Responses to CABARET
Fri, 9 Mar 2001, 11:52 pmWalter Plinge1 post in thread
Responses to CABARET
Fri, 9 Mar 2001, 11:52 pmThanks to all of you who have responded to the production on a range of different sub-issues. Your feedback is greatly appreciated.
I used the script that evolved out of the Sam Mendes remounting of the show at Studion 54 in the US so most of my angles on the material stemmed from that. I was also inspired by interviews with Mendes in which he talked about his approach to the work.
I liked the idea of the story actually taking place in a cabaret venue, and playing with the shades of grey between what is suggested to be 'real' and what is 'performed'. That for me was the main metaphor that I wanted to tap into. Consequently there are definitely times where the approach sends itself up (consciously and unconsciously), and I let my cast go with that idea.
The subject matter carries enough weight, I think, for an audience to determine what is important to consider, and on what level it engages you emotionally. I experimented with the presentational style too as a result of this metaphor, and the way that the characters developed came out of that freedom I gave the cast to walk the ground between 'character' and 'performer'...
My choice of songs and characters was guided by what I thought was most important (to me) about the show, and was not a deliberate or overt attempt at being different from any other production...the 'Tomorrow Belongs to Me' concept stemmed from the idea that maybe Cliff taught Ernst the English translation of what becomes a Nazi anthem - I thought that was grotesque and ironic, especially when Cliff realises where Ernst stands politically. Shultze and Schneider were very important because I think they are the heart and soul of the show, and their tragedy/dilemma is exquisitely sad.
Sally's complexity has been explored by Nadia with a range and subtlety beyond my expectations, even for such a hard-working and highly competent performer...I went back to Christopher Isherwood's 'Berlin Stories' for that...She was a 19 year old full of impetuousness and uncertainty...a far cry from the Minelli adaptation...and infinitely more Nadia! Incidentally, something that has evolved from the show (without my direction) has been the comedy double-act of Cliff & Sally. Luke and Nadia just played with that idea and I think it gives their early scenes a refreshing exuberance' and energy, especially during 'Perfectly Marvellous'.
The ending emerged from the idea that I had that the Emcee DOES survive, and, like all 'good' evil things will rise up again later in a different landscape.In this case, he steals Cliff's passport and identity and catches the next train to the 'land of the free'... I wanted the Emcee to be insidious, a representation of the survival instinct and the amorality that has existed for all time. Ethan added the almost demonic, childlike quality and I let him go with that. Whether it works or not is up to how it's received by individual audiences members. At the very least I think it is worthy of reflection.
The curtain call was always going to be a challenge...the material in the show dictates a certain melancholy, but a cast of young performers who have worked hard all night also has personal needs that a curtain call meets...so I let them have both. I don't think it diminishes the impact terribly...
Producing CABARET at The Deen has been both stimulating and challenging as I've played with the whole idea of the 'play within a play' concept. Technically it has been very complex...I commend the work of the technicians who have worked hard under extremely difficult circumstances.
Personally, CABARET has so much solid material in it that a range of choices and directions are possible, and that's why it's still with us...my production is different from the Playlovers version directed by David Gardette, and the Sam Mendes one...different qualities emerge, theres room to emphasise different things...it's so seductively rich both in content and style potential.
CABARET@The Deen is by no means original...it's quite consciously derivative...Not even I have the audacity to suggest that it is superior or even unique...hopefully the range of sources, approaches and styles from which I have taken my approach is sufficient to allow my production to stand up with the rest and compliment what has gone before.
As I sit in the audience I have enjoyed watching the show develop and take on a life of its own...every performance will be a little different...I have a very dynamic cast and, despite the multitude of set-backs the company has had, we have done our collective best to entertain and provoke...
We all appreciate your attention and interest.
I used the script that evolved out of the Sam Mendes remounting of the show at Studion 54 in the US so most of my angles on the material stemmed from that. I was also inspired by interviews with Mendes in which he talked about his approach to the work.
I liked the idea of the story actually taking place in a cabaret venue, and playing with the shades of grey between what is suggested to be 'real' and what is 'performed'. That for me was the main metaphor that I wanted to tap into. Consequently there are definitely times where the approach sends itself up (consciously and unconsciously), and I let my cast go with that idea.
The subject matter carries enough weight, I think, for an audience to determine what is important to consider, and on what level it engages you emotionally. I experimented with the presentational style too as a result of this metaphor, and the way that the characters developed came out of that freedom I gave the cast to walk the ground between 'character' and 'performer'...
My choice of songs and characters was guided by what I thought was most important (to me) about the show, and was not a deliberate or overt attempt at being different from any other production...the 'Tomorrow Belongs to Me' concept stemmed from the idea that maybe Cliff taught Ernst the English translation of what becomes a Nazi anthem - I thought that was grotesque and ironic, especially when Cliff realises where Ernst stands politically. Shultze and Schneider were very important because I think they are the heart and soul of the show, and their tragedy/dilemma is exquisitely sad.
Sally's complexity has been explored by Nadia with a range and subtlety beyond my expectations, even for such a hard-working and highly competent performer...I went back to Christopher Isherwood's 'Berlin Stories' for that...She was a 19 year old full of impetuousness and uncertainty...a far cry from the Minelli adaptation...and infinitely more Nadia! Incidentally, something that has evolved from the show (without my direction) has been the comedy double-act of Cliff & Sally. Luke and Nadia just played with that idea and I think it gives their early scenes a refreshing exuberance' and energy, especially during 'Perfectly Marvellous'.
The ending emerged from the idea that I had that the Emcee DOES survive, and, like all 'good' evil things will rise up again later in a different landscape.In this case, he steals Cliff's passport and identity and catches the next train to the 'land of the free'... I wanted the Emcee to be insidious, a representation of the survival instinct and the amorality that has existed for all time. Ethan added the almost demonic, childlike quality and I let him go with that. Whether it works or not is up to how it's received by individual audiences members. At the very least I think it is worthy of reflection.
The curtain call was always going to be a challenge...the material in the show dictates a certain melancholy, but a cast of young performers who have worked hard all night also has personal needs that a curtain call meets...so I let them have both. I don't think it diminishes the impact terribly...
Producing CABARET at The Deen has been both stimulating and challenging as I've played with the whole idea of the 'play within a play' concept. Technically it has been very complex...I commend the work of the technicians who have worked hard under extremely difficult circumstances.
Personally, CABARET has so much solid material in it that a range of choices and directions are possible, and that's why it's still with us...my production is different from the Playlovers version directed by David Gardette, and the Sam Mendes one...different qualities emerge, theres room to emphasise different things...it's so seductively rich both in content and style potential.
CABARET@The Deen is by no means original...it's quite consciously derivative...Not even I have the audacity to suggest that it is superior or even unique...hopefully the range of sources, approaches and styles from which I have taken my approach is sufficient to allow my production to stand up with the rest and compliment what has gone before.
As I sit in the audience I have enjoyed watching the show develop and take on a life of its own...every performance will be a little different...I have a very dynamic cast and, despite the multitude of set-backs the company has had, we have done our collective best to entertain and provoke...
We all appreciate your attention and interest.