History Theatre / Cabaret

''Cabaret'' is a 1966 stage musical with book by Joe Masteroff, music by John Kander and lyrics by Fred Ebb, based on several chapters from Christopher Isherwood's autobiographical 1939 novel ''Goodbye to Berlin'', which was based in turn on real events and people. It also drew enormous influence from ''I Am a Camera'' (1951), a straight play based on ''Goodbye to Berlin''. ''Cabaret'' itself was adapted into a [[Film/{{Cabaret}} film of the same name]] in 1972. No two versions of this story are the same, each featuring wildly different characters – or different versions of the same characters – and following different events. Hell, even the musical itself differs somewhat in content based on which revision you're talking about.

* DarkerAndEdgier: Every Broadway Revival since the Original has changed the book and songs to increase the sexual and political reality that the era was.

* AmbiguouslyBi: The Sam Mendes interpretation of the Emcee is given this interpretation. Each time he addresses the crowd, he says, "Meine Damen und Herren, Mesdames et Messieurs, Ladies... and gentlemen..."

-->'''Cliff:''' There was a cabaret, and there was a master of ceremonies... and there was a city called Berlin, in a country called Germany... I was dancing with Sally Bowles... and it was the end of the world.

[[quoteright:310:https://static.tvtropes.org/pmwiki/pub/images/cabaret_broadway_1966.jpeg]]

''Cabaret'' is a 1966 stage musical with book by Joe Masteroff, music by John Kander and lyrics by Fred Ebb, based on several chapters from Christopher Isherwood's autobiographical 1939 novel ''Goodbye to Berlin'', which was based in turn on real events and people. It also drew enormous influence from ''I Am a Camera'' (1951), a straight play based on ''Goodbye to Berlin''. ''Cabaret'' itself was adapted into a [[Film/{{Cabaret}} film of the same name]] in 1972. No two versions of this story are the same, all featuring wildly different characters – or different versions of the same characters – and following different events. Hell, even the musical itself differs somewhat in content based on what revision you're talking about.

->''"Willkommen, bienvenue, welcome!''
->''Fremde, étranger, stranger.''
->''Glücklich zu sehen, je suis enchanté,''
->''Happy to see you, bleibe, reste, stay.''
->''Willkommen, bienvenue, welcome,''
->''Im Cabaret, au Cabaret, to Cabaret!"''

''Cabaret'' is a stage musical based on a set of short stories by Christopher Isherwood (collected in ''Goodbye To Berlin''), which in turn were based on real events and people. It also drew enormous influence from ''I Am A Camera'' (1951), a straight play based on ''Goodbye to Berlin''. ''Cabaret'' itself was adapted into a [[Film/{{Cabaret}} film of the same name]] in 1972. No two versions of this story are the same, all starring wildly different characters, or different versions of the same characters, and following different events. Hell, even the musical itself differs somewhat in content based on what revision you're talking about.

* BrokenBird: Sally. Detailed in "Maybe This Time".

* TheCoverChangesTheMeaning: Depending on what version you're watching; some stage productions have "Tomorrow Belongs to Me" sung by Hitler Youth boys, as in the movie. Others have the reprise sung by Nazis, but the original sung by a young, gay Cabaret boy, often a racial minority.

%% * IWantSong: "Maybe This Time".

With a sinister but attractive glint in his eye, the Emcee invites us into the decadent provocative world of the cabaret. It's 1931. Sally Bowles, a middle-class lass from Chelsea, London, is working as a singer at Berlin's Kit Kat Klub in order to live the thrilling life the city is supposed to offer. In enters Cliff Bradshaw, a young American writer who comes to Berlin seeking inspiration for his novel, and Sally soon determinedly moves to join him in his room in the boarding house run by Fraulein Schneider (played by [[Theatre/TheThreepennyOpera Miss]] Creator/LotteLenya in the original cast). Their fellow lodgers include the cheerful yet promiscuous working girl, Fraulein Kost, and the gentle, aging Herr Schultz.

As the Nazi clouds gather, Sally, now with child, is still determined to show the world what a good time she is having. Defiant and brave, she either cannot or will not hear the threatening noises around her, yet the others can.

** The Revival takes it a step further, with the Emcee stripping off his coat to reveal a prisoner garb, and a Star of David and a Pink Triangle, indicating that he has been placed in Nazi Concentration Camp due to being Jewish and Gay, and most likely will face the execution line soon.

* MsFanservice: Sally Bowles. Just look at the image above!
* MrFanservice: The Emcee is frequently presented as such, but Alan Cumming's portrayal really stands out and tends to ramp the Emcee's sexual side up to eleven.

* HotterAndSexier: The 1993 London revival (directed by Sam Mendes) completely reinvented the show with a sexier coat of paint. This is best exemplified by its portrayal of the Emcee, famously played by Alan Cumming: in contrast to Joel Grey's dapper, tuxedo-clad Emcee, Cummings's version is a slinky WalkingShirtlessScene with a far more seductive personality.

* HotterAndSexier: The 1993 London revival (directed by Sam Mendes) completely reinvented the show with a sexier coat of paint. This is best exemplified by its portrayal of the Emcee, famously played by Alan Cumming: in contrast to Joel Grey's dapper, tuxedo clad Emcee, Cummings's version is a slinky WalkingShirtlessScene with a far more seductive personality.

->''Willkommen, bienvenue, welcome!''

->''Im Cabaret, au Cabaret, to Cabaret!''

* MrFanservice: The Emcee is frequently presented as such, but Alan Cumming's portrayal really stands out and tends to ramp the Emcee's sexual side UpToEleven.