Cabaret MUSIC by John Kander LYRICS by Fred Ebb BOOK by Joe Masteroff
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Manhattan School of Music MUSICAL THEATRE LIZA GENNARO, ASSOCIATE DEAN AND CHAIR Cabaret MUSIC BY john kander LYRICS BY fred ebb BOOK BY joe masteroff don stephenson, DIRECTOR liza gennaro, CHOREOGRAPHER DAVID LOUD, MUSIC DIRECTOR FEB 4–6, 2019 MONDAY, FEBRUARY 4, 2019 | 7:30 PM TUESDAY, FEBRUARY 5, 2019 | 7:30 PM WEDNESDAY, FEBRUARY 6, 2019 | 7:30 PM NEIDORFF-KARPATI HALL CABARET 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 Broadway production directed by Harold Prince Produced for the Broadway Stage by Harold Prince Don Stephenson, Director Liza Gennaro, Choreographer David Loud, Music Director Scott Davis, Scenic Designer Sue Makkoo, Costume Designer Shawn Kaufman, Lighting Designer Scott Stauffer, Sound Designer Leigh Walter, Production Stage Manager Tinc Productions, Production Management Original Choreography for “The Telephone Dance” by Ron Field Cabaret is presented by arrangement with Tams-Witmark. There will be one 15-minute intermission. THE CAST Sally Bowles Jasmine Rogers The Emcee Daniel Lawrence Clifford Bradshaw Chandler Sinks Fraulein Schneider Laura Zimmer Herr Schultz Xander Pietenpol Ernst Ludwig Joseph Zook Fraulein Kost Talitha McDougall Jones Max/Waiter Sam Johns Bobby/Waiter/Telephone Boy Joseph Grosso Victor/Waiter/Telephone Boy/Taxi Man Lars Hafell German Sailor 1/Customs Officer/ Bus Boy/Telephone Boy Austin Prebula German Sailor 2/German Soldier/ Waiter/Telephone Boy Jonathan Saminski German Sailor 3/German Soldier/ Waiter/Telephone Boy/ “Tomorrow Belongs to Me” Tenor Andrew O’Brien KIT KAT GIRLS Haley Abbott Cameron Anthony Elizabeth Baxley Grace McGrath Desi Stephens Cat Tron GIRL ORCHESTRA Gabriella Adickes Rachel Brideau Sarah Denison and Sarah Thorn (“Two Ladies”) Katherine Parrish MALE ENSEMBLE Spencer Gonzalez Paul Hernandez Steven Martella MUSICAL NUMBERS ACT ONE “Willkommen” Emcee and Company “So What” Fräulein Schneider “Don’t Tell Mama” Sally and Kit Kat Girls “The Telephone Song” Company “Mein Herr” Sally and Kit Kat Girls “Perfectly Marvelous” Sally and Cliff “Two Ladies” Emcee and Two Ladies “It Couldn’t Please Me More” Herr Schultz and Fräulein Schneider “Tomorrow Belongs to Me” Tenor and Men “Don’t Go” Cliff “Maybe This Time” Sally “Money” Emcee and Kit Kat Girls “Married” Herr Schultz and Fräulein Schneider “Tomorrow Belongs to Me (Reprise)” Fräulein Kost and Ernest and Company Intermission ACT TWO Entr’acte “Married (Reprise)” Herr Schultz “If You Could See Her” Emcee “What Would You Do?” Fräulein Schneider “I Don’t Care Much” Emcee “Cabaret” Sally “Finale” Cliff, Emcee, Sally and Company ORCHESTRA VIOLIN I CELLO Yuanxinyue Gao Georgia Bourderionnet Student of Isaac Malkin Student of Philippe Muller China Rochester, NY Maithena Girault William Laney Student of Lucie Robert Student of Philippe Muller Laval, Quebec Little River, South Carolina Anthony Chan BASS Student of Todd Phillips Jakob Messinetti Sydney, Australia Student of Jeremy McCoy Lawrence, NY VIOLIN II Carlos Martinez Arroyo REEDS Student of Patinka Kopec Andres Ayola Cabra, Spain Student of James Smith New York, NY Yixiang Wang Student of Nicholas Mann Justin Brown* Shanghai, China New York, NY Ally Cho Guy Dellecave Student of Lucie Robert Student of Paul Cohen South Melbourne, Australia Lake Grove, NY VIOLA Jared Newlen* Hao-Yuan Hsu New York, NY Student of Karen Ritscher New Taipei, Taiwan Ben Solis* New York, NY Kyran Littlejohn Student of Karen Ritscher HORN Philadelphia, PA Luke Breton Student of Richard Deane Birdsboro, PA 6 TRUMPET Sean Alexander Student of Thomas Smith Washington, D.C. Benjamin Lieberman Student of David Krauss Commack, NY TROMBONE Julia Dombroski Student of Colin Williams Ontario, NY BASS TROMBONE Logan Reid Student of Stephen Norrell Oviedo, FL PIANO Shane Schag* New York, NY PERCUSSION Peter Lazorcik Student of John Riley Lebanon, PA ACCORDION Paolo Perez* New York, NY *guest artist 7 NOTE FROM THE DIRECTOR When Cabaret first opened in 1966 it was groundbreaking. The musical is set in a Berlin nightclub, where songs that comment on the circumstances of the play accompany traditional musical numbers. It offers sheer entertainment, but with an underlying message about prejudice and political complacency. In this way, it’s the best of its kind. Cabaret is a cautionary morality play about survival against the backdrop of a dark movement in history, the rise of Nazism. It is a story about love and loss and ordinary people who look the other way. There is no better time to be doing it. Don Stephenson, Director NOTE FROM THE CHOREOGRAPHER As a young dancer, I was a founding member of The American Dance Machine, a company devoted to the preservation of musical theatre dance. One of the show-stopping dance numbers we performed was Ron Field’s “Telephone Dance” from Cabaret, a great example of innovative dance movement at the service of narrative. I’m delighted, with permission from the Ron Field estate, to present the original “Telephone Dance” in MSM’s production of Cabaret. Field’s dance explores male/ female relations in an illicit 1930s German nightclub, as couples dance, kiss, and flirt with disregard for societal mores. The choreography demonstrates the wild freedom and abandon of the time, establishing an environment that was soon to be destroyed by the Nazi regime. Offering MSM students the opportunity to perform Field’s rich choreography, filled with complex movement phrases, expert structure, and dramatic intent, is an educational experience that enhances their understanding of dance as an expressive, narrative form. Special thanks to Michael Miller, Esq. for entrusting me with Field’s choreography, Ron Field’s assistant Bonnie Walker for sharing her expertise, and my assistant Emily Kelly for her tireless work on the dance. Liza Gennaro, Associate Dean and Director of Musical Theatre 8 NOTE FROM THE MUSIC DIRECTOR I am a camera with its shutter open, quite passive, recording, not thinking … some day, all of this will have to be developed, carefully printed, fixed. –Christopher Isherwood, Goodbye to Berlin Tonight, we have the privilege of presenting something that has never been seen before: one of Broadway’s legendary masterpieces, Cabaret, in a brand new form, created for this production only, at Manhattan School of Music. The ever-evolving history of Cabaret, the musical, is a winding road of collaborative change and transformation. Christopher Isherwood’s novella, Goodbye to Berlin, which was published as part of The Berlin Stories, debuted in 1945. Set in the early 1930s, Isherwood’s semi-autobiographical collection of interrelated vignettes paints a startling picture of a corrupt and dissipated city struggling on the brink of an abyss, as Adolf Hitler is coming to power. The character of Sally Bowles appears, with her fondness for green fingernails and other people’s money. She is based on a British singer, Jean Ross, who Isherwood met in 1931. Inspired by Isherwood’s story, John Van Druten wrote I Am a Camera, a play that appeared on Broadway in 1951. Julie Harris played the role of Sally Bowles in I Am a Camera, winning the first of her five “Best Actress in a Play” Tony Awards. Harris also starred in the movie of I Am a Camera, which was released, to very little acclaim, in 1955. Harold Prince, the successful Boy Wonder of theatre producers, acquired the rights to both the Isherwood story and the Van Druten play, and he gathered a writing team consisting of bookwriter Joe Masteroff, with whom he had collaborated on She Loves Me (1963), and the young songwriting team of John Kander and Fred Ebb, whose first Broadway outing,Flora the Red Menace (1965), Prince had just produced. Kander & Ebb wrote quickly, and they enjoyed doing it. On a dare, at a dinner party one night, they wrote a song between the entrée and the dessert course. While their host cleared away the dinner plates, John sat down at the piano. Fred asked him what the song should be about. “I don’t care much,” was the reply. “Play a waltz,” said Fred. 9 Five minutes later, they had a song. It turned out to be a good one. The song, “I Don’t Care Much,” was eventually cut from the original production of Cabaret, but it was recorded by Barbra Streisand. Prince was in the process of reinventing himself as a director-producer. He imagined a surreal theatrical space, divided into different playing areas by tilting curtains of light, achieved with the help of an elaborate system of black velour drapes—an effect he had admired when he attended the Taganka Theatre in Moscow. Set designer Boris Aronson contributed a trapezoidal mirror in which the audience saw itself reflected. Not content with simply telling the droll story of a “fascinating” cabaret singer and her misadventures with a young writer, Prince wanted to draw a parallel between Berlin in the 1920s and America in the 1960s. This morning, as I was walking down the Bülowstrasse, the Nazis were raiding the house of a small liberal pacifist publisher. They had brought a lorry and were piling it with the publisher’s books. The driver of the lorry mockingly read out the titles of the books to the crowd: “Nie Wieder Krieg!” he shouted, holding up one of them by the corner of the cover, disgustedly, as though it were a nasty kind of reptile. Everybody roared with laughter. “’No More War!’” echoed a fat, well-dressed woman, with a scornful, savage laugh. “What an idea!” –Christopher Isherwood, The Berlin Stories Composer John Kander describes their meetings with Prince and Aronson as discussions that started with the phrase, ‘What if?’ “’What if’ is a way of working that I continue to use today,” says Kander, “I gave it that name because most of it is talking.