Here Comes Grosz Agnieszka Taborska Rhode Island School of Design, [email protected]

Rhode Island School of Design DigitalCommons@RISD

Programs RISD Cabaret 1987-2000

Winter 2-24-1995 Here Comes Grosz Agnieszka Taborska Rhode Island School of Design, [email protected]

Szymon Bojko Rhode Island School of Design

Marc Cannon Rhode Island School of Design

Denise Emerson Rhode Island School of Design

Aurora Gist-Yochum Rhode Island School of Design

FSeoe nelloxtw pa thige fors aaddndition addal aitutionhorsal works at: https://digitalcommons.risd.edu/liberalarts_cabaret_programs Part of the Acting Commons, Art Education Commons, Dance Commons, Fashion Design Commons, Fine Arts Commons, French Linguistics Commons, German Language and Literature Commons, History Commons, Modern Literature Commons, Music Commons, Other Arts and Humanities Commons, Other French and Francophone Language and Literature Commons, Other Languages, Societies, and Cultures Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, Playwriting Commons, Russian Literature Commons, and the Theatre History Commons

Recommended Citation Taborska, Agnieszka; Bojko, Szymon; Cannon, Marc; Emerson, Denise; Gist-Yochum, Aurora; Hart, Alex; Jones, Arthur; Khorramian, Laleh; King, Scott; Koto, Maki; Kreiger, Sarah; Lloyd, Ricahrd; Mallozzi, Luciana; McKenna, Michael; Newton, Pilar; Sawyer, Heidi; Winkler, Jasmine; Yoo, Sue; Henson, Heather; Medina, David; Kim, Doug; Markus, Tara; Watson, Hugh; Cho, Yoon; Chung, Yu- Kyung; Jones, Arthur; and Spencer, Polly, "Here Comes Grosz" (1995). Programs. 8. https://digitalcommons.risd.edu/liberalarts_cabaret_programs/8

This Book is brought to you for free and open access by the RISD Cabaret 1987-2000 at DigitalCommons@RISD. It has been accepted for inclusion in Programs by an authorized administrator of DigitalCommons@RISD. For more information, please contact [email protected]. Authors Agnieszka Taborska, Szymon Bojko, Marc Cannon, Denise Emerson, Aurora Gist-Yochum, Alex Hart, Arthur Jones, Laleh Khorramian, Scott King, Maki Koto, Sarah Kreiger, Ricahrd Lloyd, Luciana Mallozzi, Michael McKenna, Pilar Newton, Heidi Sawyer, Jasmine Winkler, Sue Yoo, Heather Henson, David Medina, Doug Kim, Tara Markus, Hugh Watson, Yoon Cho, Yu-Kyung Chung, Arthur Jones, and Polly Spencer

This book is available at DigitalCommons@RISD: https://digitalcommons.risd.edu/liberalarts_cabaret_programs/8 The Cellar At The Top of the waterman building presents

ov~°91/i v» 9 go

~<’3’Q& An incredible burlesque in six scenes with a prologue and epilogue

8th annual risd cabaret february 24-26, 1995

The performance is dedicated to the late Toni Eichenberg who encouraged us to investigate the legacy of this great German artist oppla! Here Comes Grosz... Prologue: Q“ _f gerjin the Angry city agine a street - the street that runs like a leitmoti Hoppla! Hoppla!, here comes the eighth annual FilSD Cabaret. It has become a tradition for me to A Line at a Bakery - Winter 1918 through the work of George Grosz (and across our write some explanatory notes, but I think it is better to recount past successes and congratulate . ,.-rhe Dry Bread song" stage)’ oonneotrno the hves of a wheie 5Q<;iaty_ this and future experiments. The cabaret idea a springs from 1987 proposal by James O. Barnhill - - . ~ MU$'¢- Harts Elsler l-YRl¢$- Waller Mehring Along it move the citizens and denizens, the villains and Szymon Bojko to establish “an experimental art history and performance course which would TRANSWED AND ADAPTED BY Loren C. Mitchel and Victims, or Grdszrs Wor|d_ on this oubhe ther_ directly involve students and immerse them in the art and culture of a particular time and place". SUNG BY Alex Ha” The melody of Brecht's "Legend of the Dead oughfare, each private existence finds itself subject- Since then we have benefitted each year from this fertile idea, and the hard work of their students Soldier" is' cl d d ' th "‘ U 9 '“ e a”a“9‘~‘"“e'“ ed to public scrutiny, and individuals are apt to reveal and Colleagues‘ ,. of The Dry Bread Song ~ . themselves in surprising and frequently quite graphic v For Seven Days and Nights I Haven t Ea A POEM BY can Zuckmayef 1917 ways to the gaze of even the most casual observer. The chronicle of past cabarets is rich: St. "From Petersburg to Khrushchev's Boot" (1987), "The READ er Antanas varnios ' rt is a rdcare marked out for homen transactions Qf Golden Age of Cabaret" (1988). "The Ox on the Roof" (1988), "The Unknown and Awakenin 9 the tenderest as well as the most bitter sort; often it Europe" (1991), “Tabou" (1992), "The Big Yes and the Little No” (1993), "The Life and ‘limes of Scene one: is a Site at Vroreht oohthot and armed Confrontation Joseph Beuys" (1994). Each cabaret course brought new talents and individuals to focus on a Geor G705! f" "I5 stud"! rh an or its moods’ though, (3roe2'5 Street is a site particular point of view, place, time, or individual artist important to the development of our cul- AftB°"|'"- N"""'5°h° 5t"\$5° 4 where people manage however briefly, grotesquely, ture. All of them sharpened our awareness and our students‘ understanding of the relationship of f""'a"d'$' at “'3 "i9ht°|"b Opposedh, or tradmentedhh to oonneet_ art to social commentary. Each year the performance has demonstrated the depth of commitment ° Nanna 5 5°99 MUSIC’ Kurt Weil LYRICS‘ Bertold Brecht and the wealth of inventiveness and knowledge that make RISD students so rewarding to work rRAN$rArED BY Kurt H_ Kawarke The corraborattve connection that We have eetao_ with. Each year also, the intensity and necessarily extraordinary level of involvement has caused ADAPTED av Steven L. Jobe lished in order to create this year's cabaret marks the the director, the choreographer, the sponsoring faculty, the students, individually or in concert to SUN“ BY Ma“ K°‘° eighth coming-together of RISD students with faculty say "NEVER AGAlN", but each year they come back. Or they let one year pass and then they are Music $6|9C’Ii0n$I tram R|SD and Brown As it hes been tradjtjgnally, back. Over the past few years, Szymon and Agnieszka Taborska have directed in alternate years 1- "GlYeoorekstep3 I-("'6' Whistle" our intention toward you, the audience, is to educate while James’ presence is always felt. Starting in 1991 Bill Newkirk and Foundation became more Muster Hartrrre and Washington as We ehtertard our oedaoooro intent_ however, is involved by giving us a home on the third floor of the Waterman building and backing the studio PERFORMED av Ensemble to offer a compelling experience of the collaborative portion of the course. This year Bill is also serving as producer, Szymon is guiding the research 2- r%?tJ&;r:£v~;$J

l em Sawyernand Sue You American culture. The educational goals of the Cabaret are not unique, but somehow the experience is. This is not 3' “O"e' T‘”°-~~ Tango SOURCE‘ Berlin Radio of the 20's a normal RISD course, certainly not a r Liberal - normal Arts course. Each year about thirty students ' ' - ' ' - PERFORMED BY Alex Hart and Laleh Klrorramrarr The combined efforts of students from diverse artis participate in the study and recreation of a moment in history, and by performing original text, 4- Blaml" tic disciplines working with faculty from sister institu- translated versions, or hypothetical scenes they become a part of the historic milieu. The Gnawa D'um$- - ~ PERFORMED BY Lareh Khorramrarr Herd, Saw er tions of higher education- toward a common goa | con- Russian, German, Austrian, French and Italian avant-garde of the early decades of this century and Sue Yea ' Y strtutes a paradigm of ertretro eoooeratioh which have all come alive at RISD in a way that could not happen passively in the classroom. lt is the l amplifies a very particular and most important mes- direct involvement of students, either as actors, designers, or audience, that gives life and mean- 1 seen; two; Sage tor the eommonity at |eroe and the young artist ing to the cabaret material as it is selected, edited and performed. lf it goes well, we are all A Street in Berlin 1 in particular. As the playwright David Mamet has swept into another place or time as participant observers, enriched and open to the culture of the Grosz Looks at the Germans written in his book Writing in Restaurants, we can day or the folly of the moment. ' “I Have Murdered Dear AWE Alice" help to change the habit of coercive and frightened MUSIC AND LYRICSI Frank _ . Wedekind . h h b.t rt I Serr_ ADAPTED av Richard Lloyd and Steven L. Jobe action and substitute for itt e a i 0 rus , This year's cabaret is about a true age of folly, that insane Dada time and space in Berlin between SW19 bv Richard l-l0Yd reliance and cooperation...by showing how it works. the two World Wars, that is explored through the x-ray and x-rated eyes and art of George Grosz. . ¢ "l am up to my neck in visions" |n aotion_" Here we see the as social in a artist critic society heading toward disaster. The clear vision and “'°"‘ G'°5Z'5 '°"°' T° O"° 5°hma'hau$°"- June 1 prescience,. satire...... J h W d and the biting wit displayed in his cartoons of the German bourgeoisie, the READ BY OS 0° We are hvrno throooh e period of Cu|tura| upheaval, growing bureaucracy and increasing militarism were found so offensive that he was tried for blas- Scene three: and the arts are being submitted to governmental phemy, obscenity and insulting the German military. How current and relevant this Grosz Hoppla Berri“, winter 1918/19 interrogation as they had been in GrQsZ'5 pre-Nazi seems be — to his political difficulties clearly anticipating the situation of contemporary social ‘ The pays ot the November Revojution Germahy_ Orthr the r-nobmzaon of the best that our activist artists in our own country, the debate about NEA, and the the Establishment's fear of the it The “‘$partacists" and the “Free Corps" oomhtneo ertietie Communities has to offer to the telling image. It is a lesson for all of us. 1 The Funeral Procession education of our students, to the work we undertake. ° “Der ReV°|“ZZe'” and to each other is sufficient if we, as artists, are Music AND Lvnics: Erich But success and depth of the cabaret learning experience is not just demonstrated by the intensi- Muehsam, 1917 - - - - - AoAr,rED Br Steven L_ Jobe truly to maintain into the future our right to considera ty and content of the material and the performance. It depends as well on the research, O The Me|ody of "The Emperor Hymn" tion as important contributors to the culture of our rehearsal, and development of an esprit de corps as the public presentation approaches. By this by F_ Jr Haydn SOcrety_ point the texts and staging, the music and acting, choreography and content, have been edited $UNG av THE ENSEMBLE and fought over, justified and criticized with an intensity far beyond that expected in most Liberal 0 "The Red Melody" Mark S_ Cohen Arts classes. Still, it is precisely because of the public nature of the performance, the re |ace- MUS” Friedch H°"ae"d°' LY"'°5i Ku" T“°h°'5'“’ p TRANSLATED BY j-jerojd |_ poor Guest Director, Brown University ment of the lecture hall by the music hall and the desire to successfully communicate to a larger ADAp‘|'ED BY Steven L_ Jooe audience, that the performers, researchers, and technicians can reach this special level of commit- SUNG BY $arh Kreiser and the Ensemble ment. In this way, and with thanks to them, we can all share in the best and most personal man- ° "Casino Song of the Free Corps" her Lrberar Arts at RrSD_ A SONG WRITTEN BY Walter Mehring READ BY Antanas Vainius e "No pardon given" Edward Dwyer A historical testimonial Dean of Liberal Arts ‘ READ BY J°$h W°°d 0 "A Melody Sprang Up" l I A POEM WRITTEN av Fritz Ruck READ BY Polly Spenner ’\\$O

Prologue: Acknowledgements B |- h - Scene four: Aeii:‘rLtateaA;:;':Zrsity'vinter Germany‘ Germany The Cabaret staff and crew gratefully acknowledge "The Dry Bread Song” Th; Ruiing 9|”; the assistance of individuals and cultural institutions, Music; Hehe Eieie, Lymee. Waite, Mehhhg 0 Fanfare, piocessioi-iai from a Waiiz Whose museums, libraries, music andfilmarchives, theatre THANSLATED AND ADAPTED BY Loren c. Mitchel composer is unknown, taped from a Beriin directors and composers, art historians and gallery sumo BY Alex Hart The meiody of Brechhs ,,Legend of the Dead ' Radio station in the 20 's directors' " .'Withouth‘t eir generous hlth'e p is am b't'l ious SoIdier" is included in the arrangement ° PO|k8 based on the previous waltz project comdnlt be acme‘/ed' of "The Dry Bread Song" .‘ “The p|ayfu| Son" Q "For Seven Days and Nights l Haven't Eaten" A traditional Bavarian polka Julia Dech _ Berlin A POEM BY Carl Zuckmayer, 1917 PERFORMED BY Makl Koto, Luciana Mallozzi, - READ BY Antanas Vainius Michael McKenna and Sue Yoo Jurgen Hoffman ' Bemn Berthold Leimbach - Giiittingen, Germany scene one; Slogans taken from texts written in Berlin during the 20's Akademie der Kiinste, Grosz Archives - Berlin George Grosz in his Studio Scene ve. Deutsches Musicarchiv, Karin Bitter - Berlin Berlin, Nassauische Strasse 4 Grosz in court Kunstbibliothek, Dr. Malke - Berlin A@'W¢"d$- the "l9ht¢|llb it The Enemy of the state Florian Karsch, Galerie Nierendorf - Berlin ~ "Nanna's Song" NAHRATOR; Ahiehes Vainius Eva & Adele - Berlin Music: Kurt Weil i_YRics: Bertold Brecht visiTOR: Josh Wood TRANSLATED BY Kurt H. Kowalke Peter Jochimski - Berlin VOICE OF THE JUDGE’ Alex Hart ADAPTED BY Steven L. Jobe I Ludwig Rogozlnski ' Cologne SUNG BY Makl KOIO Scene six:. Lothar Fisher - Berlin Music selections: Sodom and Gomorrah RM Associates, FilmNideo - London 1" “GM3 a Lime Whise" Quickstep. Berlin, You Are Dancing with Death and Music: Harline and Washington ' "H86" Walter Gramming ' Benin’ PERFORMED BY Ensemble Music AND waits: Frank Wedekind for his extraordinary ADAPTED BY 2 . Jerzy Satanowski Steven L Jobe . " . $uppQrt and generosity Music for Janusz Wisniewski's play “The Street of SUNG BY '-“mane Manon‘ Crocodiles" v "My Legs Are Gently Swaying" PEFORMED BY Denise Emerson, Laleh Khorramian, Music: Friedrich Hollaender LYRICSI Klabund In the USA; Heidi Sawyer and Sue Yoo TRANSLATED BY Dorothea Gotlurt BY I Peter 3 . "One, Two..." suns Pilar Newton Grosz, Princeton, N.Y. Tango. SOURCEI Berlin Radio of the 20's ° "Petronella" Toni Eichenbergi P93C9da|e- R-L PERFORMED By Alex Han and Laieh Khorrarnian Music: Friedrich Hollaender LYRICSI Kurt Tucholsky Marilyn Ruegchemeyerl Rl$D 4 . Bramin ADAPTED BY Steven L Jobe Gnawa Drums sum; BY Alex Hart Dorothy Pieniadz, Providence, R.l. PERFORMED BY Laleh Khorramian, Heidi Sawyer ° Music by Jerzy Satanowski for Janusz Ehasz Schwartl Prwidencer R1 and Sue Yoo Wisniewski's piay "Danie" Leonard Konopelski, Los Angeles A textual montage created from poetry and Alexander Tabenkin, Providence, Fl.l. 5139719 tW°1 prose of the Weimar artists such as: Kastner, J0hi'i R. Lucas, Providence, R.|. A Street in Berlin Klabund and Zech spoken by Antanas Vainius, Grosz Looks at the Germans J°5h W°°d am P°"Y 5pe"‘"e' Special thanks for their assistance: "l Have Murdered Dear Auntie Alice" Music AND LYRICSI Frank Wedekind Epilogue: Margaret Lewis and Mary Kenna/' ADAPTED BY Flichard Lloyd and Steven L. Jobe The advent of Nazism RISD, Division of Liberal Arts SW19 by Ri¢h@id Llovd From the "Golden" Twenties to Something Else Diane Blair, “l am up to my neck in ' visions" ~ ~ i ~ , fr G ‘en S h r - - on Ih J 1917 ' The Swastikers Song FllSD, Freshman Foundation Division- Om “J52? W 9' ‘° ° C ma auger“ ‘me A some WRITTEN BY Walter Mehring READ BY os ood READ BY Antanas Vainius and Josh Wood Theme from Lohengrin Special thanks for permission to use the music Scene three: ' by Richard Wagher composed by Jerzy Satanowski (Warsaw) Berlin. Winter 1918/19 “Horst Wesse| Lied” for Janusz Wisniewski's theatre plays "Da2zle" The D3Y5 07 "19 N°Vemb°" R°V°|"ti°" The ehiherh ei the Nazi hem, and "The Street of Crocodiles" (Warsaw) The “Spartacists” and the "Free Corps” , The Funeral Procession v Refrain of "Nana s Song" REPRISE We express our gratitude for the v "Der Revoluzzer" support of Music AND LYRICSI Erich Muehsam, 1917 Professor Edward Dwyer and the Division ADAPTED BY Steven L. Jobe of Liberal Arts. The Melody of "The Emperor Hymn" by F.J. Haydn SUNG BY THE ENSEMBLE 0 "The Red Melody" Music: Friedrich Hollaender i_YRics: Kurt Tucholsky TRANSLATED BY Harold L. Poor ADAPTED BY Steven L. Jobe suwo BY Sarah Kreiger and the Ensemble

~ “Casino Son 9 of the Free CorD s" A SONG WRITTEN BY Walter Mehring READ BY Antanas Vainius “No pardon given" Don't miss "The Hotel Baltimore" A historical testimonial performed by RISD students READ BY Josh Wood February 23, 24, 25, and 26 at 8 pm at the Auditorium 0 "A Melody Sprang Up" A POEM wRiTrEi~i BY Fritz Fiiick READ BY Polly Spenner

'37 '9» HOPPLA! 6?‘O 0' ect 9 Mark s.'Eoh§§ est?’ C.» Concept Q8’ Szymon Bojko sic

Scenario Szymon Bojko and Mark S. Cohen Puppets with the assistance of Nola Rocco Aurora Gist-Yochum Heather Henson Choreography Maki Koto (coordinator) Nola Rocco Luciana Mallozzi David Medina Musical Transcriptions and Arrangements Sue Yoo Steven L. Jobe Loren C. Mitchel Mannequins Heather Henson Producer Doug Kim Bill Newkirk Maki Koto (coordinator) Tara Markus Production Stage Manager Hugh Walton Doug Kim Jasmine Winkler

Translations Costumes Dorothy Pieniadz Michelle Courtois Ludwig Rogozinski Maya Hartmann Marilyn Rueschemeyer Laleh Khorramian Elias Schwartz Tara Markus Achim Wieland Pilar Newton Polly Spenner Orchestra Jasmine Winkler (coordinator) Steven L. Jobe — Musical Direction, guitar, bassoon Maryanne Wong Rob Bethel — cello Laura Gulley — violin Props and Scenery Jerry Heroux — trumpet, French horn James Bewley Adam Hurst — cello Josh Breslin Clara Lieu — oboe Denise Emerson Loren C. Mitchel — keyboard Alex Hart Jasmine Winkler — bassoon Michael McKenna (coordinator) Polly Spenner The Ensemble Heidi Sawyer Marc Cannon Hugh Walton Denise Emerson Maryanne Wong Aurora Gist-Yochum Alex Hart Publicity, Posters, Cartoons, Program, etc Arthur Jones Yoon Cho Laleh Khorramian Yu-Kyung Chung Scott King Arthur Jones Maki Koto Scott King Sarah Kreiger Richard Lloyd Richard Lloyd Polly Spenner Luciana Mallozzi Michael McKenna Lighting and Acoustics Pilar Newton Josh Breslin Heidi Sawyer Eddie Davis Jasmine Winkler Alex Hart (coordinator) Sue Yoo Adam Hurst Doug Kim and James Bewley as George Grosz Pilar Newton

Cameo Performers Lobby Exhibition and Slide Projection Michelle Courtois Yoon Cho ‘Ilse Ehrenfeld Alex Lau Maya Hartmann Polly Spenner Heather Henson Tara Markus Video Polly Spenner Winifred Lambrecht Maryanne Wong