Cabaret--New Broadway Cast album

Days after her tragic death, I found the cast album of the 1998 Broadway (and Roundabout Theater) incarnation of Cabaret with Natasha Richardson. It has taken me until now to listen to it, and I'm not certain why.

I've only ever seen the film version of Cabaret which I talked about months ago. As the film severely streamlines the story (and cuts out all of the romance between the older couple) a lot of this music was new to me. I liked it all--from pastische Viennese waltzes, to ersatz Nazi propaganda songs, to raunchy cabaret acts, to show-stopper belt ballads--I liked it all.

Ms. Richardson made a splash in the role primarily for her acting, I believe. It is hard to make that case in a recording. I found her singing somewhat wanting. I realize that some have criticized Liza Minnelli for being too good--"How would she ever be stuck in this third-rate Berlin nightclub?" But there are times when I want my underdog characters to over reach their abilities. Perhaps Ms. Richardson's performance did that, but her voice was merely adequate and didn't push even an emotional extreme until the very end of the title song at the end of Act II. She underplays the Act I "Maybe This Time" and I felt this was a mistake.

It is difficult to judge Alan Cumming's performance just from the audio recording. He sings everything well and seems to have a strong sense of how to approach each number.

One interesting aspect to this recording--there are audience reactions (applause, laughs, etc.) to the tracks which take place in the cabaret setting. I assume these reactions are electronically added, rather than being from a live studio audience. It helps make the case for which scenes are show-scenes and which are within the storyline.

The very good liner notes outlining the history of the Cabaret from Isherwood stories to re-incarnated Broadway show provide a lot of interest information. I was particularly interested to know that Jane Horracks played Sally Bowles in the 1992 London Donmar Warehouse production that formed the basis for this Broadway version. Jane Horracks is mostly known as "Bubble" the ditsy assistant on "Absolutely Fabulous." I've heard she has a tremendous singing voice, though.

I wonder if that version was recorded?

Cabaret
Music John Kander
Lyrics by Fred Ebb
Book by Joe Masteroff
Originally produced in 1966
This production played in London in 1992 and then came to New York in 1998
Directed by Sam Mendes
Cast: Natasha Richardson, Alan Cumming, Mary Louise Wilson, Ron Rifkin, John Benjamin Hickey, Denis O'Hare

Curtains--Live performance at Drury Lane Oak Brook

Since the Broadway production of Curtains didn't tour (at least to Chicago), the production at Drury Lane Oak Brook is the regional premiere of the show and my first chance to see or hear it. Given this is a show created by Kander and Ebb (Cabaret, Chicago), with a book by Rupert Holmes (The Mystery of Edwin Drood) and originally conceived by Peter Stone (1776) I had high expectations for this show. Given the venerable 60 year history of the Drury Lane Theater and the experienced cast of Chicago veteran musical performers, I had high expectations for this production.

Both show and cast lived up to my expectations and provided an hysterical evening of murder, mystery, music and spoof. This is a show not only of the theater by set in the theater, as a Broadway-bound musical (Robbin' Hood) gets its out-of-town tryout in Boston. No one is disappointed when the faltering leading lady collapses on stage, but everyone is under suspicion when it turns out she was poisoned. I won't give away any more of the plot, because its zaniness and twists and turns deserve to be experienced first hand.

The book for this show is the brightest point, with more cutting remarks about the theater, actors, directors, critics and the audience than space or my memory will allow me to quote. Two veterans of the Chicago musical stage get the bulk of the zingers--Nancy Voigts (above left) as Carmen Berstein, and John Reeger as the stage director with British biting sarcasm, Christopher Belling. Both Ms. Voigts and Mr. Reeger are pitch perfect in their deliveries. On the musical front, the characters of Georgia Hendricks (portrayed by Christine Scherill, above right) and Aaron Fox (James Rank) take on much of the music. Mr. Rank is an accomplished baritone who works regionally and often crosses over into operetta or light opera; he deftly handles the bari-tenor ranged song "I Miss the Music."

If I have one criticism of the show it is in the score. I felt as if there were not enough songs, and too often those songs were about the musical-within-the-musical rather than being character-based. That was particularly true for me in the first act finale "Thataway." While Ms. Sherill deliveres the song with every bit of gusto needed, the song doesn't hold any great meaning for her character and therefore it was just a song.

I loved all the only slightly inside jokes about the show-within-the-show spoofing Oklahoma, complete with sunset over the prairie and dream ballet with ladder and stairs to nowhere.

Curtains
Music by John Kander
Lyrics by Fred Ebb
Book by Rupert Holmes
Conceived by Peter Stone
Opened in 2007
Cast: Nancy Voigts, Sean Fortunato, James Rank, Jim Corti, John Reeger, Paula Scarfano, Christine Sherill
Continues at The Drury Lane Oak Brook Theater in Oak Brook, Illinois through May 17

Chicago film

Seeing this film (I saw it originally at the multiplex) puts me in a mind to contemplate what makes a musical theater performer. What does make an actor capable of carrying off a musical? Certainly, the traditional three "threats" are important--singing, dancing, acting--but I think there is also some other, ineffable talents needed. Magneticism may be the fourth "threat". That's mostly what I see missing in the film of Chicago.

Catherine Zeta Jones seems to have magnetism on display in spades in this film. In fact, she may have scaled her performance for the stage, and could be selling the whole thing a little too much for film. Renee Zellweger and Richard Gere don't embarrass themselves in their performances, but sometimes they lack a bit of whatever it is that makes us unable to take our eyes off a magnetic musical performer. Queen Latifah also seems just shy of really nailing the performance as well, although having seen her in Hairspray, I think she's learning.

The extras on the DVD of this film include interviews with people involved in the original and subsequent Broadway incarnations of this show. Jerry Orbach is included along with Chita Rivera (who also has a bit role in the film).

Chicago

Music by John Kander
Lyrics and book by Fred Ebb
Film released in 2003

Based on the show from 1975

Cast: Renee Zellweger, Catherine Zeta Jones, Richard Gere, John C. Reilly, Queen Latifah,

Kiss of the Spider Woman 1994 cast on CD

I thought at first this was the cast album from a revival, but it seems this was a replacement cast to the original run of Kiss of the Spider Woman. Hearing the strength of the cast, I can understand why they were recorded.

This is another show and another cast that really hits their marks with very little to argue against from the efforts of either songwriters Kander and Ebb or the three leads--Vanessa Williams, Howard McGillin, and Brian (soon to add the Stokes) Mitchell.

I knew Ms. Williams could sing, she has a big recording career, but I didn't realize how well she could morph her musical styles. Aurora calls for singing in many patische numbers and well as songs that directly address Molina. She handles them all with aplomb. If perhaps she doesn't quite capture speaking English with a Spanish accent, I'm sure many of her "Ugly Betty" cast mates could help her now.

I have spoken before how Mr. Mitchell represents what I love best about true Broadway Baritone singing. Valentin is required to sing some rangy music, and Mr. Mitchell handles it well, although is not often allowed to reach into the full breadth of his resonance with much of the singing. Mr. McGillin is a new name to me (although I have another cast album with him waiting for my Thinking). He has a very lithe and likable tenor voice, which he seems to be able to color in appropriate shades when needed. The emotional roller-coaster that Molina experiences in the show needs someone who won't approach each song with the same voice, and Mr. McGillin complies.

Some of the songs deserve a life outside the show, I think. And for the cabaret act I'm building in my head, I think I'll add Molina's final "At the Movies" to my show about songs about the movies. My cabaret audience won't need to know that the character has just been shot in the head.

Kiss of the Spider Woman

Music by John Kander

Lyrics by Fredd Ebb
1994 Broadway replacement cast
Cast: Vanessa Williams, Brian Stokes Mitchell, Howard McGillin

The Act original Broadway cast recording on CD

Liza with a z won a Tony for her portrayal in this musical, and Kander and Ebb were nominated for the Tony in the Best Score category, but I had never heard one song from The Act. Well, I'm ready to make up for lost time.

There is a lot to like from this 1977 musical, which was the follow-up to Cabaret for the team of Kander and Ebb. It was clearly written as a star vehicle for Ms. Minnelli, and she delivers on this album. There is little for anyone else to do (at least as far as the score is concerned). As the liner notes for this CD are non-existence, I can't comment on the story or any of the non-singing roles.

Some of the music seems very much like a modern "revival" meeting, including the opening "Shine it On" and the almost humorous version of the Shaker tune "Tis a Gift to Be Simple." "Arthur in the Afternoon" is a very funny song, and I hope is included in someone's cabaret act.

Martin Scorsese directed this show! His only Broadway credit, I believe.

The Act

Music by John Kander

Lyrics by Fred Ebb

Book by George Furth

Cast: Liza Minnelli, and a couple of other people that don't really matter as far as this album is concerned.

Cabaret film on DVD

My Year now has two musical films in a row directed by Bob Fosse. Let's compare and contrast Sweet Charity with Cabaret.

Both films feature standout performances by lead women.

Both lead female characters are alone and searching for something.

Charity is looking for a quiet life with a husband and baby.

Sally is looking or the wild life of fame and fortune and avoids getting a husband and baby.

Both leading characters are eternal optimists.

Both feature a chorus line of women from the wrong side of the rail.

Clearly, the Mr. Fosse of Cabaret owes a lot to the Mr. Fosse of Sweet Charity. In Sweet Charity he was trying out various cinematic techniques; with Cabaret, Mr. Fosse has a much stronger sense of his cinematic vision for telling the story. The camera tricks are used much more sparingly and don't get in the way of the story, but help us see it more clearly. In Charity there was an Overture and Intermission, mimicking how people experienced the stage version of musical. With Cabaret, that convention is thrown out.

Fosse's choreography seems to have evolved as well. The isolation moves are still there, but they are much less constraining--perhaps fitting in the looser environment of Weimar Berlin.

The movie loses some of the music of the stage show and really only presents musical numbers that are in the setting of the Cabaret. So Brian and Fritz and Natalia and Fraulein Schneider don't sing. I think this probably heightens the contrast between the cabaret-world and the "real" world of fascism, hate crimes, and violence. However, it prevents us from knowing some of the inner thoughts of the characters, which a good ballad would give us. I've never seen the show on stage, so I don't know for certain what's missing.

Michael York seems the perfect embodiment of Christopher Isherwood, on whose Berlin Stories this stage show and film are based--young, thin, beautiful, blond, with a swoop of blond hair that makes him look like he just left the campus of Eaton.

There is an independent film out right now called Chris and Don: A Love Story, that is about Isherwood in Hollywood. Perhaps it will soon add some insight to my musical thinking.

Cabaret
Music by John Kander
Lyrics by Fred Ebb
Book by Joel Masteroff
Screenplay by Jay Presson Allen
(a woman, who is also the playwright of Prime of Miss Jean Brodie and Tru)
Directed and choreographed by Bob Fosse
Cast: Liza Minnelli, Michael York, Joel Grey, Fritz Wepper, Helmut Griem, Marisa Berenson.