If you are in this blog and you do not know why, then let me tell you a little history about Cabaret and how creative minds came together to create a type of theater show that is both entertaining and power driven.
The prospering political activism in the United States when Cabaret hit the stage in 1966 – and its development by 1972 when the film hit theaters – and Hal Prince‘s longing to get through to another sort of socially dependable musical theatre, all planned to make Cabaret a standout amongst the most interesting stage bits of the 1960s and a demonstration that identifies with our reality in another thousand years, as prove by the raving success Broadway had.
The artist Sally Bowles speaks to the individuals who kept their eyes close to changes in their general surroundings, and the author Clifford Bradshaw speaks to the new (maybe gullible) type of American extremist who could no more sit by and watch the legislature overlook the will of the individuals. Today, as activism at both closures of the political range has encountered a renaissance in America, Cabaret as a preventative profound quality play has huge reverberation.
Cabaret in its unique structure was an entrancing yet flawed theater piece. It was executive Hal Prince’s first attempt in making an idea musical (a show in which the story is optional to a focal message or similitude), a structure he would later succeed in with the likes of Company, Follies, Pacific Overtures, Kiss of the Spider Woman, and many more different musicals. During the time spent making Cabaret, Prince had gone to Russia to see theater and had seen a provocative, fierce, guideline busting generation at the Taganka Theater. It was everything Prince had been searching for. He later said, “The Taganka Theater was damaging (in a decent sense).” He would always float towards theater that tested groups of onlookers, that deliberately made gatherings of people uncomfortable, that made a crowd of people face their reality in every one of its disagreements and grotesqueness.
Walter Kerr said in the New York Times in 1966 that Cabaret “opens the way to a crisp idea of the strange, crackling, brutal and the flabbergasting uses that can be made of music and movement.” Other scholars and executives further added to the musical idea in the 1970s and 80s with shows like A Chorus Line, Working, Chicago, Nine, and others, yet Cabaret paved its way. Cabarets blemishes lie in the idea that musicals were still in a fetus stage; Prince was navigating uncharted region. The final item was pivotal and regularly stunning, yet it was just a large portion of an idea musical. Accepting that Broadway crowds in 1966 still required a focal sense, Prince and his associates basically made two demonstrations. One is a sensible book show with conventional musical drama tunes, and the other, an idea musical with tunes that remarked on the activity and the focal message of the show.