Music by John Kander / Lyrics by Fred Ebb PRINCIPAL FUNDERS
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Book by Joe Masteroff Based on the play by John Van Druten and stories by Christopher Isherwood Music by John Kander / Lyrics by Fred Ebb PRINCIPAL FUNDERS CORE FUNDERS PREMIER PARTNER MAJOR SUPPORTERS Proud to be NZ’s Most Official caterers to Awarded Winery and Auckland Theatre Sponsor of Auckland Theatre Company Company WELCOME MEDIA PARTNERS CABARET: surely one CABARET was the first So, leave your troubles of the most enduring mega-hit for this brilliant outside, sit back and enjoy of musicals. CABARET composer/lyricist pair, who divinely decadent world of caused a sensation when went on to create iconic music the CABARET created by our it made its 1966 Broadway theatre like CHICAGO and supremely talented cast and SUPPORTING PARTNERS debut, and the season ran WOMAN OF THE YEAR. creative team. for nearly two thousand CABARET just gets better with performances. AUCKLAND ART GALLERY TOI O TAMAKI / BDO / BKA INTERACTIVE / CANON / age. The recent Broadway INFLIGHT PRODUCTIONS / M.A.C COSMETICS / MARKETING IMPACT The 1972 movie starring Liza revival presented by London’s BRUCE MASON CENTRE / MAIDMENT THEATRE / SKYCITY THEATRE Minnelli catapulted the songs Donmar Warehouse did twice and story into popular culture. the business of the original Based on John van Druten’s production. We’re thrilled to Colin McColl play I AM A CAMERA, bring Michael Hurst’s unique PRODUCTION SPONSORS much of which is based on new production of CABARET Deutz Logo.JPG Christopher Isherwood’s short here to the Salon Perdu stories from GOODBYE TO Spiegeltent, which replicates BERLIN, the new musical the spirit and atmosphere of version was penned by John German Kabarett of the late Exclusive suppliers of Exclusive suppliers Kander and Fred Ebb. Weimar Republic. external branding solutions of Bottled Water Book by Joe Masteroff Based on the play by John Van Druten and stories by Christopher Isherwood Music by John Kander / Lyrics by Fred Ebb cast Sally Bowles – Amanda Billing Emcee – Michael Hurst Fraulein Kost – Colleen Davis Fraulein Schneider – Lynda Milligan Herr Schulz – Paul Barrett Cliff Bradshaw – Tyran Parke Ernst Ludwig – Mike Edward KIT-KAT KLUB – Will Barling, Ebon Grayman, Sarah Iwaskow Hannah Tasker-Poland, Sia Trokenheim Understudy – Ciarin Smith creative Direction – Michael Hurst Costume Design – Nic Smillie Lighting Design – Bryan Caldwell, PhD. Musical Direction – Grant Winterburn Choreography – Shona McCullagh DIRECTOR’S Properties Master & Set Dresser – Bec Ehlers Sound Effect Sourcing – Mark Corbett Additional Recording – Jason Smith Special thanks to Dialogue Consultant – Susanne Ritzenhoff NOTES Set Design – A collaboration between Mark Gosling, the creative team, 2 Construct and Nick Barnfield production In the 1930s, with a carefully idea of a powerful, healthy and wild at times, exhausting, Production Manager – Mark Gosling Technical Manager – Bonnie Burrill manufactured and brutal wave racially pure utopia. And wield hilarious and often completely Senior Stage Manager – Fern Christie Stage Manager’s Intern – Jade Turrall of negative eugenics, the it they did. Cabaret reminds mad, but always based in Lighting Operator – Robert Hunte Sound Operator – Mark Corbett Revolve Operator – Gerry Robertson malefic agents of the Third us that fundamentalism of any trust and respect. From the Site Manager – Josh Hyman Set Engineer – Nick Barnfield Wardrobe Supervisor – Sara Taylor Reich swiftly eradicated the kind is the antipathy of human first concept, through planning Tailor – Peter Rigby Patternmaker, Cutter & Costume Construction – Sheila Horton troubled culture of the Weimar freedom. Religious extremism, and pre-production to the Seamstress – Elizabeth Gibbons Tent Supplier – High Profile Event Support republic. But the spirit of that reactionary politics, greed performance you are seeing Set Construction – 2 Construct period still shimmers - the and the lust for power will today, everyone involved eroticism, art, architecture, always be the enemies of has said ‘yes’ – the most music, film, theatre, literature humanity. This is as true today powerful word in the and sheer ecstasy of a futurist as it ever was. From the Tea band business. To the cast, the society whose escape into Party to The Taleban, we Piano – Grant Winterburn Percussion – Chris O’Connor Bass – Aaron Coddel production team and to my Alto Saxaphone / Clarinet – Jeff Henderson Accordion / Keyboards – Eddie Giffney hedonism before the Nazi must be vigilant, or before we creative associates Shona Trumpet – Mike Booth storm was akin to re-arranging know it the clubs will again deck chairs on the Titanic. be closed, our children will McCullagh, Nic Smillie, Grant be brainwashed with pseudo Winterburn, Becky Ehlers and AUCKLAND THEATRE COMPANY WOULD LIKE TO THANK THE FOLLOWING FOR THEIR HELP WITH THIS PRODUCTION: Berlin pulsed into the 1930s science and life won’t be any Bryan Caldwell - it has been Matthew Verrill, Max Cryer, David Whittet, John Gibson, Taylor Wilson, Smith & Caughey’s, Sally Sloman, Kolet Vermeulen, debauched and unfettered. But Michelle Worth, Sarah Sherwood, Fraser Brown, Mark Vinall kind of cabaret at all. a privilege. Thank you all. “Sin City” was ripe for a clean CABARET is the seventh Auckland Theatre Company production for 2010 and opened on October 28th. CABARET is approximately Fabulous! 130 minutes long with an interval. Please remember to switch off all mobile phones, pagers and watch alarms. up, and the morally upright *** were ready and willing to wield This has been a great rehearsal Michael Hurst the disinfectant, duped by the process – disciplined, focused, Director Moulin Rouge / Paris Cancan 1890 1930s German Kabarett by Princeton University Students New York’s 21 Club was a Prohibition-era speakeasy of entertainment. During the LIVE IN THE BIG APPLE In the 1960s, cabaret in the 1920s and 1930s, when the United States began to lose Cabaret also influenced WONDERFUL WORLD Weimar government ended its popularity, due to American live entertainment censorship, artistic expression competition from television in the first half of the 20th OF CABARET was less regulated and variety shows and rock century, especially in New York cabaret took on great cultural concerts. Things worsened and Chicago. ROOTS IN FRANCE Chat Noir, the Moulin Rouge, KABARETT ARTISTS IN significance, often showcasing with the panic of AIDS in the and the Folies-Bergère; the GERMANY controversial social and American cabaret typically 1980s: most New Yorker’s Cabaret was an latter two are still operating political themes. featured jazz: Chicago cabaret stayed in to be entertained immensely popular After World War I, cabaret often boasted big bands, by home videos. These days today. The cabaret took the This brought forth new Kabarett form of entertainment enjoyed even greater popularity while solo vocalists were however, cabaret is gaining form of an informal saloon artists like Werner Finck and throughout the 19th century. across Europe, most notably more common in New York. momentum again, particularly where poets, artists and Karl Valentin. However, when It began in 1881 in the in Germany. The roots of When a 1913 law insisted in New Orleans, Philadelphia composers could share ideas Hitler took power in 1933, Monmartre district German cabaret, however, Manhattan’s cabarets close and Portland, Oregon, as and compositions. cabaret was one of the first of Paris with the opening lie not in Berlin, but in pre- by 2am, members-only clubs younger performers reinterpret victims of the Nazi party. of Le Chat Noir, which attracted Performers got to try their war Munich. Although some (speakeasies) sprang up the old forms in both music and Cabaret, along with other art such notables ideas, audiences enjoyed a experimentation with a cabaret and remained open till the theatre. Many contemporary forms, was banned, as the as Debussy and Satie. wonderful evening for the price style imported from Paris took dawn hours. Places like The cabaret groups in the United place in Berlin at the turn of the Nazis allowed only what was A combination of music, of a few drinks, and owners Copacabana or The Cotillion States feature a combination of century – notably at the Schall pro-government and aligned dance, comedy, circus acts could rely on a steady flow of Room featured vaudeville original tunes, burlesque and und Rauch cabaret of theatrical with their philosophies. and short theatrical pieces, the regular customers. headliners such as Jimmy political satire, as can be found impresario Max Reinhardt – it performance style is named Durante and Sophie Tucker. in such groups as Cabaret Red was in the south of Germany after the venue in which it Light and Leviathan: Political that das Kabarett sprung to is performed. Popular early Cabaret. life as a new and vital form cabarets in France included the 4162_Waiwera_A4_AdTheatre_FA02.pdf 1 21/10/10 4:07 PM SONG LIST The Money Song ACT 1: Emcee, Sally and Kit-Kat Girls Willkommen Married Emcee, Kit-Kat Girls and Stage Band Herr Schultz and Fraulein Schneider Welcome to Berlin: Willkommen Tomorrow Belongs to Me – Reprise Emcee Fraulein Kost, Ernst, Kit-Kat Girls, Stage Accordion and Stage Band So What? Fraulein Schneider ACT 2: Don’t Tell Mama Married Reprise Sally and Kit-Kat Girls Herr Schultz Perfectly Marvelous If You Could See Her Sally and Cliff Emcee and Friend Two Ladies What Would You Do? Emcee and Two Club Girls Fraulein Schneider It Couldn’t Please Me More (Pineapple Song) I Don’t Care Much Fraulein Schneider and Herr Emcee Schultz Cabaret Tomorrow Belongs to Me Sally Male Chorus Finale Ultimo: Willkommen, Don’t Go It Couldn’t Please Me More, Tomorrow Belongs to Me, Cliff Cabaret Full Company and Stage Band of plot, the pruning and abandonment of characters THE FIVE LIVES OF and songs, and the all-out styling to build Liza Minnelli SALLY BOWLES……. into a major star, made this the representation furthest from the story’s origin, and only distantly related to the theatre By Max Cryer Nevertheless, she earned five Mineo), led the cast, playing musical it purported to portray.