#Joe Masteroff

[doyouknowthismusical]

[gee1puu]

[glimeres]

1993 - Jane Harrocks and Adam Godley perform the song Perfectly Marvelous from the musical Cabaret

[unwelcome-ephestion]

There's an almost Mandela Effect to suggest that Liza Minnelli was the original Sally Bowles in Cabaret in 1966 - this isn't true. The original Sally on Broadway was Jill Haworth, mainly known for films in that era. But this was not from lack of interest on Minnelli's part. She fought for the role, but producer/director Hal Prince decided that she was too American - Sally needed to be British. (Eagle eared listeners will notice that Sally as played by Minnelli in the film is American - presumably a question of authenticity.) Jill Haworth was asked by Hal Prince if she could sing, and allegedly responded "louder than Merman", an impressive claim given that Ethel Merman is still noted for her volume long after her death.

Minnelli had been associated with composer and lyricist John Kander and Fred Ebb before, having won a Tony for starring in their show Flora, the Red Menace, and whilst this role wasn't initially to be, her longstanding collaboration with them and role as muse of a sort continued past the Cabaret film to New York, New York, which is coming to Broadway (sans Liza, obviously) this year.

Who was the first Sally in the West End, however? This is a great piece of trivia - none other than Judi Dench. Her pipes are not Minnelli's, but anyone who has seen recent revivals will know that Sally is not meant to be a great singer, she is meant to be brash and deluded and heartbreaking, which Dench carries off with expected aplomb. One of a few forays into musicals for Dame Judi that we may explore later!

Take a listen and see who you prefer - this is Cabaret.

(Jill Haworth)

(Liza Minnelli)

(Judi Dench)

[unlimited-rice-puddin]

Theatre Review Roundup: August 2022

I have been dreadfully remiss in updating my blog recently, so in an attempt to reduce my number of posts, here's a roundup of my August theatre trips. @hadestown and @kitkatclubldn were both truly extraordinary: absolutely go to see them!

Hadestown and Cabaret at the Kit Kat Club are truly extraordinary, wonderfully artistic pieces of musical theatre (more…)

[eddieredmayneargentinablog]

New! SPECIAL FEATURES Eddie Redmayne First Played the Cabaret's Emcee in School, Now He's Doing It on Broadway.

The actor is newly Tony nominated for his nihilistic take on the iconic character.

By TALAURA HARMS , Playbill, May 10th, 2024

📷 Heather Gershonowitz.

Eddie Redmayne is gathering tips. As the Tony and Oscar-winning actor was opening a Broadway musical this season, he was also trying to figure out the best ways to navigate New York City for the six months that he’ll be in the show. His wife and two young children have joined him from London. They’re currently looking for ways to spend summer in the city. And speaking of summer, Redmayne is concerned about keeping his voice in good working order in a city with more air conditioning than he’s accustomed to having.

“I’m accumulating a little handbook of ‘The Survivor’s Guide to Broadway,” Redmayne laughs. “I’m a passionate lover of New York, so any excuse to come here…I’m thrilled.”

The excuse—and it’s a pretty good one—is Cabaret at the Kit Kat Club, which opened April 21 at the August Wilson Theatre. Redmayne reprises his role as The Emcee in the revival of the classic John Kander, Fred Ebb, and Joe Masteroff musical. Rebecca Fracknell directs the production, a West End transfer that won seven 2022 Olivier Awards, including one for Redmayne’s performance. The production has been a hit in the London, where it is currently still running.

Redmayne is the only member of the West End cast, though, to transfer to Broadway with the production. He’s joined at the August Wilson by Gayle Rankin as Sally Bowles, Ato Blankson-Wood as Clifford Bradshaw, Bebe Neuwirth as Fraulein Schneider, and Steven Skybell as Herr Schultz. And both Rankin and Redmayne have been Tony nominated for their performances; the show picked up nine nominations total, including Best Revival of a Musical.

“It’s been such a unique experience because it’s been starting anew and fresh whilst at the same time, having this character sitting in my stomach and ruminating for three years now. And my journey, of the relationship with the character, has been one that stems from, oh gosh, almost 30 years now from when I first played it when I was a schoolboy,” says Redmayne. “There is great joy that comes from that—from each time getting to re-mine the character and re-look at it in a different context and with a different inspiration.”

When Playbill spoke with Redmayne, the company was still in rehearsals for the Broadway mounting. As part of his continuing exploration of the Emcee, the actor had just revisited one of his favorite New York museums, the Neue Galerie of German and Austrian art on Manhattan’s Upper East Side. 

“I was looking at some of the Schiele paintings there and reminding myself of how, when I first started looking into the idea of The Emcee, just having portfolios of Schiele prints everywhere. That was one of the ways in. It was a lovely moment to reconnect and reinspire in the museum.” It is easy to spot the influence of the Austrian Expressionist painter Egon Schiele in the angles of Redmayne’s body as he looks over a shoulder, crooks an arm, or snarls a bit, daring an audience to come a little closer.

The original source material for Cabaret is the 1939 Christopher Isherwood novel Goodbye to Berlin. It was inspired by his own life during the Weimar Republic when the freedom of the Jazz Age was clashing with the rise of Nazism and fascism. The Emcee, though, is not a character in the novel, nor in the play adaption I Am a Camera. He was created solely for Cabaret and does not exist in any of the scenes outside of the Kit Kat Club. The lack of story for The Emcee has allowed Redmayne to create a character almost entirely from scratch.

“He exists almost in abstraction for me. The character is almost like a Greek chorus. He’s sort of the Shakespearean fool. The court jester who then becomes the king,” says Redmayne. “He can assimilate and accumulate people from every walk of life and community, and can seemingly either celebrate or exploit that. As the world is becoming more homogenized and fascism is kicking in, he can shape-shift his way out of it, and he’s going to be just fine. He has the privilege of that. There’s a nihilism, ultimately, to my take on The Emcee that felt important. He’s not the victim. He's the perpetrator".

Cabaret first premiered on Broadway in 1966 and this production is the musical’s fourth revival. Except for the 1970s (when it was adapted for film starring Liza Minnelli), it has been on Broadway at some point in every decade since that first run. “There’s always been this relevance culturally, and that’s terrifying, because it basically sings as a warning to our incapacity to learn from our mistakes,” says Redmayne. “It’s about what happens when humanity is consumed by hate. And the idea of the creation of the other and the exploitation of the other to instill fear.”

Arguably, the musical’s draw has always also been as much about how it presents that message as the relevance of the message itself. The Kit Kat Club is seedy and seductive. It feels naughty…like you’re getting away with something you shouldn’t. And this new production pushes that element far beyond the footlights of a stage. Club, scenic, and costume designer Tom Scutt has reformed the August Wilson Theatre, creating spaces in the house and in the bar for a Prologue company to perform. Audiences are encouraged to arrive early to take in the music and dance cabaret acts prior to Cabaret.

Redmayne is reminded again of his museum visit: “When I was at the Neue Galerie, there was an exhibition on [Gustav] Klimt. This idea that this group of artists in Austria at the time, and then in Germany, were trying to create this world which was all-consuming. It wasn’t just the painting, it was also the specific space in the gallery…you were not just looking at the painting but the entire experience around it. I feel like that is, perhaps, the dream of what we’re trying to do. Once you leave the sidewalk and cross the threshold [into the theatre], you’re being taken on a journey that’s all encompassing.”

Boris Aronson’s original set design for the 1966 production of Cabaret featured a large mirror above the stage, tilted toward the audience so that they could see themselves reflected at both the beginning and end of the musical. Scutt has created a fully in-the-round stage at the Wilson. 

So while the audience is watching the action on stage, they will also be seeing other audience members’ reaction to the story. “There’s complicity in that,” says Redmayne. “We’re all there laughing and engaging in an evening of entertainment, but also seeing ourselves in some of the elements—the joyful qualities of humanity and the scarier qualities, too.”

[eddie-redmayne-italian-blog]

SPECIAL FEATURESEddie Redmayne First Played the Cabaret's Emcee in School, Now He's Doing It on Broadway

The actor is newly Tony nominated for his nihilistic take on the iconic character.

BY TALAURA HARMS MAY 10, 2024

Eddie Redmayne is gathering tips. As the Tony and Oscar-winning actor was opening a Broadway musical this season, he was also trying to figure out the best ways to navigate New York City for the six months that he’ll be in the show. His wife and two young children have joined him from London. They’re currently looking for ways to spend summer in the city. And speaking of summer, Redmayne is concerned about keeping his voice in good working order in a city with more air conditioning than he’s accustomed to having.

“I’m accumulating a little handbook of ‘The Survivor’s Guide to Broadway,” Redmayne laughs. “I’m a passionate lover of New York, so any excuse to come here…I’m thrilled.”

The excuse—and it’s a pretty good one—is Cabaret at the Kit Kat Club, which opened April 21 at the August Wilson Theatre. Redmayne reprises his role as The Emcee in the revival of the classic John Kander, Fred Ebb, and Joe Masteroff musical. Rebecca Fracknell directs the production, a West End transfer that won seven 2022 Olivier Awards, including one for Redmayne’s performance. The production has been a hit in the London, where it is currently still running.

Redmayne is the only member of the West End cast, though, to transfer to Broadway with the production. He’s joined at the August Wilson by Gayle Rankin as Sally Bowles, Ato Blankson-Wood as Clifford Bradshaw, Bebe Neuwirth as Fraulein Schneider, and Steven Skybell as Herr Schultz. And both Rankin and Redmayne have been Tony nominated for their performances; the show picked up nine nominations total, including Best Revival of a Musical.

“It’s been such a unique experience because it’s been starting anew and fresh whilst at the same time, having this character sitting in my stomach and ruminating for three years now. And my journey, of the relationship with the character, has been one that stems from, oh gosh, almost 30 years now from when I first played it when I was a schoolboy,” says Redmayne. “There is great joy that comes from that—from each time getting to re-mine the character and re-look at it in a different context and with a different inspiration.”

When Playbill spoke with Redmayne, the company was still in rehearsals for the Broadway mounting. As part of his continuing exploration of the Emcee, the actor had just revisited one of his favorite New York museums, the Neue Galerie of German and Austrian art on Manhattan’s Upper East Side. 

“I was looking at some of the Schiele paintings there and reminding myself of how, when I first started looking into the idea of The Emcee, just having portfolios of Schiele prints everywhere. That was one of the ways in. It was a lovely moment to reconnect and reinspire in the museum.” It is easy to spot the influence of the Austrian Expressionist painter Egon Schiele in the angles of Redmayne’s body as he looks over a shoulder, crooks an arm, or snarls a bit, daring an audience to come a little closer.

The original source material for Cabaret is the 1939 Christopher Isherwood novel Goodbye to Berlin. It was inspired by his own life during the Weimar Republic when the freedom of the Jazz Age was clashing with the rise of Nazism and fascism. The Emcee, though, is not a character in the novel, nor in the play adaption I Am a Camera. He was created solely for Cabaret and does not exist in any of the scenes outside of the Kit Kat Club. The lack of story for The Emcee has allowed Redmayne to create a character almost entirely from scratch.

“He exists almost in abstraction for me. The character is almost like a Greek chorus. He’s sort of the Shakespearean fool. The court jester who then becomes the king,” says Redmayne. “He can assimilate and accumulate people from every walk of life and community, and can seemingly either celebrate or exploit that. As the world is becoming more homogenized and fascism is kicking in, he can shape-shift his way out of it, and he’s going to be just fine. He has the privilege of that. There’s a nihilism, ultimately, to my take on The Emcee that felt important. He’s not the victim. He's the perpetrator.”

Cabaret first premiered on Broadway in 1966 and this production is the musical’s fourth revival. Except for the 1970s (when it was adapted for film starring Liza Minnelli), it has been on Broadway at some point in every decade since that first run. “There’s always been this relevance culturally, and that’s terrifying, because it basically sings as a warning to our incapacity to learn from our mistakes,” says Redmayne. “It’s about what happens when humanity is consumed by hate. And the idea of the creation of the other and the exploitation of the other to instill fear.”

Arguably, the musical’s draw has always also been as much about how it presents that message as the relevance of the message itself. The Kit Kat Club is seedy and seductive. It feels naughty…like you’re getting away with something you shouldn’t. And this new production pushes that element far beyond the footlights of a stage. Club, scenic, and costume designer Tom Scutt has reformed the August Wilson Theatre, creating spaces in the house and in the bar for a Prologue company to perform. Audiences are encouraged to arrive early to take in the music and dance cabaret acts prior to Cabaret.

Redmayne is reminded again of his museum visit: “When I was at the Neue Galerie, there was an exhibition on [Gustav] Klimt. This idea that this group of artists in Austria at the time, and then in Germany, were trying to create this world which was all-consuming. It wasn’t just the painting, it was also the specific space in the gallery…you were not just looking at the painting but the entire experience around it. I feel like that is, perhaps, the dream of what we’re trying to do. Once you leave the sidewalk and cross the threshold [into the theatre], you’re being taken on a journey that’s all encompassing.”

Boris Aronson’s original set design for the 1966 production of Cabaret featured a large mirror above the stage, tilted toward the audience so that they could see themselves reflected at both the beginning and end of the musical. Scutt has created a fully in-the-round stage at the Wilson. 

So while the audience is watching the action on stage, they will also be seeing other audience members’ reaction to the story. “There’s complicity in that,” says Redmayne. “We’re all there laughing and engaging in an evening of entertainment, but also seeing ourselves in some of the elements—the joyful qualities of humanity and the scarier qualities, too.”

Photographer : Heather Gershonowitz

https://playbill.com/article/eddie-redmayne-first-played-the-cabarets-emcee-in-school-now-hes-doing-it-on-broadw

[caroleditosti]

'Cabaret' Revival is an Expressionistic, Hypnotic, Smashing Must-See

Run to this revival and ignore the misguided critics who missed whole swaths of director Rebecca Frechnall's vision. It' spectacular.

Eddie Redmayne and the company of Cabaret (Marc Brenner) Rebecca Frecknall’s darkly spirited and remarkable revival of the amazing John Kander and Fred Ebb musical Cabaret, haunts as it moves with frenzy toward increasingly frightening revelations filled with understated, metaphoric violence. With book by Joe Masteroff, Julia Cheng’s choreography, and Tom Scutt’s breathtaking scenic, theater and…

[byneddiedingo]

Liza Minnelli and Joel Grey in Cabaret (Bob Fosse, 1972)

Cast: Liza Minnelli, Michael York, Helmut Griem, Joel Grey, Fritz Wepper, Marisa Berenson, Elizabeth Neumann-Viertel, Helen Vita. Screenplay: Jay Presson Allen, based on a musical play by Joe Masteroff, a play by John Van Druten, and stories by Christopher Isherwood. Cinematography: Geoffrey Unsworth. Production design: Rolf Zehetbauer. Film editing: David Bretherton. Music: John Kander. 

In Thomas Mann's The Magic Mountain, a young German engineer, recuperating in a tuberculosis sanatorium in the Swiss Alps, decides to read up on physiology. He concludes that life itself is a kind of disease, "a fever of matter." In Cabaret, Sally Bowles (Liza Minnelli) proclaims that "life is a cabaret, old chum." Yet given that the cabaret presided over by the Master of Ceremonies (Joel Grey) in the film is a febrile sort of place, there's a coherence between the two views. Director Bob Fosse would himself go on to posit a relationship between illness and creativity in All That Jazz (1979). And Sally Bowles's favorite phrase, the seeming oxymoron "divine decadence," suggests that out of decay comes something higher. What would be the opposite, after all: satanic order? In perhaps the movie's most chilling moment, Fosse gives us a closeup of a cherubic, well-scrubbed young face, the very opposite of the Master of Ceremonies's rouged and lipsticked face that  has dominated the film from the very beginning. The boy then begins to sing "Tomorrow Belongs to Me," and as the camera pulls back we see that he is wearing the uniform of the Hitler Youth. As the crowd at the open-air beer garden, which has to this point seemed an idyllic setting, joins in and begins to raise their arms in the Nazi salute, we view the very definition of satanic order. But enough German dialectics. Cabaret is one of the great movie musicals. As a rule, I prefer musicals created originally for the movies, like the Warner Bros. films with the kaleidoscopic routines of Busby Berkeley, the Fred Astaire-Ginger Rogers movies, or the sublime Singin' in the Rain (Stanley Donen and Gene Kelly, 1952), and not musicals like West Side Story (Jerome Robbins and Robert Wise, 1961; Steven Spielberg, 2021) or My Fair Lady (George Cukor, 1964), that were translated to film from the stage. My admiration for Cabaret would seem to be an exception to that rule, except that when Fosse became director, he jettisoned the book that had been written by Joe Masteroff for the 1966 Broadway musical and went back to the source, Christopher Isherwood's 1939 The Berlin Stories. Jay Presson Allen had been commissioned to write the screenplay, but Hugh Wheeler (credited as "research consultant") heavily revised what she had written. Fosse also dropped many of the songs by John Kander and Fred Ebb, though he added new ones by them: "Money, Money" and "Mein Herr," along with one of their older songs not from the Broadway version, "Maybe This Time." And he made the significant decision to keep the musical numbers, except for the aforementioned “Tomorrow Belongs to Me,” confined to the Kit Kat Klub stage -- a touch of cinematic realism that seems essential to a story set in Berlin during the rise of the Nazis. The result is a musical essentially created (or at least re-created) for the movies. It received 10 Oscar nominations and won eight of them, including awards for Minnelli, Grey, and Fosse, as well as for Geoffrey Unsworth's cinematography. The only categories in which it lost were best picture and best adapted screenplay, which went to The Godfather and its screenwriters, Mario Puzo and Francis Ford Coppola.

[kelleah-meah]

Look I Made A Thing ... My Academia Aesthetic Favs

I was just playing around and procrastinating, so I decide to create this silly little share-a-majig about my connection to academia aesthetics.

See, I am still a fan of the academia aesthetics, despite a lot of people criticizing them. So I thought I'd share some of my favorite things and traits that I associate with my 4 favorite variations on the aesthetic: Dark, Light, Chaotic and Art.

Some of my favorites are very much "on brand" for academia, but I also wanted to share treasures that I think are very much a part of the aesthetic but rarely get mentioned in memes. And maybe others will see that the aesthetics aren't static, but can be shaped to your own personality and perspective.

Feel free to share yours by either reblogging and adding them, or by creating your own post telling us all about your favs.

Dark Academia Favs

Fav DA movie

Sleepy Hollow (1999)

Fav DA book

The Complete Works of Edgar Allan Poe

Fav DA philosopher

Arthur Schopenhauer

Fav DA fashion style

Turtlenecks with blazers & cardigans

Fav DA TV series

Doctor Who (British series, 1963-)

Fav DA play

Macbeth by William Shakespeare

Fav DA work of art

Maman by Louise Bourgeois

Fav DA song or music composition

New York City's Killing Me by Ray LaMontagne

Most common DA behavior

Re-reading every email, essay, article and blog post I write multiple times before sending or publishing it

Fav DA guilty pleasure

Buying satchels and messenger bags even though I have more than enough and save photos of cool ones I find online so I know where to look when one wears out

Light Academia Favs

Fav LA movie(s)

Enola Holmes (2020), The Personal History of David Copperfield (2019) and The Rewrite (2015)

Fav LA book

The Complete Sherlock Holmes by Sir Arthur Conan Doyle

Fav LA philosopher

Lao-tzu

Fav LA fashion style

Wearing berets in the fall & winter and headscarves in the spring & summer

Fav LA TV series

The Librarians (US series, 2014-2018)

Fav LA play

My Fair Lady by Alan Jay Lerner (inspired by George Bernard Shaw's Pygmalion)

Fav LA work of art

The Kiss by Auguste Rodin

Fav LA song or music composition

Feelin' Good by Nina Simone

My most common LA behavior

Drinking a cup of tea to start my day every day

Fav LA guilty pleasure

Buying more books when I visit indie bookstores before reading the ones that I purchased the last time I was in an indie bookstore

Chaotic Academia Favs

Fav CA movie

Clue (1985)

Fav CA book

Frankenstein by Mary Shelley

Fav CA philosopher

Albert Camus

Fav CA fashion trait

Wearing ankle boots or sneakers with everything

Fav CA TV series

Lupin (French series, 2021-)

Fav CA play

Les Misérables by Victor Hugo

Fav CA work of art

The Persistence of Memory by Salvador Dalí

Fav CA song or music composition

Symphony No. 8 in B minor (The Unfinished Symphony) by Franz Schubert

My most common CA behavior

My inconsistent and woefully inadequate sleep schedule

Fav CA guilty pleasure

Eating ice cream out of the carton

Art Academia Favs

Fav AA movie(s)

Moulin Rouge (2001)

Fav AA book

The Portrait of an Artist as a Young Man by James Joyce

Fav AA philosopher

Simone de Beauvoir

Fav AA fashion style

Wearing all dark colors except for a pop of color like lime green, hot pink or bright red

Fav AA TV series

Fame (US series, 1982-1987)

Fav AA play

She Loves Me by Joe Masteroff

Fav AA work of art

Composition 8 by Wassily Kandinsky

Fav AA song or music composition

Bolero by Maurice Ravel

Most common AA behavior

Listening to the same song 6, 7 or 10 times before moving on to the next song just so I can cleanse my "ear palate" and then go back to the previous song and listen to it another 4 or 5 times

Fav AA guilty pleasure

Spending 4 or 5 hours at least 1 Sunday a month working on a jigsaw puzzle

[doyouknowthismusical]

[jemeryas]

John Galliano Gives a Masterclass in Posing for new 'Artisanal Collection'

I was holding out for as long as I could to do a review on this show my babies—seeing Miley Cyrus in a gold, chain-link Margiela ensemble at the 2024 Grammys was enough for me to move quickly to watch this show—and the wait was well worth it in my opinion. The show, lasting 30 minutes, flew by so quickly that I didn't realize how engrossed I was in this collection. However, it wasn't the clothes that did it for me this time. It was both the models and productions dedication to Galliano's storytelling that made this exemplary. An ode to the Victorian era and porcelain dolls—with an appreciation for Paris' underground club scene—Galliano is able to show what happens when you give fashion a meaningful purpose.

The show opens with a Freddy Mercury-esque singer celebrating his independence from a lost love that he begs to never come back. The performance—dimly light and surrounded by other equally talented vocalist—immediately transported me back to my high school days, being in musical theater and getting to witness the kitschy 1966 show 'Cabaret' written by Joe Masteroff. A show centered around the nightclub scene in Berlin during the rise of the Nazi party. While Galliano doesn't include Nazi's in his show, he does channel a similar feeling in a short film that would lead us into the second act of the show. The film—shot in Black and white—depicts models adorning and tightening corsets in an overtly sexual manner, a backseat full of porcelain dolls, and an esoteric message that recognizes the pain and cost that comes from fashion, of course this is my interpretation of it. Eventually a running model would make their way from the screen and onto the runway; leading the procession of models as they begin to pose in such a theatrical way I couldn't help but again appreciate the drama of it all. The first model opening the show walks with so much poise and elegance while maintaining such steady eye contact with the audience that it begins to teeter the line to both alluring and unnerving; leaning into this beautifully, haunting atmospheric world that Galliano has created and inviting us into. After reaching the end of the street the model gives a smooth spin- posing as he arches his back slowly and gazes up carefully giving a tip of his Gatsby—or newsboy—cap and gives a small pointe of the toes, giving me war flashbacks to my dancing days. As the model makes his way inside the Pont d'Alexandre III—where this year's Margiela show is being held—the models who follow after him would soon capture that same theatrical way of posing. Revealing beautifully painted faces that are a callback to the porcelain dolls shown in the short film and walking in a fashion that could be declared robotic, yet it still was captivating. This becomes a lesson in posing. Galliano gives his models a personality and character that makes this show exciting to watch, but the models are just one part in this show. What helps sell this fantasy completely is the makeup designer Pat McGrath.

Pat McGrath has long been a titan in the beauty world and it seems like people often forget what, and who, she has helped create in the beauty community, but McGrath's love of makeup would initially stem from her mother who—as McGrath would say in a 2017 profile for the Guardian—would stand in front of the tv until she would be able to guess what her mother had done differently with her makeup. This would be the gift that McGrath would be given from her mother. A careful eye for beauty and visual aesthetics. It is that kind of dedication for her gift that has made her standout amongst her peers in the beauty world and giving her the opportunity to craft makeup looks for Rihanna and work with brands such as Versace, Prada and Dior back in their Galliano days from 1997 to 2011. Making this collaboration with Margiela a match made in heaven because both Galliano and McGrath seem to have a mutual understanding of what the other aims to achieve in their visions. However, even though McGrath is recognized in the beauty world for her achievements, it is this Margiela show that really allows her to be recognized by the mainstream media while at the same time helping me to realize how little appreciation Black trendsetters like Edward Enninful—ex-editor-in-chief of British Vogue— and Pat McGrath receive in the fashion and beauty world, both of them having come up in these industries together. To see though the notoriety that McGrath is receiving from this show and the porcelain doll look she has created and perfected is exactly what I would like to see.

All in all, Galliano might have created one of the best shows of the season in my opinion. While still being relatively knew to the fashion world, there is one thing that I will always be able to comprehend and that is storytelling. Galliano's mission to showcase the human form as a canvas and to be admired like artwork was successfully accomplished. His usage of different body types to communicate this is something that I actively look for in fashion shows. Much like Jacquemus 'Les Sculptures' attempted to do so, Galliano fully committed to the bit closing the show with the lovely Gwendoline Christie who would play Brienne of Tarth in the hit HBO show 'Game of Thrones'. After seeing her grace my screen, the ten's were most definitely awarded. But don't take my word for it, make sure that you watch the show for yourself below.

[amcsociety]

A Captivating Delight: 'She Loves Me' Shines at 42nd St. Moon

She Loves Me, the enchanting musical currently gracing the stage at 42nd St. Moon from June 8 to June 25, is a true gem of theatrical craftsmanship. With a book by Joe Masteroff, music by Jerry Bock, lyrics by Sheldon Harnick, and based on a play by Miklós László, this production offers a delightful journey into the world of romance and unexpected connections.

"She Loves Me" is a heartwarming musical that tells the story of Amalia and Georg, two employees at a 1930s European perfumery who are constantly at odds with each other. Unbeknownst to them, they are also secret pen pals who have fallen in love through their heartfelt letters.

As the story unfolds, Amalia and Georg navigate the challenges of their workplace while unaware of their deep connection. Alongside their colleagues, including the charming womanizer Kodaly, the eager-to-please Sipos, and the vivacious Ilona, the characters find themselves entangled in a web of mistaken identities and romantic entanglements.

Through a series of comedic mishaps and misunderstandings, the truth behind Amalia and Georg's pen pal relationship is eventually revealed. As their love blossoms, they discover that true love often hides in unexpected places and that their initial animosity was merely a facade for their true feelings.

Filled with memorable songs, including the beloved "Vanilla Ice Cream" and "She Loves Me," the musical showcases the complexities of human relationships, the power of love, and the transformative nature of forgiveness. With its enchanting setting, endearing characters, and timeless themes, "She Loves Me" captures the essence of romance and leaves the audience with a warm and joyful heart.

Under the skillful guidance of director Peet Cocke, the cast brings the story to life with remarkable talent and infectious energy. From the moment the curtain rises, the chemistry between the characters is palpable, immersing the audience in their intertwined lives.

Leading the ensemble with grace and charisma, Sophia Alawi portrays the endearing Ilona, capturing her character's vulnerability and resilience. Riley McFarland's portrayal of Georg is equally commendable, his heartfelt performance capturing the essence of a lovestruck romantic. Together, Alawi and McFarland create a captivating and believable connection with their co-workers at Maraczek’s Perfumery, igniting the stage with their blossoming love stories.

The supporting cast shines brightly, each member leaving an indelible mark on the production. Nick Nakashima brings depth and warmth to the role of Sipos, while Jourdan Olivier-Verde's portrayal of the charismatic Headwaiter is brimming with charm and charisma. Marah Sotelo delivers a stellar performance as Amalia, effortlessly capturing the character's wit, charm, and longing for love.

The creative and production team's efforts are truly commendable, with Daniel Thomas leading the way as musical director, ensuring the melodies and harmonies soar with precision and emotion. Leslie Waggoner's choreography adds an extra layer of elegance and fluidity to the production, seamlessly blending with the narrative. The work of Adriana Gutierrez (Costume Designer), Kia-Hao Lo (Scenic Designer), and Brittany Mellerson (Lighting Design) beautifully create the atmosphere and visual tapestry of the show, transporting the audience into the world of the 1930s European perfumery.

Tanya Telson's stage management expertise keeps the production running smoothly, while Emma Gifford's assistant stage management brings precision and organization to the backstage chaos. Stewart Lyle's technical direction ensures a seamless integration of technical elements, enhancing the overall experience for the audience.

"She Loves Me" not only boasts a talented cast and crew but also benefits from the inclusion of members of Actors' Equity Association, guaranteeing a high level of professionalism and expertise on stage.

She Loves Me at 42nd St. Moon is an exquisite musical experience that radiates warmth, charm, and undeniable talent. This production's ability to transport the audience to a world of romantic yearning is a testament to the skill and dedication of all involved. Don't miss the opportunity to immerse yourself in this enchanting tale of love and destiny—it's an evening of theatre that will leave you with a heart full of joy and a smile on your face. Tickets are available at 42ndStMoon.org

Full Cast and crew are:

Sophia Alawi* (Ilona), Milo Boland (Ensemble), Bekah Lyn Broas (Ensemble), Ben Chau-Ciu (Ensemble), Will Giammona, (Kodaly), Daniel Gilmer (Busboy/Ensemble), Riley McFarland* (Georg), Nick Nakashima* (Sipos), Roeen Nooran (Arpad), Jourdan Olivier-Verde* (Headwaiter), Deborah Rosengaus (Ensemble), Monica Slater (Ensemble), Marah Sotelo (Amalia), and Lee Strawn* (Mr. Maraczek). Creatives and Production team are Peet Cocke (Director), Daniel Thomas (Musical Director), Leslie Waggoner (Choreographer), Tanya Telson (Stage Mgr), Emma Gifford* (ASM), Brittany Mellerson (Lighting Design), Adriana Gutierrez (Costume Designer), Kia-Hao Lo (Scenic Designer), and Stewart Lyle (Technical Director). *Member of Actors’ Equity Association, the union of professional actors and stage managers.

[eddieredmayneargentinablog]

New! "See Eddie Redmayne and Gayle Rankin in First Rehearsal Photos for Broadway's Cabaret Revival (Exclusive)"

Redmayne and Rankin's casting in the revival was first announced back in October 2023.

By Jen Juneau and Dave Quinn. Published on February 13, 2024.

Photos by Jenny Anderson

PEOPLE has an exclusive glimpse at rehearsals for the upcoming Broadway revival, which stars Gayle Rankin as Sally Bowles and Eddie Redmayne as the Emcee.

In one snapshot, Redmayne, 42, and Rankin, 34, smiled at something off camera, while dressed fashionably. The Oscar and Tony winner wore a patterned zip-up sweater and dark slacks, while the House of the Dragon actress rocked a black vest over matching wide-leg pants and a beret.

A second photo showed the pair with a bit more serious expressions on their faces, turned away from the camera as Redmayne put his arm around his costar's shoulders.

 Cabaret will be directed by the West End production's director, Rebecca Frecknall, and begin playing in previews at the August Wilson Theatre on April 1, with an official opening April 21. The show features a book by Joe Masteroff, with music by John Kander and lyrics by Fred Ebb.

Cabaret tells the story of Sally Bowles, an English cabaret performer who performs at the Kit Kat Club in Berlin between World Wars I and II, and explores related themes of the time period as well as life at the club.

The show first opened on Broadway in 1966 and the West End in 1968, and has enjoyed several revivals since — most recently in 2021 for London and 2014 in New York City.

The Emcee is not new to Redmayne, as he played the role from 2021 to 2022 in London during the West End revival.

 In a statement in October 2023, the Fantastic Beasts actor said his experience with the character goes back more than two decades, when he played the Emcee in a student production of Cabaret.

Noting that his "love for theater was properly ignited" then, Redmayne added, "It now feels completely thrilling and a little surreal to be a part of Rebecca's truly unique vision of Masteroff, Kander, and Ebb's brilliance as it arrives on Broadway, where the piece has such a history."

Frecknall said in a statement at the time that she is "so excited to be reuniting with Eddie as our devilishly seductive Emcee, the metaphorical soul of Berlin."

"I cannot wait to dive into rehearsals with Gayle, a fearless actor of supreme talent, as she explores Cabaret's magnetic core, the breathtaking and heartbreaking Sally Bowles," she added.

Redmayne also gave props to Scottish actress Rankin, saying he was "beyond excited to be doing it arm-in-arm" with her, as well as "a truly stunning cast and team."

"I am hoping we will create an experience for you quite unlike any other," he added.

Tickets for Cabaret on Broadway are on sale now at kitkat.club.

[eddie-redmayne-italian-blog]

'Cabaret' comes back to Broadway starring Eddie Redmayne and Gayle Rankin

APRIL 20, 20248:00 AM ET

HEARD ON WEEKEND EDITION SATURDAY

NPR's Scott Simon speaks to Eddie Redmayne and Gayle Rankin, who star in the new Broadway revival of "Cabaret."

SCOTT SIMON, HOST: You probably recognize the music from the first notes. (SOUNDBITE OF SONG, "WILLKOMMEN") EDDIE REDMAYNE: (As Emcee, singing) Willkommen, bienvenue, welcome. Fremde, etranger, stranger. SIMON: "Cabaret," the 1966 Broadway musical by Joe Masteroff, John Kander and Fred Ebb. It's drawn from Christopher Isherwood's memoir of high times and hot jazz and is set in a fictional Berlin nightspot called the Kit Kat Club. (SOUNDBITE OF SONG, "WILLKOMMEN") REDMAYNE: (As Emcee, singing) Im Cabaret, au Cabaret, to Cabaret. SIMON: At a time when sequins, high-stepping flappers and forbidden love gives way to goose-stepping and beating Jews on the street. A new revival of "Cabaret" has opened on Broadway after winning seven Olivier Awards in London. Eddie Redmayne plays the Emcee, and he joins us from New York. May I say willkommen to you? REDMAYNE: You may indeed. Hi.

SIMON: And Gayle Rankin the British chanteuse who comes to Berlin. I get to say fraulein Sally Bowles. (LAUGHTER) GAYLE RANKIN: Hello, darling (laughter). I had to (laughter). SIMON: Oh, my gosh. Wait. Sorry. Let me just catch my heart for a moment. Thanks so much. (LAUGHTER) SIMON: Eddie Redmayne, you've played the Emcee before. I was about to say early in your career, but really, before you started your career. REDMAYNE: That's absolutely true. Yes, I was a kid. I was at high school when I - we did a little school production. I think I was about 14, 15 years old. It was one of those moments in my life where I would say really I fell in love with theater. It thrilled me, and it made me think, and it moved me. And so I always sort of credit it weirdly as being the thing that that got me into acting full and proper. SIMON: What does the Emcee do for the audience?

REDMAYNE: I think one of the reasons the Emcee is such a iconic role and one that so many actors lean into is he's so enigmatic. He was conjured by Hal Prince and Joel Grey as a way of connecting the Sally Bowles story, and so he almost lives in an abstract place. And so for an actor, that is joyous because there are sort of no limitations on the one hand, and it's also quite daunting. He sort of starts as a puppeteer almost, the kind of the Shakespearian fool, perhaps... (SOUNDBITE OF SONG, "TWO LADIES") REDMAYNE: (As Emcee) Come on, my little ones. UNIDENTIFIED ACTOR #1: (As character, singing) Beedle dee, deedle dee, dee. UNIDENTIFIED ACTORS: (As characters, singing) Beedle dee, deedle dee, dee. REDMAYNE: (As Emcee, singing) Beedle dee, deedle dee, beedle dee, deedle dee. UNIDENTIFIED ACTOR #2: (As character, singing) Beedle dee, deedle dee, dee. REDMAYNE: (Singing) Two ladies. UNIDENTIFIED ACTOR #2: (As characters, singing) Beedle dee, dee dee dee.

REDMAYNE: ...Who then, over the course of the piece, rises to the all-knowing king or the sort of from puppeteer to conductor, and he becomes rather than the victim, he's almost the perpetrator. And so this person that's hopefully pulled you in at the beginning of the evening and seduced you and made you laugh, you realize is actually conducting the entire piece. (SOUNDBITE OF SONG, "IF YOU COULD SEE HER") REDMAYNE: (As Emcee, singing) If could see her through my eyes, she wouldn't look Jewish at all. SIMON: And Gayle Rankin, you have played other roles in "Cabaret" before Sally Bowles, haven't you? RANKIN: I have. I made my Broadway debut, actually, playing Fraulein Kost in the Sam Mendes revival 10 years ago with Alan and Michelle and Emma Stone. Eddie and I were just talking about it just the other day, and he was like, is this so weird? Is it so weird? And I was like, you know what? It's not weird. It's not weird. And it doesn't - I feel like a new person and in a new world 'cause that's - you know, "Cabaret," it comes back, and the world is new a decade later. It's new, and it's also the same.

SIMON: Help us look inside of Sally's mind and heart. What brings her to Berlin in the early '30s? RANKIN: You know, there's not a lot that's given to us, you know, about Sally. (SOUNDBITE OF SONG, "MEIN HERR")

RANKIN: (As Sally Bowles, singing) But I do what I can, inch by inch, step by step, mile by mile. For me, it was very important for me to kind of figure out Sally's relationship to artistry and creativity and why she ended up at the club. And there's a huge, you know, kind of cultural discussion about whether Sally has talent or whether she does not have talent. And that's a really fascinating thing, I think, to me. And I think it's amazing how people think they can decide or that they know that she's not - quote-unquote, "not talented" or is talented. It's just wild to me. SIMON: I have to ask. There are so many famous names who have played the two parts into which you two step now - Dame Judi Dench, Natasha Richardson, Michelle Williams. Alan Cumming, Joel Grey have played the Emcee. I didn't even mention the film with Liza Minnelli and Joel Grey, now, did I? So do previous productions inspire you, or do you just have to, you know, leave them in the fridge? REDMAYNE: I've been such a passionate fan of "Cabaret" since I was a kid that I've seen everything in the sense that I've - you can see some of Sam's production on YouTube. I saw Sam's production with Emma and Alan. I've watched the film. I even saw a random Spanish version when I was... RANKIN: Oh.

REDMAYNE: ...Younger. And they've been so brilliant, the productions before, that I hope we come sort of standing on their shoulders and with great respect for them, but also trying to do something new and fresh. And one of the things that was important for me was that idea - one of the Emcee's first lines is leave your troubles outside, and that for audience members coming to see this in New York, you enter via a sort of back alley. You get taken down into the underbelly of the theater, where there is an entire cast of performers playing in these really beautiful spaces, and you get a bit discombobulated. It's labyrinthine, and you get sort of lost, so that by the time you are taken actually into the theater itself, which sits in the round, hopefully, you have genuinely left all memory of 52nd Street outside. SIMON: I got to say, your production reached through to me with something I hadn't quite realized before. Things are terrible and getting worse on the streets. They're beating Jews and putting them into ghettos. There's a refuge in the club. There's also a refuge in Fraulein Schneider's boardinghouse, where she, for the first time in her life, really has a relationship with a man who happens to be a fruit seller and a Jewish man. Both your characters have that refuge in the club, and they have their characters in the boardinghouse. But, you know, refuges - well, real life can bring them down, can't they?

REDMAYNE: Absolutely. And I feel like the play, in its essence, is a warning in some ways. It serves as a warning about when hate can take over humanity and when humanity is lost to hate. And that feels so relevant at this moment. There are so many examples of that throughout the world today, but I hope that the brilliance of what Kander, Ebb and Masteroff created was that it seduces you in and in a way that feels really sort of magnificent but then begins to touch on these - this repetition of history that resounds and serves as a warning. RANKIN: And it kind of - what's so scary about it is how the refuge is created, and then you slowly realize that actually, there's a poison inside of your refuge. SIMON: What do you take in from the audience every night? REDMAYNE: Well, I mean, one of the joys for me as a performer is the intimacy of the space. So there's not really a sort of a bad seat in the house at the August Wilson, and the other character in the room with the Emcee is the audience. And what I have loved about our experience in New York is people because it's an event almost, the evening, from the second you pass the threshold. The theater's been redesigned and reconfigured in a way. People are getting dressed up. So you have people in black tie next to people in fetish gear next to people in jeans and a T-shirt, and you get all sorts of characters.

RANKIN: And to have a relationship with the audience, you know, and to enjoy how fun... REDMAYNE: Yeah. RANKIN: ...This is and can be throughout the show till the very end - what is written in this piece, there's - we're still laughing through tears at a certain point toward - for the very end of the show, and that's what's so kind of timeless and important about this space, that there's something that doesn't die inside of our club. SIMON: Gayle Rankin and Eddie Redmayne star in the new production of "Cabaret" on Broadway. Thank you both so much for being with us. REDMAYNE: Thanks for having us. RANKIN: Thank you so much. (SOUNDBITE OF SONG, "TOMORROW BELONGS TO ME") REDMAYNE: (As Emcee, singing) The sun on the meadow is summery warm. The stag in the forest runs free.

https://www.npr.org/2024/04/20/1246083026/cabaret-comes-back-to-broadway-starring-eddie-redmayne-and-gayle-rankin

[oldisnewradio]

"If you are sitting alone in your room or not"! Tune in! Now "On-The-Air”! A celebration of Kander & Ebb  on Everything Old Is New Again Radio Show on The Penthouse  at http://www.thepenthouse.fm with JOEL GREY, Judy Garland, Barbra Streisand, Liza Minnelli, JUDY GILMER, Brent Barrett, LOTTE LENYA, DAVID WAYNE, ROBERT GOULET & Michael Rupert, KAREN AKERS, John Pizzarelli, Karen Mason  and FRED EBB & JOHN KANDER chatting about and singing their own songs!Plus, an interview with author Greg Lawrence on the career of John Kander & Fred Ebb, plus recorded commentary by John Kander, Fred Ebb, Cy Coleman, Joe Masteroff & More.