This post is inspired by Roundabout's current (remounted) production of Cabaret, directed by Sam Mendes and starring Alan Cumming and Michelle Williams. Although I was familiar with the music and had a loose notion of the plot, this was the first time I'd ever actually seen a production of this show. This is perhaps the least familiar I've been with a show that I'm posting about, so I'm still very much in "thinking mode" about this one, but here we go...
- Who's story is this?
I'm not sure who's story this is. That seems completely dumb to say, but it's true. I had always assumed that it was Sally's story. Or perhaps Sally and Cliff's story. Maybe that comes from having seen Liza's face associated with it more times than I can count. And I guess it is her story. But to me, the more interesting story is the one between Fräulein Schneider and Herr Schultz. In Fräulein Schneider and Herr Schultz's story you see the rising Nazi sentiment of Berlin destroy the possibility of two people finally being able to share their lives together. In Sally and Cliff's story, the Nazi's presence is almost a sidebar. Due to the way this piece is structured (the effect that the Nazi presence has on the story, the way its presence is revealed and songs like "Tomorrow Belongs to Me" and "If You Could See Her"), it seems like the Nazi sentiment and the way it made cowards and enemies out of neighbors was at least one of the concepts that Kander and Ebb intended to punctuate. Making the story Sally's seems a little asking people to pay attention to the cop who's writing out a parking ticket, while there's also "subplot" revolving around a cop who's engaged in a high-speed car chase. But just because something is more interesting doesn't mean it's where the story is.
- About the sex.
There are a lot of show numbers with in this musical. Many of the songs are presented as the various acts of the Kit Kat Club. Which is to say, many of the songs in the show do not advance the plot with their lyrics. Rather they tend to act as commentary on the story. Since that connection is not overtly present in the lyrics, I think it's important make sure that the staging and choreography focus on highlighting those parallels. Most of the numbers in this production did that very well, but the few that didn't just kind of passed by as naughty nightclub numbers.
- Sensitivity vs. Survival.
In this story we find two couples - one younger and one older - but both with a sensitive man and a survivalist woman. While the details of these relationships differ, I find it interesting that the need to survive is what ultimately ends them both.
- About Sally
This production paints Sally as a very infantile sort of woman, which, while it may be a valid option, is completely unappealing to me. I think Sally is absolutely the life of the party. But I think being the life of the party is how she's survived living in a very cold and difficult world. She's the life of the party because she her life depends on it. She's made of steel, even if she is unable to ultimately free herself from the destructive patterns of her life. Even in her opening number, "Don't Tell Mama", I think the role-play of playing sweet and innocent is much more exciting if it's played by someone who is actually a strong woman. I mean, it's fun to watch a cat play, but it's much MORE exciting to see a tiger playing. The thrill of danger and power that can be turned on at any point is much more engaging than knowing you've already seen the full extent of what the damage would be. Plus I think letting Sally be a stronger character fits better with "Mein Herr". I also think this affects how we experience her decision to get an abortion and go back to the Kit Kat Klub at the end of the show. If she's been forged by the necessities of her life and is someone who has had to take care of herself, that strength and determination makes what she does a decision of survival. If she's infantile, it makes it a childish impulse.
- About Cliff.
Bill Heck turns in a great performance as Cliff. However, I think this role ultimately makes more sense with someone who is more of an underdog. Cliff stops working for Ernst and ultimately leaves Berlin as a result of not being able to stomach the rising Nazi sentiment, specifically as it relates to Herr Schultz. I think this kind of response is something that makes the most sense if someone is an outsider, an underdog, someone who's not one of the cool kids. If you're a strapping alpha male, it's easier to bury your head in the sand and stay put, because you can convince yourself that things aren't actually that bad in your life. Ernst still likes him and still has good paying work for him. He's got the girl (who might be pregnant with his child). It's significantly easier to stay put. I think Cliff has to be able to empathize deeply and personally with what Herr Schultz is experiencing, in order to up root everything and run away. I think if Cliff is that underdog, who is well aware of how ugly bulling can get, and he's watching the situation get serious for Herr Schultz, then he knows the only thing he can do to protect Sally is take her and get the hell out of Dodge. I also think you don't want Cliff to ever seem like a viable physical threat to Sally. I think once he becomes a potential physical threat, he's just like every other guy she's ever been with. There were a few moments in this production where Cliff briefly resembled Stanley Kowalski, which I don't think serves the story in any way. I think the tragedy of Cliff is that he's not strong enough to save Sally from herself.
- The MC.
I thought Alan Cumming did a marvelous job balancing both the notion of having fun with his role as host, yet also giving weight to the gravity of the situations. I think that is key for this role - having someone who is fun and unpredictable, but can let the mask drop in the second act. For that reason, I would love to see Christian Borle do this role as I think he does a great job at being able to flip between those two extremes. I also wonder if the MC is a figure that Sally constantly sees. What I mean by that is, in this production, the MC, as our narrator, wafts in and out of scenes - sometimes as commentary, sometimes as set dressing - without the other characters acknowledging him. Which I think is right. But I wonder if there's milage to be gained in Sally being the only one to be aware of him in the scenes outside of the Kit Kat Klub. Frankly, it might just make her look crazy, but I would be interested in trying it.
- The Elephant in the Room.
I love the way Ernst is revealed as being involved with the Nazi party. I think it's incredibly effective and I love that you don't see it coming. However, I wonder if more could be done to build up more of a peripheral Nazi presence before that without diminishing that payoff. At one point Cliff is arguing with Sally about the severity of what is going on with the Nazis and he says something to the effect of "haven't you been paying attention to what's in the papers?!" implying that you would have to be completely obtuse to NOT know how big of a threat this was. But, quite honestly, I didn't have any awareness that Cliff had been paying attention to it to begin with. As an audience member, I know we're in Berlin in the 1930s, but what specifically that means with regard to the cultural saturation of the Nazi party, I don't immediately have a context for. Especially, since no mention of it is made in the show for so long.
- Maybe This Time.
The song "Maybe This Time" functions sort of like an aside. It pops up right in the middle of a scene an presents us with Sally's inner monologue. In this production, they staged this by pulling Sally downstage in isolated light in front of Cliff. Which is a nice visual and certainly helps us understand that the song is now commenting on the scene. But given that Cliff (and what he's saying) are the emotional impetus for the song, I think it might be stronger to have Sally upstage of him so that she can both sing her nightclub number and still visually reference the reason that she's singing that number.
- Life is a Cabaret.
This song marks Sally's return to the Kit Kat Klub. For this production, they had her dressed in a very simple black sheath dress. This might be the most that her body's been covered for the entire production. I'm not sure this costume choice really serves this moment. While I could see Sally's character justifying to herself that this moment is about taking back the reigns of her life, ultimately it's putting her back in a state of victimhood, at the mercy of the Kit Kat Klub. As such, I think part of the awfulness of returning to the Kit Kat Klub is being forced back into the skimpy outfits and having to perform for any man who happens to be there. (As a side note, I would also like to see her outfits be a little less revealing over the course of her living with Cliff. I understand that she's a person who doesn't really feel the need to cover up. But I think when you're in a relationship that feels safe - and I think she has to allow herself to feel safe and at home to some degree in her relationship with Cliff in order for us to feel any sort of loss when they fall apart - the need to constantly be showing leg or cleavage subsides. Also, given the fact that they reference it being cold enough outside for everyone to need coats, I imagine Cliff's apartment might also be a little chilly.) My other quibble with this moment in the show, was that the end of this song sounded exactly like everyone else I've ever heard sing it. This is the climax of the show and Sally's breaking point. I think the phrasing of that should feel personal.
Thoughts? Comments? Questions? Post them below. The more the merrier!
A blog about directing for the theater: a study of what works and what doesn't and why, a place for inspiration and reflection, and a toolbox for the moments where you don't know what else to try.
Tuesday, December 23, 2014
Posted by Cotton Wright at 11:13 AM No comments:
Labels: Alan Cumming, Bill Heck, Cabaret, Cotton Wright, Direct And To The Point, Michelle Williams, Roundabout, Sam Mendes
Monday, December 8, 2014
Beware The Logical.
Much of the work I've done as an actor has been bringing new works to life. This process is always a bit of a whirlwind, but it can be really invigorating from a creative standpoint because you, the director, and often the writer are building what the story is from the ground up. The scripts are printed pages, not a bound and published book. Rewrites are happening, sometimes right up until opening night. Everyone is hustling
Sometimes, in this setting, a playwright will help you out by breaking up long speeches into separate paragraphs. (Often, when you're working on a script that has been previously published, the text for those longer speeches just appears in one big, long block.) This formatting helps quickly determine where the character's thoughts change. After all, Grammar 101 would indicate that you should start a new paragraph whenever you switch topic, and, at minimum, you have to know the points that make up your argument. However, once you understand what that shape is, I think it's important to be willing to separate the emotional ebb and flow of the character from the arguments within the text. I'm NOT saying ignore the text. You still have to communicate the information. What I am saying is the emotional state of the text may not align exactly with the information. The words about anger might not actually be angry when you say them. It probably makes sense for the emotion of anger to be somewhere in the neighborhood of those words - showing up maybe a sentence or two before or after - but for the words and emotion to line up exactly may actually end up feeling a bit flat. Sometimes there's more mileage to be had (and more truth) if we're able to let things get a bit messy.
I was fortunate enough to train with Fiasco Theater at one point (If you don't know them, you should. They are fantastic.) and one of the principles that they really encourage is that you try to remain as open minded about your character's emotional state as you can. Know your given circumstances and pursue your objective, but don't pre-determine how your character feels about it. Be open to the text and see where it takes you. And if you don't find anything interesting, try out an emotion that seems completely inappropriate and allow that to be your starting point. Rehearsal is the time to try these things out.
When we're overtaken by emotion in real life, we don't transition gracefully from one argument to another in a logical manner. Especially if we're making a perspective changing discovery about ourselves or the world around us, as the characters we play often are. We're just much sloppier than that in real life. Our mouths often say things we didn't know we felt until after we've said them. We say them and THEN we process what we've said. Or sometimes, something happens in our lives where we thought we would react one way and when the moment actually comes we don't. We thought we would be able to keep it together, and instead we're a total blubbering mess. We thought we'd be nervous, but instead we're totally calm. We thought we'd be laughing, where instead we're crying.
Experiment with where you can skew the alignment with the text and your emotional state. Your audience is smarter than you think they are. You don't have to hold their hand for every step of the way. And your characters can be more complex if you let them.
Thoughts? Comments? Questions? Post them below. The more the merrier!
Posted by Cotton Wright at 1:30 PM No comments:
Labels: complexity, Cotton Wright, Direct And To The Point, emotion, Fiasco Theater, new work, text
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