CABARET - Finale
ฝัง
- เผยแพร่เมื่อ 6 พ.ย. 2016
- Finale from "CABARET"
Produced by the Castle Craig Players in July-August 2016
Directed by Ian Galligan, Musical Direction by Andrew Gadwah
Featuring Jason Parry (Emcee), Ian Lynch-Passarelli (Cliff), Betty McCready (Fraulein Schneider), David Schancupp (Herr Schultz), Jennifer Del Sole (Fraulein Kost), Wesley Tack (Ernst Ludwig) and Jessica Rohe (Sally) - บันเทิง
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Wow the dropping of shoes is an incredible touch! Brings to mind the horrific imagery of the piles of shoes...
Why? What do all those shoes represent?
@@sadiemormon-horn6809 they belonged to people who died at the concentration camps
@@BussyBachelor
I was about to ask the same question as "Sadie Mormon-Horn," but she obviously beat me to it.
Thanks for answering both of our questions. 👍
@@sadiemormon-horn6809holocaust
@@sadiemormon-horn6809they were taken from the prisoners that arrived
I love the choices here. So powerfully raw and emotionally pulling, the absolute silence in the audience spoke volumes to how beautifully done this was.
i have seen many versions of cabaret and while each ending hits me hard in the gut every time this was the first to genuinely make me cry the dropping of the shoes and the choices made are just insanely powerful and really gets the message across
i am crying.
the shoes. each character dropping their shoes. a mic drop.
but what got me that i did not except from knowinjg the movie and not the stage show; Emcee light up by a spot light, and still revealing (what i thought would be a corset) what he/she/they wore under the coat.
it is a heart breaking film, but this part broke me too.
Interesting interpretation, to see the Nazis turn the Emcee into a figurative puppet until he apparently defies them at which point they uncover what he's been hiding (that he's gay and Jewish) and kill him.
A very well-done take on this scene. Well thought off symbolism and an interesting take on the MC that doesn't just shock you all out of the blue like Cumming (whose performance I also love), but who gets a slow buildup to his tragic end.
I had to go back and watch the dropping of the shoes multiple times because I absolutely loved it. The way the others walk right in front of the Emcee, upstaging him to say their line and throw their shoes down, the horrified look on the Emcee's face and the way he shrinks away as they say their line, showing how his people had turned on him. I also love how Sally didn't drop her shoes but said her line by herself, showing that such a mundane statement (haha it's only politics, what has that got to do with us) can hurt as well. The imagery of the piles of shoes it made me think of. Also not related to the shoes, but the uncaring look the man with the armband has when the Emcee is about to take off his trench coat was emotionally got me. He gave absolutely no shits
One thing puzzles me. The ending shown here implies that the Emcee character is a Jew (as evident by the yellow "Star Of David" on his concentration camp uniform, which all Jewish prisoners had to wear). Yet, earlier versions of "Cabaret" (including the original Broadway musical from 1966 and the film version from 1972 with Liza Minnelli; Joel Grey played the Emcee in both) suggest that this character is Pro-Nazi! How could a Jew be a Nazi? It would be like a black person joining the Ku Klux Klan.
@@michaelpalmieri7335 Where is it suggested that the Emcee is pro-Nazi? He's a mercurial showman - he plays to his audience. In the movie, when he is singing anti-semetic songs etc it is for his changing audience - early in the movie, we see them throw a Nazi out.
@@kp361
Where is it suggested that the Emcee character is Pro-Nazi? I'll give you a couple of examples.
In the Broadway version of "Cabaret," there's one scene where the waiters at the Kit Kat Klub sing "Tomorrow Belongs To Me," which is an anthem welcoming the coming of Nazism. At the end of the song, the Emcee joins in the final chorus. I have a reprinted record album of the original Broadway cast of the show. On the back of the album cover is a synopsis of the plot (which in many ways is different from the film version). It says that after singing "Tomorrow Belongs To Me" with the waiters, the Emcee goes off to write his own thoughts on Nazism, which the synopsis compares to Hitler writing "Mein Kampf."
The movie version also features the song mentioned above, but instead of it being sung by the Kit Kat Klub waiters as a soft ballad in the acapella style (without the accompaniment of musical instruments), the tune is sung at an outdoor beer garden party by a group of Hitler Youth boys, who are soon joined in the chorus by the other people at the party, from the youngest to the oldest. This time, musical instruments are used, as the song becomes a rousing marching anthem, similar to the actual Nazi tunes like the "Horst Wessel Lied" or "Heil Hitler Dir."
Here, the characters of Brian (Michael York) and his friend, Maximilian (who's secretly his bisexual lover, since they're both having affairs with Sally Bowles, played by Liza Minnelli) are listening to this Pro-Nazi song and it rather understandably bothers them. "You still think you can control them?" Brian asks Maximilian, whose only reply is a shrug, then they both get into Max's car and drive away, as the people at the party continue to sing the chorus of the song. As the car leaves, there is an intercut of the Emcee smiling and nodding his head, as if he agrees with the theme of not only the song, but the entire segment, which sets the scene for the rise of the Nazis and the inevitable oppression and persecution (especially of the Jews) to come.
As for the part where a Nazi Storm Trooper is forcefully evicted from the Kit Kat Klub, I don't think it was the Emcee who threw him out, but one of the waiters.
By the way, has anyone noticed that the Kit Kat Klub has the same initials as the Ku Klux Klan, whose racist philosophy is somewhat similar to that of the Nazis?
@@michaelpalmieri7335 The obviously bisexual/gay emcee of a Weimar republic Cabaret club would end up in a concentration camp or be beaten to death. He would be seen as a deviant, not as someone the Nazis would in any way accept or indulge. It's also 'Kit Kat Club' not 'Klub; - they aren't Kardashians. As I've said before, he's a showman playing to his (changing) crowd. An appeaser until it's too late. He also acts as a sort of foreshadowing/angel of death figure throughout, getting more and more sinister as the show goes on. Not a Nazi.
@@michaelpalmieri7335 it rlly is a lot depending on which version. the ones before 1993 had the version as u said were emcee was more pro nazi but in more recent revivals where they are able to go more into the original direction intended without backlash, by clearly marking him a jew and a homosexual
Finally had the chance to watch this and oh my god!! This ending was powerful particularly with the shoes dropping and the emcee becoming a Nazi Marionette. It reinforces the power of this timeless story!
While I definitely prefer Alan Cumming's take, this one did good too. It was sad go see the Emcee so defeated and broken.
I love how we veiw not just how jewish people where harmed but also homosexual people aswell.
And Roma, communists, activists of all kinds
0:45 love the harmony
Who is the emcee here?
Jason parry
This take is fantastic!!!!!!!!! The nazi puppet strings!!!! Brilliant
Worst. Drumroll. Ever.
Agreed!
This should have received much louder applause!
Honestly this MC was miles better than Alan Cummings in my opinion. Much more detailed and subtle with none of Cummings over-acting.
Very well done! The puppetry and shoe dropping was a fantastic touch too.
Sstire
This isn't "satire" this is real life