Cabaret – Bob Fosse

Bob Fosse - Cabaret  artwork

Cabaret

Bob Fosse

Genre: Musicals

Price: $ 12.99

Rental Price: $ 3.99

Release Date: February 13, 1972


Willkommen, bienvenue, welcome to Cabaret. The winner of eight Academy Awards, it boasts a score by the legendary songwriting partnership behind another film that would energize the movie musical genre with equal razzle-dazzle 30 years later: Chicago's John Kander and Fred Ebb. Inside the Kit Kat Club of 1931 Berlin, starry-eyed singer Sally Bowles (Liza Minnelli) and an impish emcee (Joel Grey) sound the clarion call to decadent fun, while outside a certain political party grows into a brutal force. Cabaret caught lightning (and won Oscars) for Minnelli, Grey and director Bob Fosse, who shaped a triumph of style and substance. Come to this Cabaret, old chum. You'll never want to leave.

© © 1972 Lorimar Pictures. All Rights Reserved.

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Meet Bridget Everett: The Raunchy Cabaret Comedian You’ll Never Forget

Bridget Everett

It’s perhaps not surprising that Bridget Everett—a six-foot-tall, classically trained singer, who uses her breasts as props, and routinely sits on the faces of her audience members—would feel at home in the amorphous, anything-goes community of New York City’s downtown performance scene. Her act is neither a comedy show nor cabaret—it’s vaudeville meets raunchy storytelling, set to filthy, hilarious, and really pretty vocals. But ineffable as her act may be, when it started getting attention from more mainstream venues, Everett found herself with a foot in both worlds.

“I’ll walk into a room and I’ll be on a lineup with a bunch of guys or just comics and I’ll have to work twice as hard because they’re not used to seeing a six-foot-tall woman without a bra,” Everett told us by phone. “And, in the world of cabaret, people are also not used to seeing a six-foot-tall woman not wearing a bra. So there’s challenges wherever I go because I don’t feel like I fit a particular mold.”

Despite this balancing act, Everett has been embraced by almost everyone. In 2013, she performed at Carnegie Hall with Broadway mainstay Patti LuPone. She closed out two season finales of Inside Amy Schumer. In 2014, Everett began performing her uproarious, expletive-laden, boob-brandishing show Rock Bottom at Joe’s Pub in Manhattan. Now, Everett is breaking yet another boundary and taking her act to television with her first Comedy Central special, Gynecological Wonder. We chatted with the “alt-Cabaret provocateur” about her new special, becoming friends with Amy Schumer—and their shared devotion to chardonnay.

How many shows did you film to make the special?
We did two shows in one night but it’s almost all taken from the second show. I was a little bit more warmed-up, and I had a little more chardonnay. I was in the zone.

Have you always brown-bagged chardonnay for your performances?
That was actually a gift from friends and they gave it to me on Christmas, it’s actually an insolated wine bag. It helps keep the wine cold throughout the show, which is nice because if I really get talking it can be like two hours.
 
I feel like you and Amy Schumer need to start a chardonnay company.
You know, you are 100 percent right about that. And we both love the same chardonnay: Rombauer. And we’re like, “Why won’t Rombauer sponsor us?” I don’t know if they want to keep their distance from us or they just don’t know how deeply in love we are. When Amy and I text each other, it’s not even, like, “Hey, do you want to get a drink?” It’s, like, “Rombauer?”

Was your friendship with Amy born out of your shared love of chardonnay?
That’s what’s kept us together. No, we met at a comedy festival up in Montreal and I sort of, like, hang back in my room during those sorts of situations because there are so many comics and so many people and it can be a little overwhelming. And Amy was like, “Get out of your room, come down, let’s have some chardonnay, walk around, and say hello to people.” I wasn’t always like that but it seems like the wilder and more outrageous my stage persona becomes, the more withdrawn and reserved I become in real life. I just think just takes so much out of me on stage, so when I’m not on stage, I like to sit at home with some Rombauer and my dog Poppy.

 

Has your stage presence gotten more outrageous over the years?
Yeah. When I’m stage, I just feel like the beast is out of the cage and I’ve got to go fucking crazy. And the more fun the audience is having, the further I’ll go. I want it to be memorable for them and most importantly, I want it to be memorable for me. That’s what makes me think I have the best job in the world. I get to drink all night and sit on people’s faces. It’s not a bad way to make a living.

Has your audience involvement ever backfired?
Oh, it’s backfired before, sure. And I’ve definitely had my fair share of walkouts. But that for me is a good sign that I’m doing something right. I want people to have a very clear and distinct reaction. I don’t want to participate in something that’s, like, take it or leave it. I really want to have an impact.

Do you feel like the comedy scene has changed a lot since you began performing?
It’s funny because I really consider myself more of a singer and a cabaret performer . . . I would have to say the comedy world has evolved at least to the place where it’s allowing and embracing something like what I do. I can’t recall a time in recent years you’d see someone doing cabaret on Comedy Central. I think people are more willing and open to see not just the guy standing there in the hoodie telling dick jokes but like a woman with a plunging neckline with her titty hanging out and thinking that’s funny, too.

Gynecological Wonder airs on Comedy Central on Saturday, July 11

The post Meet Bridget Everett: The Raunchy Cabaret Comedian You’ll Never Forget appeared first on Vogue.

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Charlie Le Mindu Stages Hair-Raising Cabaret

HAIR-RAISING: Charlie Le Mindu’s creativity quotient keeps on rising.
The hairstylist’s racy fall-winter 2015 “haute coiffeur” collection was presented Wednesday in a cabaret format in Paris’ Crazy Horse venue. He took inspiration from the Surrealist “male gaze” artistic movement of the Twenties.
Dancers were mostly in the buff, sporting not much more than Le Mindu’s creations made of human hair. There were shrugs, ornate headpieces and tassels out of tresses, which swung dramatically throughout the performance set to Kap Bambino music. (All this gave “hair suit” a new meaning.)
Among the most dramatic looks in the show — which came in five acts divided by spectacular video clips, with the S&M vibe present throughout the display — was sported by the pole dancer. Her face was covered with an ornate, metallic mask topped by a blonde ponytail. Hair also hung from her chest.

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Micky Dolenz Enchants New York Crowd With Monkees Hits & Cabaret Classics: Live Review

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Cabaret: Betty Buckley Shines A (Ghost) Light At Joe’s Pub

BETTY BUCKLEY *** out of ****
JOE’S PUB AT THE PUBLIC THEATER

Fans won’t want to miss Tony winner Betty Buckley’s all-too-brief stint at Joe’s Pub through May 31. I’m still disappointed I missed her last fall here. First, Joe’s Pub is one of New York City’s best intimate spaces for live performance. Second, she was promoting her new album Ghostlight, which was co-produced by longtime friend T Bone Burnett and may well be the album of her career. It was certainly one of the ten best CDs of 2014. I hoped and assumed Buckley would still be promoting that work.

But ever restless as Buckley is, she’s created an entirely new show dubbed “Dark Blue-Eyed Blues.” It finds Buckley in a playful mood. She dished up some amusing anecdotes, ranging from singing one of her favorite songs in the shower (“Come To Me, Bend To Me,” a highlight of that album and this show), feeling jealous of the spotlight at a grade school talent show and falling in love with a hot but dumber-than-soap man and needing couples therapy to admit to herself she’d have to move on from this appealing but inert hunk.

This light mood was captured in quick, upbeat renditions of “Them There Eyes,” “Do Nothin’ Till You Hear From Me” and “Blues In The Night” (not to mention the defiant “I’m Still Here” which Buckley sang recently in an all-star concert production of Follies at the Royal Albert Hall in London).

But for me, this isn’t where Buckley lives. Like Peggy Lee and Shirley Horn, Buckley is a master at quiet, intimate, revelatory renditions of songs you thought you knew but which sound utterly fresh and new when she sings them.

“This Nearly Was Mine’ (from South Pacific, of course and a rare selection that appeared on Ghostlight) was an early highlight of the 80 minute set, a moving but dry-eyed spin on a number currently showcased on Broadway in that musical’s revival.

(Dry-eyed, by the way, is not the most typical phrase to use when discussing Buckley since she digs deep into the emotions of tunes — not to mention offering a tribute to her friend Stephen Bruton who has gone too soon –and the tears often flow.)

Another masterful moment was the lullaby “All The Pretty Horses,” a song which would have fit perfectly on Ghostlight but doesn’t appear on that album. The arrangements of musical director Christian Jacob here and throughout the show leaned on dissonance to create a shimmering backdrop that is deceptive and one imagines quite tricky for a singer to navigate, though Buckley makes it seem easy. Between threading the needle on the arrangement and using her microphone with consummate skill, Buckley made this promise of a treat for a baby feel like a blessing of prosperity for one and all. They delivered similar magic on an exceptional Rodgers & Hart medley that contained “Where’s That Rainbow,” “Spring Is Here” and “Falling In Love With Love.”

Here’s Buckley singing “Bewitched.” It’s on her new album Ghostlight though Buckley didn’t sing it in this concert.

With her mother and godmother in the audience, Buckley was on her best behavior like any daughter would be. She also kept a stand with lyrics facing her wherever she wandered on the stage and those paying attention could enjoy a master class of seeing her quietly move it this way and that without ever calling attention to the fact. Whether Buckley always keeps lyrics handy to free her of anxiety or just at the beginning of a new show, I can’t say. I can say that her casual glances at the sheets now and then didn’t detract from her performance.

It’s been almost 18 years since she opened a show on Broadway, which is absurd, as Buckley proved by her terrific rendition of Sting’s “Practical Arrangement,” a cooly observant tune about a lack of love not being an impediment to marriage that was written for his musical The Last Ship but not used in the show. One wonders how a mother feels hearing the child she once held in her arms deliver the insight of Joni Mitchell’s “Both Sides Now” as an encore, though of course it’s always a shock to remember this wise song was written when Mitchell was just 23 years old.

So it’s a solid if not yet transcendent show, with her band in fine form and Buckley in excellent voice. If you can’t catch it, do yourself a favor and get Ghostlight right away.

2015-05-29-1432874479-3011530-Ghostlight.jpg

And to heck with variety, Buckley, give us a dark night of the soul show, an In The Wee Small Hours style evening of intimacy and regret. Leave the upbeat numbers to the kids who don’t know better. On the penultimate performance of the concert proper, Buckley delivered Leonard Cohen’s “Bird On The Wire” with grace, opening her arms wide as she sang “I have tried in my way to be free,” as if to say, “This is who I am.” Revered? Definitely. Underutilized on stage and screen because she doesn’t play the game the way they expect? Unquestionably. Free? Artistically for sure, and that’s surely the only way that matters.

Thanks for reading. Michael Giltz is the founder of BookFilter, a book lover’s best friend. Looking for the next great book to read? Head to BookFilter! Need a smart and easy gift? Head to BookFilter! Wondering what new titles just hit the store in your favorite categories, like cookbooks and mystery and more? Head to BookFilter! It’s a website that lets you browse for books online the way you do in a physical bookstore, provides comprehensive info on new releases every week in every category and offers passionate personal recommendations every step of the way. It’s like a fall book preview or holiday gift guide — but every week in every category. He’s also the cohost of Showbiz Sandbox, a weekly pop culture podcast that reveals the industry take on entertainment news of the day and features top journalists and opinion makers as guests. It’s available for free on iTunes. Visit Michael Giltz at his website and his daily blog.

Note: Michael Giltz is provided with free tickets to concerts with the understanding that he will be reviewing them.

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The Queer Teen Who Ran Away from Home, Joined a Cabaret, and Became an Seattle Nightlife Icon

2015-05-21-1432220017-5460284-zak.png

One of the first friends I met when I moved to Seattle was Zak, standing by a urinal trough wearing golden armor down one arm and shiny metallic underwear. To be fair, it was Halloween; but since then I’ve seen him dress similarly on more than one occasion since then. He’s just that kind of star.

I was lucky enough to interview Zak this week for The Sewers of Paris, my podcast about entertainment that’s changed the lives of gay men. I didn’t know it when we met, but it had taken Zak years and a lot of searching to become the amazing man I met at The Eagle on Halloween night. Our conversation on this week’s episode is all about his upbringing in a house full of strippers, running away to become a homeless youth for several years, and eventually finding himself in the underground cabaret culture of Seattle.

That kind of teenage hunt for identity is fertile ground for exploration in movies and TV. Take, for example, the perfect (and therefore doomed) TV show Freaks and Geeks. It’s the story of a high school student named Lindsay — a good kid who suddenly realizes that she’s growing up into someone who is not the mild-mannered girl she’d always been.

She starts rejecting her well-behaved friends in favor of the bad kids. She lets her schoolwork slip, she dabbles with misbehavior, and she does her best to make her parents worry. Throughout the show’s one and only season, Lindsay’s torn between the safe, secure life she’d always led, and that of the freaks: dangerous, disobedient, uninhibited and also unstable.

Lindsay finds herself running away from one life before she really knows what life she’s running to. And so she explores a series of costumes, new outfits, new language, new friends. Lindsay does the same thing Zak did — the same thing we all do when we’re becoming adults, to varying degrees. When we’re teenagers, we’re turning into a stranger, a grown-up we’ve never met. So we adopt new clothes and surround ourselves with friends in the hopes that these things will reveal to us who the heck we’re going to be.

And while adolescence is about searching and transformation, adulthood — hopefully — is when you discover the person you’ve become.

That brings me to my second recommendation of this week’s episode: the 1994 film Ed Wood, one of the most wonderful movies ever made. Tim Burton’s semi-true dramatization tells the story of Ed, an outcast in a lovely angora sweater. He’s a cross-dresser making a series of movies so strange that they will probably be remembered for hundreds of years as the weirdest visions ever committed to film.

Ed carries his secret deep down inside, never letting on that this is who he is. And like any attempt to deny yourself, Ed’s secret tears him up.

It’s only when he reveals himself — his true self — that things start going Ed’s way. In part, that’s because he’s been lucky enough to have cultivated a circle of people as weird as he is. His friends are freaks, and they like it that way. A vampire hostess, a local psychic, a meathead wrestler and a strange homosexual: Grown-up freaks who’ve decided that it’s better to live authentically as weirdos for themselves than try to squeeze into an a ridiculous business suit.

When Ed embraces his secret, he’s embraced by his friends. And he can finally embrace himself. The real himself. It’s means he can finally be Ed Wood, dressed in heels and panties and a delicate sweater. Just like he’d been doing all along in his heart.

None of this is to say that costumes are bad and dress-up is wrong, as long as you control the costume and not the other way around. By all means, go out, search, wear a suit or a skirt or a mohawk or crop-top.

Just remember to look in a mirror every now and then and ask the question Zak asked himself: do my outsides match my insides?

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Cabaret Star Julie Wilson Dead At 90

NEW YORK (AP) — Julie Wilson, a musical theater actress and cabaret star who earned a Tony Award nomination and was cheered for her ability to harness the songs of Stephen Sondheim and Cole Porter, has died. She was 90.

Christopher Denny, Wilson’s friend, said she died Sunday in New York after having suffered two strokes over the last several days. Upon learning the news of her death, the Broadway icon Kristin Chenoweth tweeted: “Broadway’s loss. Heaven’s gain.”

Wilson’s most famous stage role was the 1988 Peter Allen musical “Legs Diamond,” for which she earned a Tony Award nomination. Her other Broadway credits include “Park” in 1970, “The Girl in the Freudian Slip” in 1967 and was a replacement for the role of Babe Williams in the original run of “The Pajama Game.”

But it was as a singer — known for her interpretations of such songwriters as Sondheim, Kurt Weill, Jerome Kern and Porter — that made the biggest impressions, from recordings like “Julie Wilson Sings the Cy Coleman Songbook” to her live sets at the Oak Room in the Algonquin Hotel.

Denny, who was a friend for 30 years, called her his “second mother” and praised her for being “one of my life’s greatest teachers and an example of humility, compassion, kindness and generosity which I never expect to see equaled.”

Wilson was born Oct 21, 1924, in Omaha, Nebraska, and recorded several albums, including “My Old Flame,” ”Live From the Russian Tea Room” and “Julie Wilson at the St. Regis.”

She is survived by her son, actor, writer, and producer Holt McAloney.

___

Mark Kennedy is at http://twitter.com/KennedyTwits
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Pop, Rock & Cabaret Listings for Nov. 21-27

A selected, critical guide to performances of rock, pop, cabaret and more in New York City.
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Shia LaBeouf Kicked Out Of Broadway Musical ‘Cabaret’

Actor Shia LaBeouf was handcuffed and escorted out of the Broadway musical “Cabaret” on Thursday night, according to Variety.

He was charged with criminal trespassing and disorderly conduct after smoking in the theater and being disruptive during the first act, the entertainment trade magazine reports.

Tony Award nominee Benj Pasek tweeted:

Actress Lena Dunham was quick to… extend her sympathies?:

Last year, LaBeouf was fired from his planned Broadway debut in “Orphans” before the opening.

Earlier this year, LaBeouf denounced his celebrity status, and he has previously “retired from all public life.” Despite these declarations, a trailer for LaBeouf and Brad Pitt’s new film “Fury” was released earlier this week.

This story is developing…
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