Cabaret Show Quotes

In the cabaret of globalization, the state shows itself as a table dancer that strips off everything until it is left with only the minimum indispensable garments: the repressive force.

February 18: Marilyn takes Isidore Miller to dinner at the Club Gigi in the Fontainebleau Hotel. They also see a cabaret show at the Minaret.

In order for me to get those moments that leave me filled with gratitude I have to be willing to first show up, and then show up again. Next step is making sure I’m the kind of friend I’m hoping for in the first place. It’s the reason I keep a pile of birthday, condolence and get-well cards sitting next to me. Lowers the excuses for sending out a note to celebrate or just let someone know they’re not alone. Meant a lot to me lately when people sent me cards after my sister, Diana died. Or the times I’ve carried a casserole to someone’s door, or had dinner delivered – on me. Or the times I’ve bought candles, or tea from a friend’s new company, or I’ve gone to see plays or cabaret performances, or bought CD’s or books, or countless other moments just like those. I wanted to encourage and celebrate, as well as sit alongside a friend who’s struggling with a loss or a challenge. It all starts with heading out my door and being open to whatever greets me along the way.

As early as May 1945, the newly appointed Commandant of Berlin, General Nikolai Berzarin, decreed that cinemas, theatres, cabarets and sports arenas, all closed by law a year earlier, should be reopened wherever possible, even with the 9pm curfew that had been imposed. By June, cabaret shows had resumed in Cafe Leon, at the site of the former KaDeKo club; The Theater des Westens had a ballet programme running in repertory, and movies were again being screened at the Marmorhaus and the Astor Kino. Restaurants had begun emerging from the rubble and pavement cafes flourished once again.

This is the ordinary Scottish recipe for toddy; an alternative interpretation is that of my old Russian friend, the late M Baleiev, who founded the famouse Chauve-Souris cabaret show in Moscow and, after the Russian revolution, brought it to London and New York. Here is his version: 'First you put in whisky to make it strong; then you add water to make it weak; next you put in lemon to make it sour, then you put in sugar to make it sweet. You put in more whisky to kill the water. Then you say "Here's to you" - and you drink it yourself.

EBB: As I recall, “Cell Block Tango” was a very difficult number to write. It’s not so much a song as a musical scene for six women, and each has to tell her personal story in the course of a musical refrain that keeps repeating. It was difficult because each of the stories had to be entertaining and also meaningful. Each one had to be of a length that didn’t go on too long and run the risk of being boring. We kept rewriting and rewriting those stories that the women told to go with the refrain— He had it coming He had it coming He only had himself to blame. If you’d have been there If you’d have seen it I betcha would have done the same! KANDER: When Gwen was sick during Chicago, Liza took over for eight weeks and she came close to making the show a hit. EBB: She did all of Gwen’s blocking. KANDER: She learned that show in a week. EBB: I guess I should confess this. I had been with Liza in California, and when we were on our way back to New York on the plane, when I knew Liza was going to do Chicago, I was egging her on to get little things back into the show that I lost during my collaboration with Fosse. I desperately wanted “My Own Best Friend” to be a song just for Roxie. That was the way it was originally supposed to be done. But Bobby took that song and added Chita as Velma. He had them at the edge of the stage, obviously mocking the high-end cabaret singers with their phony Oh-look-at-me attitude. He hated songs like— KANDER: “I Did It My Way.” EBB: And “I Gotta Be Me.” He hated them.

The film version of Chicago is a milestone in the still-being-written history of film musicals. It resurrected the genre, winning the Oscar for Best Picture, but its long-term impact remains unclear. Rob Marshall, who achieved such success as the co-director of the 1998 stage revival of Cabaret, began his career as a choreographer, and hence was well suited to direct as well as choreograph the dance-focused Chicago film. The screen version is indeed filled with dancing (in a style reminiscent of original choreographer Bob Fosse, with plenty of modern touches) and retains much of the music and the book of the stage version. But Marshall made several bold moves. First, he cast three movie stars – Catherine Zeta-Jones (former vaudeville star turned murderess Velma Kelly), Renée Zellweger (fame-hungry Roxie Hart), and Richard Gere (celebrity lawyer Billy Flynn) – rather than Broadway veterans. Of these, only Zeta-Jones had training as a singer and dancer. Zellweger’s character did not need to be an expert singer or dancer, she simply needed to want to be, and Zellweger’s own Hollywood persona of vulnerability and stardom blended in many critics’ minds with that of Roxie.8 Since the show is about celebrity, casting three Hollywood icons seemed appropriate, even if the show’s cynical tone and violent plotlines do not shed the best light on how stars achieve fame. Marshall’s boldest move, though, was in his conception of the film itself. Virtually every song in the film – with the exception of Amos’s ‘Mr Cellophane’ and a few on-stage numbers like Velma’s ‘All That Jazz’ – takes place inside Roxie’s mind. The heroine escapes from her grim reality by envisioning entire production numbers in her head. Some film critics and theatre scholars found this to be a cheap trick, a cop-out by a director afraid to let his characters burst into song during the course of their normal lives, but other critics – and movie-goers – embraced this technique as one that made the musical palatable for modern audiences not accustomed to musicals. Marshall also chose a rapid-cut editing style, filled with close-ups that never allow the viewer to see a group of dancers from a distance, nor often even an entire dancer’s body. Arms curve, legs extend, but only a few numbers such as ‘Razzle Dazzle’ and ‘Cell Block Tango’ are treated like fully staged group numbers that one can take in as a whole.