CONTEXT – cabaret

Part 1

Cabaret plan 1

Part 2. 

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What is the name and who is the author / composer / lyricist of the show you are working on? When was it written and first performed?

Cabaret

This musical was first performed at the Broadhurst Theater, November 1966 with music by John Kander and lyrics by Fred Ebb. There was a Cabaret book written by Joe Masteroff; Inspired by John Van Durtens play “I am a camera” in 1951, that was adopted by the short novel “Goodbye to Berlin” by Christopher Isherwood in 1939.

In 1966 the original Broadway production directed by Harold Prince became a hit, inspiring numerous remakes of the show spreading across London to New York- as well as the 1972 film remake ( directed by Bob Fosse).

Kander and Ebb were very successful American song writing team. They first collaborated on an unproduced musical called Golden Gate, which was a trial to see how well they strived. From this, they went on the write the music and lyric to 22 different musicals and films including: Chicago; Kiss of the Spider Women; The Red Menace, Flora.

2017(The Guide to Musical Theatre/ cabaret-5/05/19)>http://www.guidetomusicaltheatre.com/shows_c/cabaret.htm<

https://www.Britannia.com/art/cabaret

Who is directing it? (full name please) and Who will you be collaborating with on this production?

This production will be directed by Hannah Schofield. However there are many people I will be collaborating with during this show period one being the band (9)

• Claire Bostock- Musical director/ Accordion
• Julian Landymore- Reed 1
• John Jermy- Trumpet
• Kevin Butcher- Guitar
• Luke Petitt- Drums
• Daniel Law- Keys
• Mike Wren- Reed 2
• Dave Cole- Trombone
• Mike Tatt- Bass

Continuing from this Robert Andrews the Choreographer also helped by our dance captain Isabella Osborn. Furthermore we was also working with the Tech crew this involved the following people

• Tim Westerman- Technical Director/ lighting designer 
• Harmonie Costello- Stage Manager
• Robert Wilson- follow spot 1
• Ashley Price- lighting Operator
• Alyssa Mulgrave- Production assistant
• Oliver Brown- Sound
• Poppy Morley- Follow stop 2
• Helena Rudd- costume  

And finally I will be collaborating with my fellow cast members including the following people (in surname alphabetical order);

•  Lauren Allaker- (kit Kat Klub dancer)
• Maddie Beckett- (kit Kat Klub dancer)
• Max Bryant- Clifford Bradshaw
• Roxy Canton-(kit Kat Klub dancer)
• Carie Chadwick- Fritzie
• Siera Glasker- Fraulein Schneider
• Emily Gordon-(kit Kat Klub dancer)
• Anna Golding- Frenchie
•  Lara Gray- (kit Kat Klub dancer)
•  Charlotte Green- Lulu
• Joshua Green- Bobby/ Sailor
• Ethan Hammond- Officer/ Sailor
• Felicity Harrap- (kit Kat Klub dancer)
•  Charlotte Howard- Rosie
• Ajay Hunt- Victor/ Sailor
•  Jake Jarvis- Ernst Ludwig
• Rosie Johnson- Fraulein Kost
•  Alex Matthews- Emcee
• Mia Mcdonald-(kit Kat Klub dancer)
• Daniel Mceown- Herr Schultz
•  Luca Morly- Max/(kit Kat Klub dancer)/ Sailor
• Isabella Osborn- Helga/ Dance Captain
• Cara Singleton- Sally Bawles
• Emily Tang- (kit Kat Klub dancer)
• Maria Whiting-(kit Kat Klub dancer)
• Emily Winnett- Texas/ Garilla

What genre of theatre is your show and why do you think this? What is the show about and who are the key characters?
The genre of my production is Musical Theatre- I think this because Musical theatre is a form of theatrical performance that combines songs, spoken dialogue, acting and dance and all these elements are influenced in Cabaret. Therefor although you may think it’s in the genre Cabaret it’s not however, there is elements of Cabaret stile dance in the production.

Cabaret synopsis
Cabaret takes place from 1929-1930, a time when Berlin was prepping for World War and in economic depression, Germany is transitioning from a centre of cultural epicentre to the beginnings of Hitler’s obliteration and the rise of the Nazi Party.

Young American author (Clifford Bradshaw) arrives in Germany, Berlin, for inspiration for his latest novel. He meets Ernst Ludwig (Nazi supporter) and they become friends and tells him to stay in Fraulein Schneider’s flats. She accepts him to settle into the room for 50 Reich marks, although initially planned to take 100 out of him.

Clifford visits the nearby club (The kit kat klube), cabaret that experience its decadent times. One of the dancers, with whom he romances with (Sally Bowles), he plans to take her home, sadly she declines that night. The next day, however, she had to ask him to live along with him, because (Max) the owner of the club fired her and now she has nowhere to go. He reluctantly accepts her, although such co-existence seems strange to him.
Fraulein Schneider’s accuses one of the guests -Fraulein Kost- that she accepts in her room different sailors. She wants to ban these people visiting her room, but latter is threatened to move out and Fraulein will not be earning from this room.

Fraulein and fruit shop owner Herr Schultz are slowly falling in love and plan to marry in 3 weeks. Once, at a party on the occasion of their engagement, Fraulein Kost angry at Fraulein, says to Ernst, that Fraulein is going to marry a Jew, and Ernst informs the owner that marriage to a Hebrew now is not the best solution.

Clifford then wants to marry Sally as she has got Pregnant and to go back to America with him, but Sally loves Berlin and the fame and did not want to leave. Then she makes an abortion, and he hits her in the face. After she returned to sing in a cabaret, where she took over it all, singing ‘life is a cabaret, old chum’, declaring a desire to live in luxury and neglecting her surrounding world, which is constantly growing with concern.
Just before this song cliff and Ernst have a fight however, Ernst has the power how the club behind him. Cliff then packs his belongings and leaves for Paris, starting to write his novel on the road (about The Kit Kat klube and Sally), which he had not started in Berlin.
While all this is going on Fraulein breaks her engagement with Herr Schults, because fears for their future together and for themselves. He then moves out and into a different inn.
In the last scene is portrayed as the actors of the club including main role Emcee are in the Nazi camp.

Character list

Sally Bowles
She is a young actress from England who has found work as a performer/ show girl at The Kit Kat club in Berlin. Sally have a dynamic personality both onstage and off, but her performances can lead you to wonder whether she is merely flighty or taking great pains to appear so. She developed what can only be dcribed as a “complicated” relationship with Cliff. In this relationship you lean she is passionate about what she does and loves the fame. Sally is neather for or against the Nazis she believes the politics has nothing to do with her; showing how naive she can be struggling to see the darkness of the reality of her life as a cabaret performer.
Vocal part –Soprano /mezzo

Cliff Bradshaw
He is an American author adventuring to Germany striving for inspiration for his next book. He starts teaching Germans how to speak English. He is sexually confused however, falls in love with Sally. Shows a lot of emotion and can be aggressive at time. He is against the Nazis and thinks strongly about politics.
Vocal part -Tenor

Emcee
He is Master of the Kit Kat Klub – comedic and loveable and is a talented entertainer. He is presented as a gender-questionable character comfortable with being close to both men and women. At times he seems to possess an almost Mephistophelian power to manipulate anyone when they come in However, He plays no role in the lives of the characters outside the club. Yet his performances inside the club are usually symbolic and often ironic commentaries on the events and circumstances taking place among the other characters.
Vocal part –Tenor

Fraulein Schneider
She is a landlady who rents rooms in her large flat house. She’s passionate, fairly old woman who has come from riches but is no longer extremely wealthy. She falls in love with Schultz and get engaged to him but sadly for their safety the wedding is called off. She believes that she will be strong enough to get through the up coming political events as she has no other choice but to go alone with it.
Vocal part– Alto

Herr Schultz
He is one of Fraulein Schneider’s roomers and the proprietor of a Fruit Shop. He is in some way a traditional musical comedy part in this very untraditional musical – and also a primary romantic couple – yet in keeping with the tone of the show.
Vocal part –Tenor

Fraulein Kost
She is a fascinating and played as a stereotype, just for laughs about sailors and sex. Kost has never had advantage. Her only option (at least in her mind) is to sell herself. She’s not just a hooker; she’s someone who had very few, if any options. One thing that gives her this depth is the German verse into the song “Married” It helps explain her almost desperate attempt to keep Ernst at the engagement party and it tells us that perhaps she needs love.
Vocal Part –Alto/Mezzo

Ernst Ludwig
Ernst Ludwig is a fascinating character. When we meet him, on the train carrying Cliff to Berlin, he seems to be a charming, jovial, friendly guy. It’s important the audience loves him, that he is the most non-threatening character in the show, so that at the end of Act I, when we find out he’s a member of the Nazi party, it’s as upsetting for us as it is for Cliff. We have to share Cliff’s disillusionment and sense of betrayal. If Ernst is played as a “dark” character from the beginning, if clues are given to the audience that Ernst may not be a nice guy, the impact of his party membership is diluted, and the reality of 1930s Germany is lost. Ernst may not be a particularly horrible but he is real, and that disturbing.
Vocal part– course line

Maximilian von Heune (Max)
He is aristocratic, homosexual, wealthy, and dangerously naive when it comes to the Nazi party, Max becomes a part of complicated friends with benefits relationship with Sally and Cliff, this is a very understated story line however you do see if flicker throughout the show.
SAILORS – male and normally played by ensemble (sweet naïve German boys)
LULU –female – featured (kit kat club girl) originally from Poland
TEXAS – female – featured (kit kat club girl) originally from Texas America
ROSIE – female – featured (kit kat club girl) originally from England
FRITZIE – female – featured (kit kat club girl) originally from Russia
FRENCHIE – female – featured (kit kat club girl) originally from France
HELGA – female – featured (kit kat club girl) originally from Germany

BOBBY – male – featured
VICTOR – male – featured
Kit Kat Klub dancers – male/female

When was this show first performed, how did people react to it and why do you think this was? Why do you think an audience will be interested in seeing a new version of this show and will choose to come along to see your production?
The musical Cabaret was originally performed at the Broad Hurst Theatre, Broadway 20th November, 1966. The Broadway theatre production was directed by Harold Prince. The show was then transferred to the imperial Theatre and then Broadway Theatre before closing on September 6th, 1969 after a run of 1,165 performances. The US national tour lasted from 1967 – 1968. The Original London production premiered in the West End on February 28th, 1968, at the palace theatre this ran for 336 performancec 1986. There was a revival in London at the Strand Theatre; moreover the show had a revival in 1993 at the Donmar Warehouse in the West End. 1998 was its second Broadway revival, the production opened after 37 previews on March 19th, 1998 at the Henry Miller’s Theatre, later transferring to Studio 54, where it remained for the rest of its 2377-performance runs. Furthermore, the show had a revival in London in 2006 at the Lyric Theatre before it closed in 2008. It then had another London revival in 2012 at the Savoy Theatre, following a four-week tour of the UK, and finally last but not least the final Broadway revival in 2014.
Last edited-4/4/19-13.07 hours( Wikipedia/ Cabaret Musical- 20/4/19)-https://en.wikipedia.org/wiki/Cabaret_(musical)

When the show was first performed people took a strong liking to it and cabaret started to strive in the musical business, you can see this through how long the first show ran for (3 years) and had a run of 1,165 performances. In addition to this the Broadhurst Theatre has a capacity of 1160 seats, including 731 seats in the Orchestra and 429 seats in the Mezzanine, therefor showing for it to be running for that long the ticket sales must have been really good and making enough for them to keep going. It has also had a total of 8 revivals portraying that even with its age people are still interested in the show and the beauty behind it.
Broadhurst seating info- 2008(seat plan/ Broadhust Theatre- 30/4/19)- https://seatplan.com/new-york/broadhurst-theatre/

Cabaret has been nominated over the years for 70 awards; winning a total of 26 this must mean it is a very likable musical. I think still to this day and age an audience will be interested in seeing a new version of this show because it’s an adaptation to the original so people want to see the different style and version of the show. Also as my production is an amateur dramatics rather than the professional our audience won’t be reviewing it the same as we are must younger and less qualified. This therefore means they might like to come see how well we can perform with the college standards.
Award info- 3/8/17( AwardAgent/ Cabaret Musical- 20/4/19)-https://en.awardAgent.org//Cabaret_musical

Reviews (1966)
In 1966, the musical was risqué for Broadway. “It was very sexy,” recalls Joe Masteroff, now 96, who wrote the book. “There were girls out in nightclub clothes. “One thing I will never forget: When the show opened in Boston, there were a lot of walkouts. Once the reviews came out, the public came back and wanted to watch it every night, it will never get old”
Mark Price says (aged 73). “It was incredibly shocking in 1966 that women were wearing stockings, but cabaret said, let’s just go a step further, and let’s show ripped stockings. Let’s show the track marks on the arms, so we understand the drug use in the clubs. Let’s show the dark side and well as the sexy everyone loved it”.

Papper-1969(Lose Angelis Times- Cabaret) 20/5/19- https://www.latimes.com/entertainment/arts/la-ca-cm-cabaret-pantages-20160718-snap-story.html

Where is your show being performed? And what styles of production will it be and how will it be staged?
The show will be held at the Conservator EAST theatre witch also means we will have full access sound, lighting and a desired built set to which will have a proscenium stage and seating for 120 audience members. The performance is set out in two acts with a 20min interval in between as a small break for the audience and cast (for re-set of props and costume). The first act is longer than the second and both acts end and begging with high energy numbers. The original Broadway production had proscenium seating however; this is not in style of cabaret with tables. A proscenium stage is where the audience faces one side of the stage directly, and may sit at a lower height or in tiered seating.

The set will be much stripped back creating an industrial feel with metal pole and stears. There will be different size raised platforms on up stage right and left and a long upper platform for the 9 person band. I believe we had platform on the side to create more visual dynamics as most of the characters will not be leaving the stage at any point throughout the show. The club members will react to some of the action on the stage and sometimes will turn around when appropriate which will create the correct atmosphere on the stage for the scenes. The Kit Kat Klube members wear Black because if we need to change character this can be distinguished though other parts of coloured clothing added to our costume.

I believe the band will be dressed in the same colours as the Kit Kat Klube members (black) so it is less distracting for the audience members also; Emcee mentions the orchestra when he’s introducing acts in the club. It will feel like the band are a part of the club, rather than just there to create the music.

Due to us being in the theatre like I said before means we have access to lighting facilities, we have a wide range of accessibilities with what we may want. We are going to be very flexible with aspects like spotlights, soft lamp, broad lights, floodlights, fixed-focus lighting and blackouts. These will also range with colours and designs depending on the mood of the scene. Some designs include: coloured gels, gobos, spots and strobes or example, the red flashes indicate the Nazi takeover.

We are also very lucky to be able to have flexible sound equipment, allowing music, sound effects and different types of mics. We have wide allowances with what we can include and this is done with our production team who are very skilled in these areas witch like I mentioned earlier we will be collabing with to make the show even better

When is your production set and how is this important to the way the production is being developed?
Cabaret is set in 1931, the build up to World War II and the rise of the Nazi’s in Weimar Berlin. This was a time of political friction, which is parsley shown by the minimalistic set. I have elaborated into more detail on this period of time in my research however, it is important to keep in mind the ignony of the characters as they had no idea what events were unravelling and going to happen in the forthcoming years, this could show foreshadowing the audience has more knowledge than the characters. It also means from a technical side, that we can’t use much technology to enhance the show and some things that may not seem shocking to audiences now, would have been to the time period it is set in for example, the phones had to be rom the time period.

What are you, as a Company, aiming to achieve with this production? What is its purpose?
As the company we are all trying to achieve many things. We want positive impact on the audiences every night. I believe that our three main aims are educating, entertaining and shocking our audience members. Due to the plot of the show, we are going to be portraying many political governmental issues. However, we will also be crossing some heavy aspects of culture from the 1930’s.

Education- The musical features many aspects of Germany’s historical past. We see the story of when the German Weimar Republic was on the decline and the rise of Nazism was in its early stages (1930s)Nazis rise to power isn’t just about Hitlers allegiance of the German public to follow him. Hitler wanted to obliterate Jews, gays, Gypsy’s, black people and many other cultural people this is shown through cabaret and what they stand for. Cabaret addresses racism and political fanaticism in great detail. These are political issues that are far from irrelevant in today’s life.

Shock- Due to the strong topics expressed throughout the show and ending especially, we would like the audience to be shocked, some may have perhaps seen the show before some may haven’ eather way we want to give that emotion. We want them to be taking in new aspects throughout the performance but mainly leave shocked when the large moments happen.

Entertainment- as this is a show and people are paying to see this however deep, sad realistic a show may be people are still going because they want to be entertained. This means we have to withhold a good show and leave them satisfied.

What will be your involvement in this production and why do you think you have been given this role?

In this production, I am a part of the ensemble (a Kit Kat Klube dancer), I believe that I have been given the opportunity for this role because my cast type was not fitting for any of the other characters. Continuing from this, I think my dancing audition went fairly well as I gave lot of facile expression. In Cabaret there are many different shapes sizes coulers and more meaning that maybe they liked the way I look and thought I was well suited for this part. Furthermore I am involved in many numbers throughout the show so I will be working as a team with the other ensemble members.

What experience do you and the other cast members have and how will this affect the process of developing this production?
Here is a link to a survey completed by the whole company showing all the relevant experience they have had which will help them in the show. As you can see, the cast overall has a lot of performance experience. The principal characters have a lot of experience, which is most probably why they have been cast as the main roles and because they are well suited to the role. Having lots of experience means that you are confident being on stage and have the ability to work quickly on characters and willingly take noes well. I think this was a well casted show as everyone is fitting to their role nicely.

What are the implications, for a performer, of putting on this kind of show?
I believe the implications for a performer in this show is that it’s very full on, especially considering we will be on stage the whole time, meaning we will all have to work on our stamina and focus as we can’t afford to fidget and lose concentration. We will have to be concentrating for 2 hours meaning we can’t afford to lose charater at any moment in time we have to uphold our self’s and stay in posture. We will also be required to wear heels as part of our costume which will involve a lot of prior preparation to insure we are able to perform exceptionally in the shoes. We will be having two 2 hour dance rehearsals a week with Rob and the some of the dance numbers are quite intense, it’s not so much as hard movement but can be quick and we all have to be not just in time with music but with each other. For example in the Kick line witch I was a Kick line girl we had to all drop down and come up and kick at the same time same height, this required a lot of patients as some of the girls that have no dance experience found it difficult to do.

I also think we need to realise the impact we are making on the audience and keep mindful of the adult themes of the show and therefore have a mature attitude towards the show. We may have to wear skimpy outfits as dancers however, we will be wearing either clear tights or fish nets. I think we also need to understand that some people may be more uncomfortable with this as they may be self consuce with their body type.

What is the time scale over which the show is being produced? How will you manage this time so that you are fully ready to perform to the public? How many performances will you be doing?
The show will be being rehearsed over 12 weeks (including 2 weeks for Easter). I am managing my time with the table I have created above and I would like to be strict with myself and stick to the deadlines however, this is something I struggle with so maybe a table would allow me to be more organized. I also like to keep on top of my work and learn all chores, lyrics, dances etc. weeks before the show so that I can work on polishing my own performance early on. Over the Easter holidays I have allocated myself time to spend perfecting everything so that it is ready for when I come back t. We will be doing four shows from the 22nd to the 25th of May in the evenings.

What kinds of people are likely to attend your show? How is your show being advertised?

The main people of the audience will come from family and friends of the company cast; however we are going to promote it on social media Facebook, twitter and so on, this way it will reach a wider audience. Avid patrons of the Theatre Royal will also come to watch if they see it advertised in the brochure or on the Theatre royal Webb page. Students of ConEast may also come to watch as they like to support fellow members of ConEast also, so ex-students of ConEAST like to come and see how everyone is developing. I will shear this across my social media platforms and invite Friends from my old school that are interested in the art.

Extended questions of my own?

Why the reviews may be different to our performance then to the original?
As our show is only in amateur production this means our audience won’t be expecting a west end performance as they no we are still in training. This therefor means our audience are going to be more understanding and nice however, against a professional production people will be expecting a lot more; and if something wear to go wrong they would be harsher and less understanding.

Context UAL definition: The level of intellectual analysis, critical evaluation and understanding of the self and the broader context within which the extended or collaborative project is situated

Fail Limited understanding of subject context, lacking clarity in aims and purpose.

Pass Understanding of subject context used appropriately to make judgments, describe aims and clarify purpose.

Merit Good understanding and knowledge of subject context used to make sound  judgments, articulate ambitions and clarify purpose.

Distinction Comprehensive understanding and knowledge of subject context used to  communicate complex concepts, articulate ambitions and clarify purpose