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An engaging and compelling production history of the original Broadway version of Cabaret, this book is a meticulous record of how a great musical came into being. Encompassing everything from literary sources to music and lyrics, design and production process, it is the ultimate reference for theatre specialists and general readers alike.
Making Automata is hard. Making other sorts of three dimensional objects can also be hard, but he extra dimension of movement seems to add a disproportionate amount of difficulty. For most people, especially those untrained in engineering skills, getting to the point where making making mechanical devices is easy, can be a long and frustrating task. Then again, there are many people who have a sound understanding of engineering but can't even draw a horse. These things can be learnt. This book does not teach you to draw a horse, but it removes the mystery that surrounds the world of mechanisms and the business of making things move. Cabaret Mechanical Movement contains a lot of theory but it is also packed with practical tips and ideas for making your own automata, moving toys, or mechanical sculpture.
A handy and engaging chronicle, this book is the most detailed production history to date of the original Broadway version of Cabaret, showing how the show evolved from Christopher Isherwood's Berlin stories, into John van Druten's stage play, a British film adaptation, and then the Broadway musical, conceived and directed by Harold Prince as an early concept musical. With nearly 40 illustrations, full cast credits, and a bibliography, The Making of Cabaret will appeal to musical theatre aficionados, theatre specialists, and students and performers of musical theatre.
Step into Ernst Wolzogen's Motley Theater, Max Reinhardt's Sound and Smoke, Rudolf Nelson's Chat noir, and Friedrich Hollaender's Tingel-Tangel. Enjoy Claire Waldoff's rendering of a lower-class Berliner, Kurt Tucholsky's satirical songs, and Walter Mehring's Dadaist experiments, as Peter Jelavich spotlights Berlin's cabarets from the day the curtain first went up, in 1901, until the Nazi regime brought it down. Fads and fashions, sexual mores and political ideologies--all were subject to satire and parody on the cabaret stage. This book follows the changing treatment of these themes, and the fate of cabaret itself, through the most turbulent decades of modern German history: the prosperous and optimistic Imperial age, the unstable yet culturally inventive Weimar era, and the repressive years of National Socialism. By situating cabaret within Berlin's rich landscape of popular culture and distinguishing it from vaudeville and variety theaters, spectacular revues, prurient nude dancing, and Communist agitprop, Jelavich revises the prevailing image of this form of entertainment. Neither highly politicized, like postwar German Kabarett, nor sleazy in the way that some American and European films suggest, Berlin cabaret occupied a middle ground that let it cast an ironic eye on the goings-on of Berliners and other Germans. However, it was just this satirical attitude toward serious themes, such as politics and racism, that blinded cabaret to the strength of the radical right-wing forces that ultimately destroyed it. Jelavich concludes with the Berlin cabaret artists' final performances--as prisoners in the concentration camps at Westerbork and Theresienstadt. This book gives us a sense of what the world looked like within the cabarets of Berlin and at the same time lets us see, from a historical distance, these lost performers enacting the political, sexual, and artistic issues that made their city one of the most dynamic in Europe.
Set in Berlin between the two world wars the play explores the tensions leading to the rise of Hitler.
Harlem's nightclubs in the 1920s and '30s were a crucible for testing society's racial and sexual limits. Combining performance theory, historical research, and biographical study, this title explores the role of nightlife performance as a definitive touchstone for understanding the racial and sexual politics of the early 20th century.
"Musical theatre dance is an ever-changing, evolving dance form, egalitarian in its embrace of any and all dance genres. It is a living, transforming art developed by exceptional dance artists and requiring dramaturgical understanding, character analysis, knowledge of history, art, design and most importantly an extensive knowledge of dance both intellectual and embodied. Its ghettoization within criticism and scholarship as a throw-away dance form, undeserving of analysis: derivative, cliché ridden, titillating and predictable, the ugly stepsister of both theatre and dance, belies and ignores the historic role it has had in musicals as an expressive form equal to book, music and lyric. The standard adage, "when you can't speak anymore sing, when you can't sing anymore dance" expresses its importance in musical theatre as the ultimate form of heightened emotional, visceral and intellectual expression. Through in-depth analysis author Liza Gennaro examines Broadway choreography through the lens of dance studies, script analysis, movement research and dramaturgical inquiry offering a close examination of a dance form that has heretofore received only the most superficial interrogation. This book reveals the choreographic systems of some of Broadway's most influential dance-makers including George Balanchine, Agnes de Mille, Jerome Robbins, Katherine Dunham, Bob Fosse, Savion Glover, Sergio Trujillo, Steven Hoggett and Camille Brown. Making Broadway Dance is essential reading for theatre and dance scholars, students, practitioners and Broadway fans"--
It's Saturday night in Key West and the Girlie Show is about to begin at the 801 Cabaret. The girls have been outside on the sidewalk all evening, seducing passersby into coming in for the show. The club itself is packed tonight and smoke has filled the room. When the lights finally go down, statuesque blonds and stunning brunettes sporting black leather miniskirts, stiletto heels, and see-through lingerie take the stage. En Vogue's "Free Your Mind" blares on the house stereo. The crowd roars in approval. In this lively book, Leila J. Rupp and Verta Taylor take us on an entertaining tour through one of America's most overlooked subcultures: the world of the drag queen. They offer a penetrating glimpse into the lives of the 801 Girls, the troupe of queens who perform nightly at the 801 Cabaret for tourists and locals. Weaving together their fascinating life stories, their lavish costumes and eclectic music, their flamboyance and bitchiness, and their bawdy exchanges with one another and their audiences, the authors explore how drag queens smash the boundaries between gay and straight, man and woman, to make people think more deeply and realistically about sex and gender in America today. They also consider how the queens create a space that encourages camaraderie and acceptance among everyday people, no matter what their sexual preferences might be. Based on countless interviews with more than a dozen drag queens, more than three years of attendance at their outrageous performances, and even the authors' participation in the shows themselves, Drag Queens at the 801 Cabaret is a witty and poignant portrait of gay life and culture. When they said life is a cabaret, they clearly meant the 801.
**LONGLISTED FOR THE DESMOND ELLIOTT PRIZE** An uncompromising, darkly humorous look at life in the criminal underworld of the Irish border from a major new Irish literary voice. Dundalk—The Town, to locals—took Aoife in when she left home at eighteen. Now she’s gone from a small-time slinger of hash to a bona fide player in Dundalk’s criminal underworld. Aoife’s smart, savvy, and cool under pressure. Except, that is, when it comes to Annie. Annie is mysterious and compelling, and Aoife is desperate to impress her and keep her close. Unfortunately, not everyone in The Town shares Aoife’s opinion of Annie. So much so that when Aoife’s friend and associate, the Rat King, approaches her about off-loading ten kilos of stolen coke, he specifically tells her to keep Annie out of it. Aoife doesn’t want to do the job without Annie, though, so she lands on an idea. Annie has contacts in the UK, and sure it’d be better to get the coke as far away from Dundalk as possible. At first, everything goes to plan. But when Annie decides she'd like to stay in the UK, Aoife makes a decision that changes everything, and finds her whole world turned upside down. Gritty yet tender, tragic yet hopeful, Iron Annie crackles with energy, warmth, and heart. A VINTAGE CRIME/BLACK LIZARD ORIGINAL.
Star of the West End's 'Rat Pack' and cabaret stalwart, Gary Williams, shares the secrets of his success in Cabaret Secrets - a practical guide with everything you need to create your own show, travel the world and get paid to do what you love. Written for singers who want to create their own cabaret show, or improve the one they already have, Cabaret Secrets covers everything from finding a theme, scripting a show and running a rehearsal. There's lots of practical advice on how to find an agent, promoting your show and ordering musical arrangements. Gary enlisted the help of cabaret stars like Steve Ross, Barbara Dickson and Jeff Harnar who agreed to share their own secrets in the book. He spoke to booking agents, cruise lines, West End musical directors, Hollywood makeup artistes, Broadway singers, lighting designers, sound engineers and celebrity vocal coaches. The book's received high praise from industry insiders, including cabaret doyen Michael Feinstein who said, "The wisdom and knowledge contained in Gary's book is so valuable that I wish I'd had it when I was starting out as an entertainer! It's a marvellous achievement and could be your secret weapon." Author, David Ackert, said the book is a "career GPS for cabaret performers," and Ruth Leons, Artistic Director for London's Crazy Coqs described it as, "The best guide ever written for the aspiring cabaret singer. Gary Williams' generous sharing of his own secrets provides so much valuable information that it deserves to be read by anyone wanting a career in cabaret." Seven Ways Cabaret Secrets Will Benefit You: Amazing advice from the best in the business. Learn from cabaret stars like Michael Feinstein, Steve Ross, Marta Sanders and Marlena Shaw. They spill the beans on inside information like how they decide which songs to sing, how they script their shows and the lessons they've learned. Practical advice you can use. Cabaret Secrets is packed with sensible, practical advice. You'll learn what you need to know about writing a lighting cue sheet, making a PA specification and how to choose a recording studio. There are even tips on what to pack for a cruise ship gig! Get the applause you deserve. Cabaret Secrets takes you through every step of creating a show that people will want to see. Don't waste hours going around in circles. Just follow this guide and learn everything you need to know. It's like your own cabaret toolbox. It's your direct line to the decision makers. It can almost impossible to get a booker for a major venue on the phone but Cabaret Secrets includes answers from bookers to important questions like, "Exactly what does an artiste need to do to get work with you?," "How can I make sure you'll watch my showreel," "What kind of acts are cruise lines lining up to book?" Make a special connection. The key to cabaret is making a special personal connection with every member of your audience. Cabaret Secrets explains how. Save years of effort. We never stop learning but there are shortcuts. There's days there are few no cabaret schools and few places to go to for help. Don't learn from years of expensive mistakes. Cabaret Secrets gives you a fast track to success. Save money. In Cabaret Secrets you're getting advice worth 1000s. That's a fact. These tips could help you save 1000s on bad musical arrangements, 1000s on wasted publicity and 1000s recording CDs that sounded terrible. It is truly amazing value for money."