The Kit Kat Klub not only provides an immersive environment for the musical, but its revue also provides a framework for the story. The extant character of the early 20th-century industrial architecture was one element that made it attractive to Zvulun as the venue for this particular production concept for Cabaret. Pullman Yards is now owned and operated as an entertainment destination by Atomic Entertainment. They also chose to mount the production inside a rail warehouse at Pullman Yards, a former industrial complex in Atlanta’s Kirkwood neighborhood occupied by the Pratt Engineering Company beginning in 1904, then the Pullman Company from 1926 to 1955 as a place to repair their famous railroad sleeper cars. Zvulun and his creative team chose to set the musical immersively so that the audience for the musical, especially those seated at tables near the runway stage, are also the audience inside the Kit Kat Klub itself. The flamboyant, presumably pansexual Emcee (baritone Curt Olds) and his ensemble of performers welcome the audience with the curtain-raiser, “Willkommen,” which immediately makes clear the seedy and highly sexualized nature of the venue’s entertainment (even if somewhat glamorized versus the real-life experiences of Isherwood and his friends).
The musical opens at a Berlin cabaret, the Kit Kat Klub, during a celebration of the New Year of 1929.
In the musical, Isherwood, a shy gay British expatriate, appears in the character of American writer Clifford Bradshaw (portrayed by Atlanta native Billy Tighe in his Atlanta Opera debut). The Tony Award-winning 1966 musical Cabaret was adapted from the 1939 novel, Goodbye to Berlin, by Anglo-American writer Christopher Isherwood, who documented the decadence of the cabaret scene in a disintegrating Berlin from 1929 to 1932.
#Emcee near me movie
The movie experience will not help you much, and it is best to take the stage version on its own compelling merits.
There are also considerable differences in scripts, the dramatic structure and focus, the number and selection of songs, and even the characters. As great as the film is in many ways, the stage musical is even better and has far more bite. Those were top among a myriad of questions plaguing my mind after witnessing last Thursday’s opening night performance of a powerful and provocative new production of Cabaret from Tomer Zvulun and The Atlanta Opera.įirst and most importantly, the observer must completely forget the award-winning 1966 movie of the same name. Is it a symptom of a crumbling society or its cause? Or are both true, working simultaneously, feeding off each other? ( 1cover for Lee Osorio on opening night 2cover for Matti Steriti on opening night.) Creative: Alexander Dodge, set designer Erik Teague, costume designer Marcella Barbeau, lighting designer Melanie Steele, wig & makeup designer Nick Hussong, projection designer Jon Summers, sound designer Ricardo Aponte, choreographer Michelle Ladd Steele, intimacy director & fight choreographer Jon Summers, sound designer Felipe Barral & Amanda Sachtleben, filmed media. Ensemble: Brandon Nguyen (Gorilla/Victor), Gwynn Root Wolfiord (Frenchie), Jacob Attaway (Herman), Patrick Coleman (Rudi/Hans), Rachel Shiffman (Rosie), Bailey Jo Harbaugh (Lulu), Eva Lukkonen Sullivan 2 (Texas), Terelyn Jpones (Helga), Peyton McDaniel Davis (Bobby). Cast: Curt Olds (Emcee), Aja Goes (Sally Bowles), Anthony Laciura (Herr Schultz), Billy Tighe (Clifford Bradshaw), Deborah Bowman (Fraülein Kost/Fritzie), Joyce Campana (Fraülein Schneider) Nick Morrett 1 (Ernst Ludwig/Max) Max Cook (Boy Soprano). Francesco Milioto, conductor Tomer Zvulun, director.
0 kommentar(er)
