michelle Pawk could not only pull it off, but turn it into a chilling moment still amazes me.

Denis O'Hare brought to Herr Schultz a sexy, beffudled quality that made him entirely sympathetic until he revealed the ice-cold, calculatory nature of his character. It was, for me, the key performance in making this CABARET so visceral.

And then there was Natasha Richardson. She gave, to this day, the best performance I've ever seen on a stage. Although vocally 'weak', the commitment, choices and chops she brought to each of the songs was awe-inspiring. No one ever has (or ever will) sing CABARET like she did. Coked-up and desperate, she astonishingly navigated the story of the song, ending with defiant screams of the very thing she chooses her life to be about. Somehow, she appeared to drain all of the blood from her body and, in that moment, she was as wraith-like as the MC. During her final confrontation with Cliff (the excellent John Benjamin Hickey in a cipher of a role), my friend turned to me and said 'She'll never be able to keep this up', referring to the shattered, emotional commitment she brought to the scene. But keep it up she did.

I've thought about the finale of the piece ever since I saw it. If it were only a 'the Holocoust was bad' message, it would have affected me, but not in the throbbingly present way it did. After all this time, I've finally come to realize what it was that caused me to weep like an infant. With each principal picked out in a solitary spot, Sally looking for the missing orchestra and the rest of the cast all separated just enough to illustrate how solitary they all were, I believe Mendes and Marshall were making a point that during a time of horrible crisis, where it looks like the world may truly be coming to an end, we are all horrifingly alone. I'm not sure about any of you, but I think that may be my greatest fear.

So hail and farewell, CABARET. You've made me a better artist and a better person. I'll never be able to repay that debt.

Posted: 9/4/03 at 12:44pm

Bravo, robbiej, Bravo ...!!!

[broadwayguy2]

Posted: 9/4/03 at 12:56pm

::tear::


VA funny. :)

[orion59]

Posted: 9/4/03 at 1:01pm

Robbiej,
My turn to get you back for pointing out my mistake in the solo show thread. I may be thinking wrong but Dennis O'Hare's character was Fritz Ludwig and Her Shultz was played by Ron Rifkin. :-P

BTW, great eulogy for a wonderful show.

[SueleenGay]

Posted: 9/4/03 at 1:10pm

Robbiej your post sent chills down my spine. I have goosebumps as I type this. I am sorry I was not there with you, but am so happy you had this experience. Just when you think you have seen it all and can't be surprised in the theatre, something like this comes along and makes you remember what drew us to it in the first place. True magic. Thank you for reminding me.

[robbiej]

Posted: 9/4/03 at 2:21pm

ARGH!!!! You so got me, Orion!!! I always forget which is which. It's all so Germanic. As Belize said in Perestroika 'You all look alike to us, we all look alike to you. It's a mad, mad world!'

And thanks, y'all, for listening. As much as I love all the wonderful musical comedies of the last few seasons, nothing sends shivers like an extraordinary musical drama. May they live again!

[BwayTheatre11]

Posted: 9/4/03 at 3:40pm

I have never even seen the wonderful show entitled Cabaret, but all of these posts are making be upset that it is closing! I never knew the actual synopsis. I always thought it was about a Cabaret with a MC with red nipples! I guess I should have remembered something...every musical that hits the scene has a message. Even if it is hidden deep, it is there and usually very important. I really hope this starts up it's tour again, to give me the privilage of seeing this memorable musical!

Updated On: 9/4/03 at 03:40 PM

Posted: 9/4/03 at 3:43pm

What a great story!

One of my FAVORITE things on the cd is Michelle Pawk's "Tomorrow Belongs to me" fierce.

[orion59]

Posted: 9/4/03 at 4:03pm

Tomorrow Belongs to Me is great because Michelle Pawk brought a certain creepiness to Frauline Kost that you normally don't see in that character. That aspect of the character managed to make it's way into the song. Likewise, the scene where Alan Cumming plays that same song on the record player was powerfully eerie.

Ilove this show and now, talking about it and knowing it will be closing, I feel a strong desire to get to NY and see it one last time.

[ErikJ972]

Posted: 9/4/03 at 5:02pm

Wow RobbieJ...your post brought back alot of my own memories of seeing Cabaret for the first time. I had never seen the show before and it was completely different then what I expected. Much darker. And I don't think I'll ever forget Natasha singing Cabaret. I had expected that song to be this happy, energetic show stopper...and it turned out to be so much more. And being completely stunned at the end. I think it even took me a few minutes to start clapping because I was so blown away.
I too have thought about going back to see it one more time..but I refuse to let John Secada be my last memory of the MC

[BrdwyThtr]

Posted: 9/4/03 at 5:21pm

I have known about Cabaret for years now and have wanted to see it, but my dad didn't think I was ready to handle it. This past year, he finally gave in, and I finally got to see it. When we sat down I knew I was in store for a treat. I can barely pick out a favorite moment, because for those two and a half hours, I was entranced. Thank you, Cabaret, for being a truly marvelous show.

[cabarethed]

Posted: 9/4/03 at 5:25pm

RobbieJ, I think I love you. Thank you for such beautiful descriptions of a time in the show that some of us never got to see.
I call myself one of the biggest Cabaret revival fans, yet I feel so empty sometimes. I may see it a bunch of times with different casts, but there's still that little void within that will never fill. Even if the original cast did come back now, it would never be the same.
So thank you Robbie for such a wonderful post.

[Dollypop]

Posted: 9/4/03 at 5:41pm

Robbie, your posting was beautifully written and a pleasure to read. Perhaps you can find the time to tutor Corine.

[PJ]

Posted: 9/4/03 at 6:53pm

I would have loved to see Natasha Richardson and Alan Cumming. I know it will never happen, but if for some miraculous reason the show is extended and atleast those 2 come back...I would come see the show a second time in a heart beat. Natasha's "Cabaret" is so unbelievably heartbreaking that I can't even put into words the way I feel when I listen to it. I saw Heather Laws as Sally, and even though I liked her, I know had I seen Natasha she would have been my favorite.

Honestly, I would rather see Natasha and Alan than Nathan and Matthew's return to "The Producers." But if that never happens, I'll always have my cast recording.

[iluvny04]

Posted: 9/4/03 at 7:09pm

I'm unsure about Alan Cumming, but I think Natasha Richardson would definitely return to show, when it was in it's closing weeks.

[iluvny04]

Posted: 9/4/03 at 7:10pm

I even think, this CABARET should be taped and shown as a Great Performences special.

[BwayTheatre11]

Posted: 9/4/03 at 7:14pm

I agree with you about recording the show, iluvny04.

[Deannaizme]

Posted: 9/4/03 at 7:28pm

Robbiej, what a great post. You make me wish all the harder that I'd seen it on Broadway with the original (revival) cast. I've loved the performances I did see, and am sorry that this show is closing. It's the show that turned me back on to theatre, when I'd not seen a show in years. A friend took me to a performance by the original touring cast and I was hooked -- hooked on this show, and hooked on theatre again. So I appreciate Cabaret for that, as well as for the show.

Posted: 9/4/03 at 8:55pm

I still wish I could see Susan again before it closes but I doubt I will.....It will be a great show to always remember.

...any talk of what show will go into there now that it closes?

[ErikJ972]

Posted: 9/4/03 at 10:22pm

I believe Assasins no?

Posted: 9/4/03 at 10:24pm

...maybe it is me, but I have never had any desire to see that show. I have the cd (as I have many versions of cast recrodings of anything Sondheim) but have never really liked it. I would honestly say it is my least favorite Sondheim.