#cabaret at kit kat club

[eddie-redmayne-italian-blog]

My new gifs from new Play bill video!!

The nominees for the 2024 @thetonyawards’s Best Revival of a Musical! Who are you rooting for?

Life is Beautiful !!Go to see Cabaret!!

Full Play bill video here!! https://www.instagram.com/p/C8Ca2lkpfdh/

[the0retically]

The fact that people are bashing Eddie Redmayne’s version of the Emcee are not understanding the point of Cabaret at all

The fact that every single one of his movements is jerky just shows how he is like a puppet. He is not in control of the story, he is not in control of the outcome, he is simply there to tell the tale. He has no autonomy of his own

He is the Master of Ceremonies, he should be moving by himself and making his own decisions but everyone at the Kit Kat Club is fast asleep

The Emcee is the only one aware of how this story ends but he is powerless to change anything about it

[olympain]

Willkommen, bienvenue, welcome Fremde, étranger, stranger Glücklich zu sehen, je suis enchanté Happy to see you Bleibe, reste, stay Im Cabaret, au Cabaret, to Cabaret Meine Damen und Herren Mesdames et messieurs Leave your troubles outside! For we! We have no troubles here

[dangergggg]

Willkommen

Last year I saw Cabaret with the Emcee being played by Mason Alexander Park and it changed my brain chemistry: a doodle.

[cloudii-skiies]

noel gruber takes a trip to the kit kat club in berlin when ⁉️

(he would fit right in 😭)

[tabooi]

even the orchestra is beautiful!

🎥: @callmelasagna

[areinca]

because why not, here is the most likely diegetic language every cabaret (1998) song is in

and yes not all of these songs are technically diegetic but cmon

anyway

Willkommen: German, French, and English, but as likely most of the Kit Kat Klub’s visitors are from Germany the spoken bits not translated twice are probably German.

So What - We can assume English, as based on both Cliff and Fraulein Schneider’s dialogue in the spoken scene it is implied they are both speaking in English (Schneider appears to not understand all of his words and speaks brokenly at times).

Don’t Tell Mama - Mostly English; the word “bitte” is kept in German, and is rhyming with “please, sir,” so it would make most sense if the rest of the song was in English. This would mean that the Kit Kat Girls (apart from Texas) are singing phonetically, which does not have to do with diegetic languages but is interesting to me.

Mein Herr - English and German. Again, it would make most sense that the English parts are English and the German parts are German.

Perfectly Marvelous - English. Cliff and Sally’s native language is English.

Two Ladies - German. There are no German words in the song that could imply otherwise and German is the native language of everybody singing (and the majority of those watching as well).

It Couldn’t Please Me More - German. Schultz and Schneider’s native language is German.

Tomorrow Belongs To Me - German, due to the song’s nationalistic nature.

Maybe This Time - English, as it is Sally’s internal monologue and her native language is English.

Money - See Two Ladies.

Married - Despite the fact that there is a part of the song translated into German, I think the rest of the song is also dietetically in German. It would make the most sense due to the reasons also for It Couldn’t Please Me More, and the intimacy adds to that. This is the one exception to “if there are multiple languages, there are dietetically multiple languages” thesis I’ve been following.

Tomorrow Belongs to Me (Reprise) - See Tomorrow Belongs to Me.

Married (Reprise) - See It Couldn’t Please Me More.

If You Could See Her - The sung part is German, see reasons for Tomorrow Belongs to Me and Two Ladies. However, the spoken part with some double translation (German to French to English) and single translation (German to English) indicates that at least a small portion of the spoken part (that isn’t these translations) is dietetically in English.

What Would You Do - We can assume English with this one too, as Sally reacts to Schneider’s words and seems to have understood what she just said. Sally does not understand German, as she reveals in the scene before Perfectly Marvelous.

I Don’t Care Much - See Tomorrow Belongs to Me.

Cabaret - This is the one I’m least sure about. Sally is singing it, so we might think English. However, now definitely the vast majority of the audience is German and wanting to hear German songs. At the same time though, Sally doesn’t understand German, and she definitely knows what she’s singing. She is also marketed as “a talented young lady from England,” so I’m going to go with English for this one.

Finale - See Willkommen.

[wekiaam]

Quick Emcee sketch bc he haunts me

[mochiebochie]

this may be for a very niche audience but rockstar lestat is so sally bowles

like he’s just so life is a cabaret old chum

[song-of-baldy-ron]

SO since everyone's doing a hot take on Cabaret

I have less issues with Eddie Redmayne's actual performance as the Emcee as I do with the entire staging/ role the Emcee plays as well as the rest of the Cabaret

My major issue comes in with how this production did the framing of the cabaret and audience as well as the ending of this show (SPOILER WARNING HERE)

According to recordings I've seen, reviews, and firsthand reports this adaptation turns the emcee into a sinister figure tempting and corrupting the audience/ other cabaret members into assimilating into the Nazi party, with the final song revealing most of the cast in beige outfits to embody their assimilation into the new fascist regime

ON THE SURFACE LEVEL I get it- we should all be on watchout to ensure we don't become supporters of a fascist ideology just because we want to escape reality or are somehow entranced by the (silly? circus-like?) vibes of the people holding the guns to our heads

But in reality and looking at the historical context, portraying the rest of the cabaret as eventual Nazis is a huge step backward from everything we've come to learn about Weimar Berlin and what historically happened to queer, neurodivergent, and political dissidents in addition to Jewish people during WW2.

This cast of characters wouldn't be the perpetrators of violence- in the best case scenario, they'd become perhaps complicit as bystanders or get out before shit went down, otherwise they were some of the first groups of people to be shipped off to camps/ extermination.

I absolutely think any good production of Cabaret should find a way to implicate its audience either directly or frame them as bystanders who did nothing to stop the rise of fascism. I also know the Sam Mendez version of the show is top of mind for most of us but I don't even think the original cast version with Joel Grey managed to swing as far as to implicate all of the Cabaret members themselves as direct perpetrators of Naziism. To me, that's a bridge too far to cross given the historical implications- there are better allegories you can make instead of making the countercultural ""sexual deviants"" and weirdos your enemy.

[eddie-redmayne-italian-blog]

My gifs from edit Video!!

"Eddie Redmayne is the epitome of generosity as an artist, as an actor, as a person" Gayle Rankin.

Source video Kit Kat Club NYC in iG

[ghostpaynes]

RIP everyone at the Kit Kat Club y'all would have loved Pink Pony Club

[cupids-fiction]

spot the difference

[toalltheangels]

This has been one of my hyperfixations for a while and I love that it is becoming more popular lately

[cloudii-skiies]

me

[hyperspecific-musical-summaries]

what if we made a political statement and freed the cheeks at the same time