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Cabaret - Warwick SU

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Table of Contents
Table of Contents ......................................................................................................................................................... 2 
Introduction ................................................................................................................................................................... 3 
Production Team .......................................................................................................................................................... 3 
A Note on Producing .................................................................................................................................................... 7 
Directors’ Working Relationship ................................................................................................................................ 7 
Synopsis ......................................................................................................................................................................... 8 
    ACT ONE ..................................................................................................................................................................... 8 
    ACT TWO .................................................................................................................................................................... 9 
Themes .......................................................................................................................................................................... 9 
Artistic Vision ............................................................................................................................................................. 10 
Mis En Scene .............................................................................................................................................................. 13 
Characters .................................................................................................................................................................. 16 
    The Principles ........................................................................................................................................................ 16 
    The Kit Kat Klub Girls / Ensemble ...................................................................................................................... 17 
    The Kit Kat Klub Boys / Ensemble ..................................................................................................................... 17 
Music ........................................................................................................................................................................... 17 
Vocal Vision ................................................................................................................................................................ 17 
Band ............................................................................................................................................................................ 18 
Choreography ............................................................................................................................................................. 18 
Set Design .................................................................................................................................................................. 19 
Technical..................................................................................................................................................................... 21 
    Lighting ................................................................................................................................................................... 21 
    Sound ...................................................................................................................................................................... 21 
    Risk Assessment ................................................................................................................................................... 22 
Costume...................................................................................................................................................................... 22 
    Costume budget breakdown: .............................................................................................................................. 24 
Props List and budget ............................................................................................................................................... 24 
Auditions ..................................................................................................................................................................... 26 
    Audition Songs....................................................................................................................................................... 26 
Accents ....................................................................................................................................................................... 26 
Marketing ................................................................................................................................................................... 26 
Publicity ...................................................................................................................................................................... 28 
Rights .......................................................................................................................................................................... 29 
Benefits to the Society ............................................................................................................................................. 29 
Schedule ..................................................................................................................................................................... 30 
Budget ......................................................................................................................................................................... 31 




                                                                                     -2-
Introduction
Cabaret presents an amazing set of opportunities and challenges to a creative team. We are excited to
address them and hope that we do in the pack. Cabaret‘s brilliance lies in the many dichotomies within
the show. It is irrevocably of its time but also brilliantly timeless. We want to play on these dichotomies
and respect the subtlety and nuances inherent within the show. We don‘t want to clumsily make political
points, but allow the audience to reach them on their own.



Production Team
Producer – Matt Dimic 
Matt is an English Graduate who was heavily involved in MTW back in the day. He has produced Daisy
Cutter and associate produced The Wild Party in the Studio and co-produced West Side Story in the Main
Theatre. During WSAF last year he was involved in the production for four shows. Before he was a
producer he was a pit musician and occasional MD and is a keen baker. Matt is very excited to be
involved in MTW again with such a lovely team! 


Co-Director/ Set Designer – Callum Runciman 
Callum is currently studying the on the MA course in Drama & Theatre Education and did his BA degree in
Theatre and Performance Studies. He has been involved with MTW since his first term at university,
performing in Sweeney Todd, Into the Woods, Guys & Dolls, Company, Wicked, Songs for A New World,
Putting it Together, Kiss Me Kate, West Side Story, The Wild Party, The Rocky Horror Show and Spring
Awakening. He also directed A Man of No Importance and more recently co-wrote and directed the Revue
2010, Top Secret. Callum has a particular interest in how we use drama and theatre arts to reflect on
past events – this is the subject of his research dissertation. It is has been his dream to direct Cabaret for
a long time, and can’t face leaving Warwick without seeing MTW rise to the challenge.


Co-Director – Lily Brewer 
Lily is a second year PAIS student. She has been involved in drama all her life, directing and performing
in The Memory of Water, Antigone, Taming of the Shrew and Blue Remembered Hills and performing in
Anything Goes and Oliver! whilst at school. At sixth form she participated in the Shakespeare Youth
Festival, by producing, directing and playing Prospero in The Tempest. Since coming to Warwick, Lily has
been involved with MTW, performing in West Side Story, Spring Awakening, Kiss Me Kate and The Rocky
Horror Show. She was in WUDS production of Five Kinds of Silence. Lily has a lot of experience with
dance having taken exams to a very high level and choreographed for both shows at home and The
Revue 2010, Top Secret where she worked with Callum. The combination of previous acting, dancing and
directing experience means that Lily has the ability to see the ‘big picture’ and fully visualise the scene
whilst also understanding the subtleties of character work and development and the need to combine the
two.




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Choreographer – Katie Wignall 
Katie is a third year studying History of Art. She has been involved with MTW since she came to Warwick,
performing in Revue 2008, West Side Story, Kiss Me Kate and The Rocky Horror Show. She has
choreographed many shows for MTW including Company (for which she won best choreographer at The
Gilberts 2009) Wicked, Lapworth 2010 and Avenue Q. She is also choreographing this term’s weekend
show; Moulin Rouge and performed in Pizzaz this year.  


Katie has been dancing since she was tiny and is trained in Ballet, Tap, Modern, Jazz and Gymnastic
dance. This year she is also on the MTW Juniors team as assistant dance teacher. Cabaret is a
choreographer’s dream so she can’t wait to get started on it! 


Musical Director – Kate Meadows 
Kate is a second year PhD student studying Mathematical Biology and Biophysical Chemistry with a
performing diploma from the ABRSM on clarinet and grade 8 in piano and saxophone. During her many
years at Warwick, Kate has played with a wide variety of ensembles including the Symphony Orchestra,
Wind Orchestra, Big Band and Opera Warwick. Kate has also played in a number of MTW productions
including The Wild Party, A Chorus Line, Copacabana, West Side Story, Into the Woods, Company and
many weekend and Revue shows. Kate has previously been Musical Director for a number of MTW
shows, including Sweeney Todd and is very much looking forward to returning to MDing for this exciting
production! 


Vocal Musical Director – Michael Cannon
Michael is a fourth year French and History student. He has been Musical Director for MTW’s productions
of Guys and Dolls and Little Shop of Horrors and both Musical Director and Vocal Coach for Putting it
Together, Company and Spring Awakening. Furthermore, Michael has acted as rehearsal accompanist on
Sweeney Todd, Revue 2007 and Lapworth 2008, and was assistant musical director of Into the Woods.
Michael was involved in the MTW Juniors scheme in 2008 as one of the music coordinators and during
his year abroad, he ran a music theatre workshop, teaching English songs to French children. He was
musical director on Theatre en Anglais’ production of Sherlock Holmes, which toured around France,
performing to French audiences in English and last summer, Michael worked on Novel Theatre’s UK tour
of Carrie’s War, after its success in the West End, teaching Welsh hymns to the cast.


Technical Manager/Sound Designer – Jonathan Moss 
Jonathan is a second year engineering student, and the current treasurer of Tech Crew. He has sound
designed and tech managed many productions including How to Disappear Completely and Never Be
Found, The Marriage of Figaro, Five Kinds of Silence, Revue 2010, Top Secret, The Resistible Rise of
Arturo Ui and Most Drink In Secret. He was sound designer for Belleville Rendez-Vous, Measure for
Measure, Grease and Mercury Fur. He was also sound #1 for The Wild Party, and sound #1 for West Side
Story. He also has an interest in stage work, and was technical designer for Spring Awakening. He is
currently working on Moulin Rouge and When It Was May.



                                                  -4-
Lighting Designer – Sam Doughty
Sam is a first year Physics student, he has been interested in technical theatre from a young age and has
done a lot of lighting designs before coming to Warwick. Since being here though he has been a keen
and enthusiastic member of the society getting involved straight away. He stage managed The Marriage
of Figaro and has been involved in a number of get ins and get outs over the year. He is very excited to be
designing in a professional venue.
 
Stage Manager – Rosie Spiegelhalter 
Rosie Spiegelhalter is a second year student studying Literature and Film, apparently. In her time at
Warwick she has been on the stage management team for Pizazz, Royal Spa Centre, and Belleville
Rendez-Vous, Measure for Measure, West Side Story and Daisy Cutter at the Warwick Arts Centre. This
year she produced Spring Awakening and Five Kinds of Silence. Outside of the bubble she has been a
member of the Technical Crew at Pleasance at both the Edinburgh Festival and their Islington venue. She
has stage managed at venues such as the Minnack Theatre in Penzance, Cambridge Corn Exchange, The
Junction and the Barn Theatre in Welwyn Garden City. She is now co-producer for Fat Git Theatre, Head
Steward at the Arts Centre and Project Co-ordinator for Fierce! Festival, but would like nothing more than
to get out from behind her laptop and play with Kit Kat boys and girls. 


Set Co-ordinator – Rosie Harris Adamson 
Rosie Harris Adamson is a second year History of Art student and a member of the Tech Crew exec.
Before coming to Warwick, she was a set designer and scene painter for her local theatre. She studied
has A-Level art and was shortlisted for the Royal Academy A-Level Summer Exhibition in 2009. During
her time at Warwick Rosie has been involved in a number of shows; she has painted set for West Side
Story, was crew for Daisy Cutter in the studio and was set designer for the MTW Revue 2010, Top Secret.
She produced The Lover for WSAF 2010. Most recently Rosie was assistant producer for Spring
Awakening in the Arts Centre theatre, and was also involved in its set painting. Rosie is incredibly excited
to work on the Cabaret set and looks forward to seeing it through.


Costume Supervisor – Anaïs Higgins 
In her first year at Warwick Anaïs directed Brian Friel’s Translations for One World Week since then she
has been regularly involved in productions, mostly taking on stage-management and costume design.
She assisted the costuming and marketing for Much Ado About Nothing as well as working on the
costumes and being an ASM for West Side Story . She co-headed the costume design for a site-specific
production of Mercury Fur, was the stage-manager of The Lady’s Not For Burning and also for Five Kinds
of Silence. Most recently, she designed the costumes for Spring Awakening. Last term Anaïs also ran a 6
week costume-design course for 7-11 year olds at Leamington's Bath Place Community Centre. 


Publicity Designer – Stewart Clarke 
Stewart is a second year Theatre and Performance Studies student, who has been heavily involved in
MTW since arriving at Warwick. He has acted extensively in many shows and has recently done a great
deal of publicity design, particularly for MTW. His first foray into publicity design was during MTW’s 2009

                                                   -5-
Weekend show Kiss Me Kate, after which he collaborated with Jamie Ballantyne to create much of the
publicity for The Wild Party. Since then he has created publicity for Beauty and the Beast’s successful
2010 submission and the MTW Revue 2010, Top Secret. Stewart is publicity designer for the WUDS
Brokenville as well as Cabaret. 


Marketing Manager – Immi Calderwood

Immi is a second year English and Theatre Studies student. This will be her first experience of marketing
theatre at Warwick, but she has been involved in the marketing team for WSAF ’10, which provided
invaluable experience. Additionally, she has performed in several WUDS studio shows, and also been
involved in Stage Management, in both theatre and studio shows, and has become very familiar with the
Warwick theatre scene. Having been involved in many publicity stunts for various shows, she is fully
aware of the importance of fundraisers, and other marketing strategies, to the overall success of a show.
Although not having been directly involved in Marketing, Immi believes she possesses the necessary
skills to become a marketing manager, such as dedication and good organisation


Assistant Producer – Imogen Clare-Wood
Imogen is a first year English student, and has become actively involved in as much Warwick Drama as
possible since arriving in September. Before arriving she both directed and stage managed numerous
school productions, as well as directing and producing a show for The Shakespeare Youth Festival. At
Warwick she has assistant stage managed The Resistible Rise of Arturo Ui, and is currently stage
managing Antony and Cleopatra, both studio shows. As such she has a strong understanding of the
studio, but is eager to learn more about the production side of things. The experience in stage
management has also enabled her to develop excellent organisational and communication skills, both of
which will help her fulfil the role of assistant producer with aplomb.
 

Assistant Producer – Tom Gillespy

Tom is a first year electronic engineer and has 4 years of technical theatre experience. He is also a
member of Tech Crew for which he has attended the get ins for The Marriage of Figaro (where he was
Assistant Stage Manager), Spring Awakening (where he was a follow spot operator), The Resistible Rise
of Arturo Ui and The WUDS Weekend show. At home he has also helped with several plays at a local
amateur theatre including setting up for the Long Crendon Mystery Plays and being Lighting Designer at
a production of Schools Will Rock You. He has no production experience but understands what the
necessary qualities for producing are, and is keen to be involved and learn how musicals and plays come
together.




                                                    -6-
          ing
 on Produci
              sistant producers. The aim is to have them start lea
e a pair of ass                        m                                     me         w
                                                                 arning from m and then when
            confident hav them go o to look afte departmen of the sho Tom will look
eeling more c           ve        on           er        nts        ow.        l
                         l           arketing, as in my experience, these ar the departments
t/design and Imogen will look after ma                                     re
             xtra                             g           sistant produ
ely to need ex hands close to show week! Having been an ass           ucer and having
                                                  w           t           The        s
with two assistant producers on Daisy Cutter I know how to best use them. T assistants will
             y          erwork that m non-studen status prev
p out with any Union pape           my         nt                      m           ut.
                                                           vents me from carrying ou With a
            uction team members this year, and many more lea
lack of produ           m          s                       aving we thin k the role of
             bly                     ant       ss
ts is incredib important and really wa to addres this.



          ng       nship
ors’ Workin Relation
                          ow       g            wer       he        nd        erfully
us have a love for this sho stemming from the pow behind th themes an the wonde
            mensional cha
and three dim                       e           tween the comic and the t
                        aracters. The balance bet                                     ght
                                                                        tragic, the lig and
             nd         m           ow                    nting. We fee that this is the right
e beautiful an the ugly make this sho so moving and so haun           el
          bark upon this challenge, a rise to th occasion.
 MTW to emb            s            and        he


             successfully before we are confident in our ability to direct this s
collaborated s            b           e            n                                        am. As
                                                                                show as a tea
                        etter than one and we tru believe that to be the c
ng goes “two heads are be            e”         uly                      case. Having
                         side of the re hearsal setting will lead to a more tho
e to bounce ideas off outs                                         o                        epth and
                                                                              oughtful, in de
            ing       ogether on Th Revue 201 Top Secre as Director and Choreog
ul show. Havi worked to           he        10,       et          r           grapher
             ed                     king styles an feel that th complem
well acquainte with each other’s work            nd           hey                 ance each
                                                                      ment and bala
           our         pring Awaken
urthermore o roles in Sp                     w            t            eloping our
                                  ning meant we spent a lot of time deve
             resulting in us having an e
ers together r             s                         ogue on the nature of cha
                                       excellent dialo           n                        opment
                                                                             aracter develo
            matters in putt
at we think m                          omplex and nuanced performances.
                          ting across co          n


            at                      will        t                                     sed
e decided wha our directing process w be. Prior to every rehearsal we will have discuss our
            nd                      o          t             nt          t.          als
 the scene an character motivation so we present a united fron to the cast In rehearsa
                          sent, howeve r only one pe
ves both of us will be pres                                      e                         ear
                                                   erson will take the lead to provide a cle point
              n            y             arge of scene occurring within the Kit Kat Klub and Callum
or the cast. In general Lily will take cha           es          w            t            d
             he          t            rld. However this is not fix
n charge of th scenes in the ‘real’ wor                                                      eel
                                                                 xed; if one or other of us fe a
            n            w            le           hat
ar connection to a scene we will be abl to direct th moment.


                          yone in Berlin has a perfe
                     “Every            n                        ous
                                                   ectly marvello
                         mate. Some p
                     roomm          people have two people!”




                                           -7-
Synopsis
ACT ONE
Cabaret begins in the Kit Kat Klub, a cabaret in 1929 Berlin. In the opening number (‘Willkommen’) the
audience is welcomed by the Emcee and the Kit Kat Klub girls. After this, the action shifts to a train car
where we meet Clifford Bradshaw, an American writer looking for inspiration for a new novel. Cliff meets
Ernst Ludwig, a native of Germany, who not only recommends a place to stay in Berlin, but also
opportunities to work and make money. After arriving in Berlin, Cliff makes his way to Fraulein
Schneider’s boarding house. Fraulein Schneider ends up charging Cliff 50 marks for his room, half of
what she originally wants. However, we find out that Fraulein Schneider has learned to live with what life
has to offer, even if it isn’t what she truly wants (‘So What?’).


After settling, Cliff decides to explore and visit the Kit Kat Klub, another place Ernst suggested he visit.
We see the Emcee introduce Sally Bowles, a British singer (‘Don’t Tell Mama’). At the Kit Kat Klub, Sally
meets Cliff and is astounded to hear someone who speaks English. She asks him to recite poetry for her
and he indulges her by reciting a poem about baseball. Cliff asks Sally to come home with him; however,
she declines as she believes that her boyfriend, the owner of the club, would be too jealous. It is the next
day and we are back at Cliff’s apartment and Sally arrives as he is working on his novel. She tells him
that her boyfriend has thrown her out and she has no place to stay. Sally asks Cliff if she can move in
(‘Perfectly Marvellous’). Although hesitant at first, Sally convinces him. The Emcee tells the Kit Kat Klub
audience that everyone in Berlin has a perfectly marvellous roommate (‘Two Ladies’). We then move into
Fraulein Schneider’s apartment where Herr Schultz, an elderly Jewish fruit store owner, is visiting her and
giving her a gift (‘It Couldn’t Please Me More’). It is here that we see that there is romance between the
two.


Several months pass and the atmosphere in Berlin is changing (‘Tomorrow Belongs to Me’). Cliff knows
that he is living in a dream world, but he continues to ignore the reality of what is happening in Berlin and
continues to party with Sally (‘Why Should I Wake Up?’). She reveals that she is pregnant, but does not
know who the father is. Sally wants to have an abortion, but Cliff convinces her not to since there is a
chance that he could be the father. Ernst calls on Cliff and says that he has a job for him—deliver a
suitcase to a client. Cliff accepts thinking it is easy money though the contents of the suitcase are
suspect (‘Sitting Pretty’).


After this, we see Fraulein Schneider confronting another one of her boarders, Fraulein Kost, about
bringing sailors into her room. She wants Fraulein Kost out of the house; however, Fraulein Kost retorts
that Herr Schultz has been in Fraulein Schneider’s room. Herr Schultz saves her reputation by saying that
they are to be married in three weeks. Fraulein Kost leaves and Fraulein Schneider thanks Herr Schultz
for lying about their engagement. However, after saying that he was serious, he proposes (‘Married’). We
then go to Fraulein Schneider and Herr Schultz’s engagement party. Cliff brings the questionable suitcase
to Ernst. Herr Schultz gets a little too drunk and sings a Jewish song to entertain his guests (‘Meeskite’).


                                                     -8-
                         hat                                             st.        s
arns Fraulein Schneider th marrying a Jew might not be in her best interes Ernst goes to leave
             ges        ay         g             onalist anthe (‘Reprise: Tomorrow Belongs to
 lein Kost urg him to sta by singing the pro-natio           em                    B
                             ,            hneider and Herr Schultz.
ng by all except Cliff, Sally, Fraulein Sch           H


O
                                     irls’ kick line becomes a parody of the infamous go
opens at the Kit Kat Klub where the gi                         p           e           oosestep.
               hneider and Herr Schultz discussing th marriage Fraulein Sc
    Fraulein Sch           H                        heir     e.          chneider is concerned
            appen, but He Schultz fe
 hat could ha           err                     ngs
                                   eels that thin will be fine in the end (‘Reprise: Married’).
                                                                        d            M
            ation a brick is thrown th
heir conversa           k                        hop                 estion wheth it was
                                     hrough the sh window and they que          her
                                    orms a numb with a gir in a gorilla suit and sin about
us or just kids. The Emcee then perfo         ber        rl           a            ngs
            proval they ha faced and encourages the audienc to be more open-minde (‘If You
e, the disapp            ave       d          s           ce         e          ed
ee Her’).


                                          m            eturns their engagement present (‘Wh Would
    Schneider visits Cliff and Sally’s room where she re            e                     hat
                           en         bout their futu Cliff wish to bring S
’). Cliff and Sally have bee arguing ab             ure.       hes        Sally to America to
             ever, Sally be
eir baby; howe                          heir       onderful in Be
                          elieves that th life is wo                            nts
                                                                erlin. Cliff poin out that Berlin is
                                                                                           B
            able and Sall continues t protest. Sh leaves to perform at the Club (‘Caba
ng more unsta           ly          to          he          p            e           aret’) and
 e comes bac admits to Cliff that she has had an abortion. Cliff slaps her an says that he is
           ck,                      e                                       nd
              he         b           at            o                         at         ays
for Paris in th morning, but hopes tha Sally will go with him. She retorts tha she’s alwa hated
             s                        k             ar                         Paris. He is writing a
d Cliff leaves without her. We are back in a train ca with Cliff on his way to P            w
             n            nces in Berlin . He begins to sing and the Emcee join him and th
at reflects on his experien                           o                       ns         hen
es him. We sh back to th Kit Kat Klu where the cabaret ense
            hift       he          ub                                 the       s
                                                          emble sings t opening song in a
             ressed in Naz regalia (‘Fin
arker tone, dr           zi                                     c            sing as the lights
                                       nale Ultimo’). The Emcee continues to s
            m
d we hear him say ―Good night.



                           ere       baret and the was a
                        “The was a cab           ere
                          ster     monies and th
                        mas of cerem           here was a
                           y             n            y
                        city called Berlin in a country called
                          rmany. It was the end of th world.”
                        Ger           s             he




m
             al         w            re          duction. Musical theatre is often criticis for
    fundamenta theme we wish to explor in our prod                         s              sed
              rt                       escape’ to the Warwick Arts Centre Stu
n ‘escapist’ ar form. As the audience ‘e                                                aracters
                                                                            udio, the cha
                          s                          K           ared to face th realities of the
how ‘escape’ to the riotous nightlife of the Kit Kat Klub. Unprepa             he          o
             hey        r             elsewhere. Only when the characters’ o
ey inhabit, th search for distraction e                                                e
                                                                           own lives are directly
                                      e           d             m                       s
by the changing political landscape are they forced to face the music or find other means of


                                             -9-
escape. Sally retreats back to the Kit Kat Klub, Cliff escapes to America, Fraulein Schneider chooses to
avoid an uncertain future. The German people begin looking for a political escape from the failing
Weimer government and turn to the Nazi party who promise a better Germany. As a result the audience
are forced to consider the dangers of ‘escaping’.


Political change
Cabaret is not concerned with what happened under Hitler’s rule, but, more interestingly, is concerned
with the events that led up to this radical political shift. The vision for a new, improved Germany
combined with propaganda helped to persuade the nation to support their regime. In this production, we
want to emphasise how the extreme political ideals posed a threat to minority groups, represented by the
character of Herr Schultz, and how this oppressive party used violent tactics to silence those who spoke
out against them.


Theatricality and Cabaret
The gulf between our real selves and the version of ourselves we like to perform to others is often the
crux of much drama, and one that is an inherent part of Cabaret. The cabaret performers adopt their
debauched stage personas, where sex, drink, love and laughter are the only things of value, whilst
reflection, judgement and moderation (so important in the growing political storm) are frequently ignored
or at most, loosely satirised. Sally Bowles tries to persuade us (and herself) that ‘life is a cabaret’, but in
our version we want this desperate statement to be highly unconvincing for the audience.


Sexuality and Sexual Liberation
Cabaret transports us back to the end of the ‘golden era’ of the Weimer Republic brought to halt in 1929
with the Wall Street Crash, where our story begins. Under the liberal Weimer government, loose
regulations allowed cabaret nightclubs the artistic freedom to perform more risqué material as well as
make political and social comments – this was a period of sexual experimentation. Some cabaret acts
included sexual discussions and even nude performances. These relaxed conditions allowed cabarets to
thrive at this time. We want to emphasise an irreverent, saucy and bawdy atmosphere through sexually
suggestive routines and costumes, playing on the thrills and surprises of the taboo.



Artistic Vision
A drum rolls. A cymbal crashes. A spotlight shines on the devilishly captivating Emcee as he utters,
‘Willkommen, Bienvenue, Welcome... Fremde, Étranger, Stranger...’ These opening words of the show act
as a mesmerizing call, enticing the audience to escape to the smoky, sumptuous world of the Kit Kat
Klub. Our production of Kander and Ebb’s masterpiece is all about immersing the audience in the
decadent world of the thriving cabaret nightclubs under the liberal Weimar government. The audience
will be placed at the heart of the action, seated around cabaret tables and taking on the role of a 1930s
cabaret audience. We shall make full use of the studio space with the drama happening in front, in
amongst and all around them. They are asked to ‘leave their troubles outside’ and indulge in the sensual
costumes, saucy innuendo, witty routines and political satire. But whilst this hedonistic lifestyle might


                                                    - 10 -
seem att            amusing at fi
       tractive and a                                         ng!        ot           he        o
                                irst, it does n ot last for lon As the plo unravels, th shadows of what is
        ome loom om
yet to co                    er         cters. Some are blind to it, some cho
                  minously ove our charac                                               re
                                                                            oose to ignor it, and
                                          ehind the scen And whilst Berlin imp
some run away as the storm clouds gather be            nes.                               e
                                                                             plodes, so the cabaret
descends from glam            sque, and th result is devastating. As the influe
                 mour to grotes          he          d            A                       N
                                                                              ence of the Nazi party
spreads through Ber                                                            Kat       e
                  rlin, so this is reflected in the crumbling world of the Kit K Klub. The cabaret
       ances will be
performa                      d            erce and agg
                   ecome more desperate, fie                                               creasingly
                                                      gressive and the show wil l become inc
      ortable to wat
uncomfo            tch.




Why did people stand by and watc the Nazi p
                   d           ch         party rise to power? What sort of impac did this have on the
                                                        p                       ct
         ordinary peop living in Berlin? These are questions that we want our prod
lives of o           ple         B           e                       w           duction to open up for
                    k            wing them to consider the events of the past with a critical eye and the
our audience to think about, allow          o            e                                      e
luxury of hindsight. A we behold the rousing yet terrifying rendition of Tomorrow B
        f            As                                   g                                   e,
                                                                                  Belongs to Me we see
      ny         German’s wer unquestion
how man ordinary G          re                       ’s                       many.
                                       ning of Hitler’ vision for a better Germ


                     tly        how that flits between sa
Cabaret is a brilliant crafted sh            s                       ror        y          on’t
                                                        atire and terr so rapidly that we do know
                    cry.     w           gerously on the brink betw
whether to laugh or c The show hovers dang                                  y           y,
                                                                  ween comedy and tragedy and we
                   d           ose     s             ect.      r            o            ether the
want to pinpoint and exploit tho moments for full effe It is our intention to collide toge
       ned, surreal w
heighten                         K                        sher reality of life, whilst keeping thes worlds
                    world of the Kit Kat Klub with the hars            o                          se
         enough for th drama to be effective.. To achieve this, the char
distinct e           he                                   t                        cee
                                                                       racter of Emc will infiltrate both
        an                   ho        over the narr
worlds, a omniscient figure wh watches o                                                  ng
                                                   rative action, occasionallly contributin to the
      as           spector; flicking through t he pages of Mein Kampf; throwing a b
drama a a ticket ins                                       M                      brick through a Jewish
                  w.         on,      ne                   hearsed unti l they are slick and
shop-owner’s window In additio the scen changes shall be reh                       s
professio            verlapping so that the pa of the sho is never halted and th e transitions between
        onal, often ov           o           ace        ow         h
        worlds are flu and connected. This w further help the audien to unders
the two w            uid                   will                    nce                   e
                                                                             stand how the cabaret
                  n                        ense of these two worlds together. The wooden thrust stage
routines comment on the action, and get a se           e            t           e
       n           eaning: not only is it the s
takes on a double me           o              stage where the cabaret performers en
                                                          t           p           nthral their audiences
                                                                                               a
        ecomes the s
but it be                                 ers                    ves, and und the spotlight, their
                   space where the characte perform their narrativ          der
        to          nore the chan
choices t blindly ign                        al                                  y.          g
                                nging politica landscape are placed under scrutiny As things get out of
       ey        selves, should they make a stand?
hand the ask thems            d




                                                 - 11 -
This is a dark show th centres on the most tu
                     hat                               ment of Berlin history, bu we are eag not to
                                            urbulent mom            n’s         ut         ger
        he        me          o           er            d                        e
labour th Nazi them too early on, but rathe let it unfold as the story allows. The script is so sincerely
       elligently writt that the dramatic ten
and inte              ten                                            e’s                    o
                                            nsion lies in the audience tacit und erstanding of what is
                                  haracters are ironically un
lurking in the wings, whilst the ch           e                        hat       me.       t
                                                            naware of wh is to com News of the Nazi’s
         fluence in Ge
rising inf                       btly
                     ermany is sub woven in the dialog
                                          nto                      y           d           racters at
                                                     gue, flippantly disregarded by the char
                        heir      re         as                      nly         al
first but infiltrating th lives mor and more a the play progresses. On in the fina number, a haunting
        of       men, will the audience be confronted with the full overpower
reprise o Willkomm                       e                                  ring force of the Nazi
        grip     any.
party’s g on Germa




       racters are w
The char                                   plex, but we feel that it is essential th their pers
                   wonderfully rich and comp            f             s            hat        sonalities,
        ships and act
relations                        ievable if we want the au
                    tions are beli                                   mpathise with their situations, and
                                                         udience to em           h
       bout the very human dilem
think ab                                  ace. Should Cliff wake up from his co
                               mmas they fa           C           p                       ream and
                                                                              omfortable dr
face the world aroun him? Shou Fraulein S
       e           nd        uld                   reak off her engagement with the Jew
                                        Schneider br                     t            wish Herr
       ?            y            aby                                    estyle? The he
Schultz? Should Sally abort her ba to return to her familiar riotous life                         roduction
                                                                                     eart of our pr
                                        ative. It is th
pivots around these dilemmas in the narra                          l          pend enough time in
                                                      herefore vital that we sp         h
       als       ng        aracters and focusing on a naturalis style of acting that corrodes
rehearsa developin these cha                      n           stic
        the       lised cabaret performance Come sho
against t more styl                       es.                             tors to be com
                                                   ow-week, we want our act            mfortable
         o           udience find it easy to inve in the ful fleshed-ou carefully c
in role so that the au            i            vest        lly        ut,                     haracters.
                                                                                  considered ch
                  rcises, discus
Through games, exer                                    alysis of cert
                               ssions and a detailed ana                         we       at
                                                                    tain scenes, w hope tha we can
                                tors to allow them to put their own ‘spin’ on the iconic roles whilst
work collaboratively with the act                                   ‘           ese
fulfilling our artistic a            s
                        aims for the show.




                                    n’t                     s
                                 “Isn it funny it always ends this way?
                                   en          ally      s
                                 Eve when I fina do love someone
                                   rribly – for the first time. But it’s still
                                 ter              e             B
                                                ough. I’d spoi it, Cliff. I’d
                                 no – quite – eno            il
                                   n           the           ing        t
                                 run away with th first exciti thing that
                                   me         guess I really am a rather
                                 cam along. I gu             a
                                 stra
                                    ange and ext      - 12 -erson.”
                                               traordinary pe
Mis En Scene
PRESET                               As the audience enters the studio they enter the
                                     world of the Kit Kat Klub. Decadent, lavish - yet
                                     fading slowly around the edges - the costumes are
                                     worn and the lights flicker slightly, not all the chairs
                                     and tables match and the paint is chipped. The
                                     table lamps glow, allowing the audience to
                                     examine the objects left for them, a fan, an
                                     ashtray, a hand mirror, a newspaper...


                                     Through the walls we see the girls of the Kit Kat
                                     Klub slowly and leisurely readying themselves for
                                     the evening’s entertainments; it is clear that for
                                     them this is just another day in a series of long
                                     days. The lights slowly flicker out leaving only a
                                     tight spotlight searching for its mark as the music
                                     begins....


EMCEE: (singing)                     The spotlight finally settles on the curtains at the
WILLKOMMEN, BIENVENUE, WELCOME       back of the stage (having first passed over the
FREMDE, ÉTRANGER, STRANGER           audience and stage as if operated by someone not
                                     sure of their job). On the crash of the symbols the
                                     trapdoor in the stage opens revealing only the hand
                                     of the Emcee. The spotlight quickly finds him as
                                     another hand creeps over the edge of the trapdoor
                                     and slowly the head of the Emcee appears. He
                                     nods to the audience acknowledging their attention
                                     and begins to sing. He sensuously stands and
                                     climbs out of the trapdoor, smoothly flipping it shut
                                     on STRANGER.


GLUCKLICH ZU SEHREN                  As more lights slowly fade up the audience are now
JE SUIS ENCHANTÉ                     aware of the strange figure the Emcee cuts as he
HAPPY TO SEE YOU                     stands. Androgynously sexy, the Emcee struts
BLEIBE, RESTE, STAY                  around the edge of the stage making eye contact
                                     with audience members, bringing them directly
                                     into the cabaret world. His tone changes for
                                     BLEIBE, RESTE, STAY becoming more commanding
                                     and less enticing, the Emcee’s body language also



                                 - 13 -
                                                            changes becoming more upright and he points to
                                                            those audience members further back, as if they
                                                            were patrons who might attempt to slip out of the
                                                            club. This commanding moment is short lived
                                                            however as an impish grin spreads across his face
                                                            for...


WILLKOMMEN, BIENVENUE, WELCOME                              The Emcee takes centre stage once again
IM CABARET, AU CABARET, TO CABARET!                         inhabiting his highly sexual and yet androgynous
                                                            state. He is aware of the power he can wield whilst
                                                            on the stage and is revelling in it, enjoying the
                                                            attention, striking poses for each CABARET.


Meine Damen und Herren - Mesdames et                        The patter is easy for the Emcee, once again he
Messieurs -Ladies and Gentlemen! Gutten abend -             does it every night. DO YOU FEEL GOOD is
bon soir - good evening! Wie gehts? Comment ca              emphasised, stressing the suggestive nature of the
va? Do you feel good? Ich bin euer confrencier - je         question. It is almost as if the audience is divided
suis votre compere - I am your host!                        into German, French and English sections as each
                                                            language the Emcee speaks is directed to a
                                                            different area of the audience. On – I AM YOUR
                                                            HOST! – he finishes right on the beat so that....


UND SAGE -                                                  He easily slips back into the song and repeats the
WILLKOMMEN, BIENVENUE, WELCOME                              earlier poses for each CABARET.
IM CABARET, AU CABARET, TO CABARET!


Leave your troubles outside! So - life is                   It is in this speech that one of the key ideas of the
disappointing? Forget it! In here life is beautiful -       show is contained that of blocking out your
the girls are beautiful - even the orchestra is             problems by escaping to this strange cabaret
beautiful!                                                  world, so it must not be lost in the rest of the
                                                            opening number. The first line sees the return of
                                                            the more controlling Emcee, but it is almost as if
                                                            he recognises that he has gone too far and goes
                                                            back to enticing and seducing the audience. As he
                                                            asks if life is disappointing he leans forwards as if
                                                            inviting their confidences and returns to a relaxed
                                                            standing position to dismiss them. Pointing at the
                                                            audience bringing the arm around from the right to
                                                            left making sure to include every audience
                                                            member - IN HERE LIFE IS BEAUTIFUL, the Emcee



                                                        - 14 -
                                                          turns and throws his arms up to the band for EVEN
                                                          THE ORCHESTRA IS BEAUTIFUL. As the band begin
                                                          to play the instrumental break. The Emcee runs to
                                                          the back of the stage and carefully climbs the
                                                          ladder on stage left and his right hand holding
                                                          tightly begins to ‘conduct’ the orchestra with his
                                                          left. After doing this for two bars he climbs down
                                                          and begins to take a path through the audience
                                                          round to the centre back. Perhaps trailing his hand
                                                          along the back of a chair, checking his reflection in
                                                          a hand mirror on one table fanning himself
                                                          languorously with the fan from another.


And now - presenting the Cabaret Girls                    The Emcee is at the back of the audience and
                                                          gestures to the curtains which open to reveal the
                                                          Kit Kat Klub girls posed, draped all over each other,
                                                          Fosse style. As they walk forward one by one to
                                                          take their position on the stage they leave the
                                                          other girls frozen in exactly the same position (so
                                                          they may now be ‘leaning’ on air rather than on a
                                                          girl who has now taken her place on stage).


Each and every one a virgin. You don’t believe me?        As the girls continue moving the Emcee carries on
Well, don’t take my word for it. Go ahead. Ask her!       his path through the audience reaching the stage
                                                          for GO AHEAD. The girls remain impassive.


Outside it is winter. But here it is so hot - every       As the Emcee continues the girls shoot furtive but
night we have the battle to keep the girls from           inviting looks between each other and audience
taking off all of their clothing. So don’t go away.       members. The Emcee moves between the girls
Who knows? Tonight we may lose the battle!                tugging gently at their already revealing clothing
                                                          when he reaches the last girl he pulls down the
                                                          strap of her top for WHO KNOWS? and then slaps
                                                          her bum at the end of the speech.




                                                      - 15 -
cters
                                                                   w         e
                                              “I used to pretend I was someone quite
nciples                                             ious and fasc
                                              mysteri                        n            nd
                                                                cinating. Then I grew up an

of Ceremonie (Emcee) - Emcee of
           es          E                             d           erious and fas
                                              realised I was myste            scinating.”
             enigmatic, om
Kat Klub. An e           mnipotent
              sexualised an controlling yet exceedin charisma enchant
who is highly s           nd          g            ngly     atic,                ence with
                                                                    ting the audie
                                      man         le,          tional, we are open to the idea of
rin Whilst we are intending to cast a m in this rol as is tradit            e           e
                                    the        son                      nteresting to
e ‘male-impersonator’ Emcee, should t right pers audition. It could be in
              transvestism commonly s
 ent with the t                                  erlin cabarets Range - Low A to High G.
                                    seen in the Be            s.          w           G


              s                        r            t                         ge.       nge
wles - Sally is a fabulous character for an actress to play and a real challeng The stran
           er          entric outer s and the fr
e between he brash, ecce            self                    t            d           erneath
                                               ragile, almost broken child she is unde
            er          d             eat         ortray.. Range - Low E to High C
ns most of he actions and will take gre skill to po            e


           An            oung Americ who has come to Berlin to find crea
Bradshaw - A idealistic yo         can       c                         ative inspiration for
el’. He acts as the moral heart of the sh
              s                                    ces        nce      er
                                        how and forc the audien and othe characters to
            tude of the Na vision for Germany. Range Low C to E above m
ze the magnit            azi                   R           t          middle C


                first friend in Germany wh is very lika
 dwig - Cliff’s f                        ho                          L            evealed to be working
                                                      able at first. Later he is re
              rcing the othe characters and the aud
Nazi Party, for            er         s                        front the fact that Nazi supporters
                                                  dience to conf            t
                        ckground but in fact their friends and neighbours. R
shadowy people in the bac          t                           n           Range - low A to high




             Runs the the boarding hou where Cliff stays when he arrives iin Berlin. Har
 Schneider - R                       use                                               rdened
            atic       stic       nderness sho in her rel
 he is pragma and realis so the ten          own                     th         ltz
                                                        lationship wit Herr Schul
            e           h           rmth of the show. Range - Low E flat t C above middle C
s much of the emotional heart and war                                    to        m


             and        uit        erlin and is Fraulein Schne
hultz - Owns a runs a fru shop in Be                                       nterest. He is the only
                                                             eider’s love in            s
              he                    s            ssal                   e
 haracter in th show and as such. His blind dismis of the impact that the Nazis could have on
             unting mome for the au
provides a hau         ent                    ge
                                  udience. Rang Low B to High G


             stitute that liv in Fraulei Schneider’s boarding ho
 Kost - A pros              ves        in                                 rovides much of the
                                                               ouse. She pr          h
 with many different sailors leaving he r room at var            T           element of her
                                                    rious times. The comedic e
                                                                e                        o
er however is subverted when she is th e one to begin the reprise of ‘Tomorro w Belongs to Me’.
 ess cast in th role will also appear in some of the Kit Kat Klub numbers as a dancer. Ra
              his                                                                       ange - low
h G.




                                            - 16 -
            rls       le
 Kat Klub Gir / Ensembl
                                Fritzie
                                Texas
                                Frenchie
                                       e
                                                     ey          udience into t world of the
cing girls of the Kit Kat Klub, sexy and seductive the lure the au            the        t
            e              o            parts in the ‘r
abaret. Those cast will also play other p                          s
                                                      real’ world as required.



            ys        le
 Kat Klub Boy / Ensembl
                                Felix
                                Herman n
             s,          d            f             K            a            ty,          i
ters, cleaners dancers and bell boys of the Kit Kat Klub, sexual and a bit dirty confident in
             r                                                 st           uired to play other
 ves and their sexuality (whatever that may be). Again those cas will be requ
              rld.                                e            o           o          ble
 the ‘real’ wor Range - low A to high G, with the exception of one tenor who must be ab to
 flat.



                                                     eave your trou
                                                   “Le                        e!
                                                                  ubles outside So – life is
                                                     sappointing? Forget it! In h
                                                   dis                          here life is
             t
sic of Cabaret is used throughout to
                                                     autiful – the girls are beau
                                                   bea             g            utiful – even
             ce           K           e
rt the audienc to the Kit Kat Klub. The
                                                     e            s
                                                   the orchestra is beautiful”
              nclude the au
 style songs in           udience and
             magine the se
elp them to im                        mar      c.          m           nt           epresent
                         etting of Weim Republic There are many differen styles to re
                         ow,       e            sicals based on the vaude
t aspects of a cabaret sho much like in other mus                                      n,
                                                                        eville tradition like
             almost all in a cabaret sty can be ve comic, suc as Two Lad
. The songs, a                         yle,      ery        ch         dies, but are also
             matic momen in the sho such as th song Caba
crucially dram         nts        ow,        he        aret. Before th song, Sally finds
                                                                     he
             ant,      he         decides to hav an abortio The one so which is not
 she is pregna and by th end, she d            ve         on.        ong
             style is Tomor
 n a cabaret s                       s                          bout the fathe
                          rrow Belongs to Me, a patriotic song ab                         tyle
                                                                             erland, the st of
            ars        he           the        wing the approaching and unstoppable rise of
mmediately ja against th setting of t club, show                      d           e
           und       tually inside t club. Rep
growing arou and event             the                               Belongs to Me and
                                             prises of both Tomorrow B           e
                         nging politics in Germany.
 men also reflect the chan



Vision
              re          er         on          ough song than there mig be in othe shows.
ret, since ther is a heavie emphasis o acting thro                      ght        er
                           ander and Eb b being heav influenced by Kurt Weiill. I will be lo
n large part, a result of Ka                       vily       d                            ooking to
ople who can perform the song convinc                                       autiful voice. This will
                                    cingly, rather than singing it with a bea              T
             g             m          aret       s            g            n           g
abaret setting well, as so much of caba singing is about trying to entertain and playing up to an
             n           eautiful voice.. At the same time, I will have to make sure that th singers
e, rather than having a be                          e              h          e            he
             perform for fo performa
e stamina to p            our                                re
                                   ances. I will also make sur that the Kiit Kat Klub girls and
             s                         nding too mu like individuals.
 g together as a group, rather than soun          uch


                                            - 17 -
Band
The band for Cabaret is scored for the following instruments:


Reed I: Piccolo, Flute, Clarinet, Alto Saxophone & Soprano Saxophone (and optional Eb Clarinet)
Reed II: Clarinet, Soprano Saxophone & Alto Saxophone (and optional Piccolo & Flute)
Reed III: Clarinet & Tenor Saxophone (and optional Oboe and English Horn)
Reed IV: Clarinet, Bass Clarinet & Baritone Saxophone (and optional Bassoon)


Horn


Trumpet I & II
Trombone I
Trombone II


Percussion
Bass
Piano


As you can see, the band is big. We do not want the band to overpower the singers, especially with the
number of brass players that are required, so we will be cutting it down. As the piano conductor part
incorporates all of the other parts, it should be easy to cut some of the parts, though we would like to
wait for the scores to arrive before we choose which parts to cut. Ideally, we would only have one trumpet
and trombone, cutting the other three brass parts. However, in spite of cutting down the number of brass
players, the makeup of the band will still make the band sound like a cabaret band.



Choreography
In Cabaret the audience are constantly aware of the finely balanced drama in front of them. They are
simultaneously being presented with the fun, decadent and erotic Kit Kat Klub as well as the sinister
events happening outside of this bubble. In the dancing there will be a similar contrast with humorous
and sexy movements coupled with odd - highly stylised - Fosse gestures. This will make the show girls,
despite being dressed in an alluring way, look at times ugly and contorted. I want to use dances like Don’t
tell Mama to show this incongruity between sexy and plain disturbing.  


Another theme throughout the show is escapism. In the opening song Willkommen, Emcee declares “we
have no troubles here” and I want the dances to reflect this liberation while at the same time show
tension through use of the Fosse gestures and other disturbing imagery. In Kickline, for example, a
seemingly frivolous dance suddenly uses the iconic goose-step, reminding the audience of the historical
context of the Nazi uprising.  



                                                  - 18 -
The studio space and our set will be a great help to the choreography; giving performers the chance to
flirt with the audience members and allowing the audience to see every tiny movement on stage. This will
be particularly effective in two ladies which is a highly sexualised, crazy and funny number that will
contain suggestive movements and the opportunity to interact with the audience.


We have decided to have a dance in our auditions because this show will require an ability to move well,
especially as the dancers are supposed to be show girls and they all have to move in time to make
dances like Kickline effective. 


I believe that Cabaret is a fantastic opportunity for MTW to really push their dancing capabilities and have
fun doing so, the numbers, which may be at times challenging will also stretch members acting and
singing abilities as they adopt a show girl persona. 



Set Design
The set of this show will be a reflection of both the extravagant celebration of the Kit Kat Club, and the
quietly growing terror of the Nazi regime. The audience will be invited to sit at one of the eleven
mismatched tables, to become a member of the club and to therefore involve themselves completely
within the show. The stage for the performers of the Cabaret will be raised, and a floor boarded platform
will extend into the audience space. Small cracks in the boards will allow both light and smoke to reach
the performers, adding to the atmosphere of the club. Festoons will hang from the ceiling, while light
bulbs will frame the curtained entrance onto the stage. Through the cracked plaster of the back flats, the
dressing rooms of the performers will be visible, therefore extending the staging space. On these flats
hang Nazi banners, which act as a constant reminder of the veiled threat ever present throughout the
show. Through the means of a flown in light, the Kit Kat Club will become an apartment. The set of
Cabaret will in its simplicity provide a dramatic and effective performance space, one which will
convincingly enhance all aspects of the show, and immerse the audience in the experience of the
Cabaret.




                                                   - 19 -
    Plan view of set, and seating arrangemen
       n                        g          nt


- 20 -
Technical
Lighting
The lighting for Cabaret will be used to emphasise the transition between the abnormality of the club and
the real world outside. Vibrant colours especially reds and blues will be used to create the feel of a sleazy
club. There will be several birdies screwed to the front of the thrust staging area to create an eerie feel
during the more chilling moments, and towards the end, the stage will be lit from underneath - light
escaping through the cracks for an eerie effect. The world outside the club will be lit using tight boxes of
lighting to suggest the small apartment; a train carriage etc. and to show that the audience are now
separated from the action - they are voyeurs.


Set in cabaret-style means that the house lights will be changed to the individual lamps set on the tables
and festoons over the seated area at the back. However, as well as house lights they will also be used
during the show for the scenes in the Kit Kat Klub when the audience are acknowledged. In the other
scenes, the audience will fade into the darkness as the lighting focuses on the action.


Sound
The band for Cabaret consists of four reeds, three brass, double bass, keys and percussion. This is a fairly
large band for the studio, and will be able to carry with very little reinforcement. Some close miking will
be needed for certain quieter instruments such as some of the reeds, to help them break through the
sound of the brass section. The double bass will also be close miked to ensure that the bass line of all
songs can punch through the mix where it’s needed. Should the general volume need to be lifted, which
is HIGHLY unlikely, ambient mics will be used for this purpose. Speakers for the band will be placed
speakers and subs on the upstage left and right corners of the stage.


Five Audio Technica radio mics will be used for the five main principles, Emcee, Sally Bowles, Cliff,
Fraulein Schneider, Herr Schultz. Tech Crew radio mics will be used for other characters, with mic
changes where appropriate to ensure all soloists have a radio mic when needed. Boundary mics will also
be used to help to pick up chorus numbers; these will be placed on the front of the stage. Speakers for
vocals will be rigged from the winch bars, with low level fills to help to reduce the directional issues of
having speakers from above.


There are also a number of sound effects needed, such as a window smashing, a train whistle and the
sound of an announcement at a train station. These will be sourced from the Tech Crew sound effects
library, or in the case of the announcement will be recorded for the show.


Sound will be mixed from a front of house position on the downstage balcony to ensure the best possible
sound is achieved, as this isn’t being used for seating, this won’t cause any seats to be taken off sale.




                                                    - 21 -
       s           discussed wit Kate, and t following monitors are currently pl anned. A sing video
Monitors have been d           th          the       g            e                          gle
                    he        e            l            c            ways have to look backwa
monitor of Kate on th downstage balcony will be used so cast don’t alw                      ards
                                            te           e            s            o             d
towards Kate should they need to see her. Kat will be able to see the stage well, so will not need further
                     Three or four audio monito will also be used, one for the condu
assistance visually. T             a          ors         b            f           uctor, one for the
                    ssist, and one or two for t he rest of the band. The monitor mix w consist mainly of
percussionist and bas            e                           e           m           will      m
bass, pia and plent of vocals fo an easy wa to get back in time sho
        ano       ty           or         ay                                  d              t
                                                                  ould the band drift out of time.


       sessment
Risk Ass
                    g           nd                                  ditions and en
There will be smoking on stage an so we will make this clear from aud                         e
                                                                                 nsure that the cast
       me         with      es         d
have som practice w cigarette beforehand (we will be using menthol cigarettes as Mad Men has
educated us that they are better for your voice than normal ones). We will ensure we have a smo
       d            y                         e                       w            e          oking
        procured in ad
license p            dvance. We will also mak sure we ha an invited audience at our dress rehearsal
                                w           ke         ave        d           t
                                 e             smoking. The will be a number of ta
to allow the cast to have a chance to do a run s          ere         n          able lamps in the
show and so we will t            h          ired safely. The cast will be using ladde so we will take
                    take care to have them wi                          b            ers
                     n                       ger       m                        them get fam
care during the get in to have the stage manag take them around the set and let t          miliar with
it, this to will also h
          our                                    nies with no railings. We will ensure th balcony ed
                      help with the risk of balcon            r            w            he         dges are
        ped       e         v                          ast        eme care duriing those sce
white tap to ensure maximum visibility and stress the ca take extre                        enes. We
                     nobody in the cast has any fear of heights and if the do, re-block if necessary to
will also check that n                        y                          ey           k
       aving them up on the balco A Lamp will be flying in during the show and so we will rehearse
avoid ha           p            ony!                  g             e           o
        h             efully in the tech and the dress so the cast will be aware of it co
this with the cast care             t                                      a                        g
                                                                                        oming. During the two
                     have glasses containing liq
scenes the cast will h                                     y             ng
                                               quid but they will be takin these on a nd off stage so there
will be no issues with glasses left on stage. We will make sure they are not overfilled to prevent spillage
                     h                         e           s                          d            s
and mak sure the ca are aware of the risks of spilling if this happens We will ma ke sure the cast are
      ke          ast       e                                        s.                       c
       hat        es         able and the risk that pres
aware th the glasse are breaka                                                    e            sks
                                                       sents. Finally there are the standard ris of
working in the Studio darkened spaces, wires and cables etc. and we sh be taking the usual st
                    o,                                  e            hall      g            teps to
prevent r with thes and complete a full risk assessmen with the eve planning pack. 
        risk      se                       k         nt           ent



     me
Costum
       ret                                 30s        ghtlife and th people tha inhabit it. There are
In Cabar we follow the extravagant early 193 Berlin nig            he         at            T
        erent areas to the costume: the risqué Kit Kat Klub dancers bein one, and th the other
two diffe            o                                                 ng          hen
       ers        rld                      the      s,          t            te         d
characte in the wor outside the club. With t costumes we intend to portray late 1920s and early
                                                                                     yles, including smart
                                                                             1930s sty
                                                                             tailoring f men and nipped
                                                                                       for
                                                                                      r         e
                                                                             waists for women. We intend
                                                                                     e           stumes
                                                                             to source as many cos
                                                                                     ble,
                                                                             as possib but buy and adapt
                                                                                    ecessary.
                                                                             where ne




                                                  - 22 -
       of          t,                      sed       chily, but sma and whims
Leader o the cabaret Emcee will not be dress too raunc            art       sically, with a tuxedo,
        oves, and bow tie. He will also be made up, with red or black lips
white glo           w                         e            d                          ened face and rosy
                                                                         stick, a white           d
                                          and       racter and possible ideas t bring this out
cheeks. Emcee is an ambiguous, mysterious a sexy char                         to           o
        assorting male and female clothing ite
include a                                                c                         ored suit or
                                             ems, mixing chunky boots with the tailo
        ating black a white stripes.
incorpora           and


Sally Bow is the glamorous lead; she spend s her money on her clothe wearing fu satin, silk. Her look
        wles                                                       es         ur,
         n           th                                                             e,         ed
will be in keeping wit the aesthetic of the Kit Kat Klub, being skimpy and suggestive but adapte to be
                    ery-day wear. She will mos wear blac and white but will also wear flashes of
more suitable for eve                        stly      ck                                   s
colour, s            reen nail polish, in fitting w her extro
        such as her gr                            with                  ality.
                                                            overt persona




                                  ford Bradshaw look will be somewhat preppy, or c
                              Cliff           w’s                                casual-smart, with a
                                  t            nitted-vest top worn with slacks and br
                              light shirt and kn             p           s                        ook
                                                                                     rogues. His lo is to
                                 m                       of-place in the dark and se
                              be more relaxed and so out-o             e                       f
                                                                                   eedy world of the Kit
                                             travelling he wears a long beige mac c
                              Kat Klub. When t                        g           coat and a trilby hat.


                              Fräu           der        S
                                 ulein Schneid and Herr Schultz,
                              the older couple,, both will be dressed
                                 te          nd         ively. We
                              quit frumpily an conservati
                                                            essing
                                           wan t to avoid dre
                                           them in black – which is
                                              m            w
                                               colour that much of
                                           the c           m
                                               cabaret wear will be –
                                           the c          r
                                               instead use browns, beige and greys. Their outfits will be
                                           but i           b           es
                                                             b           e             xy.
                                           laye red so as to be a bit more stiff and box


                                              e                           ack        h
                                            The Kit Kat Girls will wear bla thigh high socks with
                                              penders and black satin bloomers with white lace trimming.
                                           susp           b                       h
                                              y             ain                     be         ed
                                           They will have pla black tops which will b embellishe with
                                              e               nges, tassles (white/black that way th
                                           lace and frills, fin                        k),         heir
                                           cost                        w                         titcal.
                                              tumes will all match but without being exactly ident
        l            arious access
They will also bear va                        boas, hats, ha
                                 sories, from b            airbands, necklaces, belts,, gloves etc.


                                                  - 23 -
The Kit Kat boys will share a similar aesthetic, with plain black trousers and smart shoes with white vest
tops, black bow ties, waistcoats or braces and black or white gloves.


Other key costumes worth mentioning include the gorilla fancy dress worn during Emcee’s song “If You
Could See Her”, which will most likely be a gorilla mask rather than an entire suit.


There are also several sailors, clients to Fraulein Kost, who will wear sailor hats, braces and have navy
sailor neck ties. In addition, Nazi arm patches will be made for the relevant performers.


Emcee doubles up as a ticket inspector at the opening and closing of the play, for this he will wear a large
overcoat and a hat. Finally, Sally also necessitates a glamorous fur coat, on which she is complimented,
which should be easily sourced.



Costume budget breakdown:
Emcee: £20
Sally: £20
Nazi Guard: £20
KitKat Klub Girls/Boys: £70
Schneider + Shultz, Cliff, Kost: Source
Other (eg, patches, sailor accessories): £20
Contingency: £20



Props List and budget
Prop                        Source                           Notes                 Price
Handkerchief                Matt                             -                     -
Business Card               Matt                             -                     -
Reserved Sign               Made/Borrowed                    -                     -
Handheld Mirror             Sourced                          -                     -
Magazine                    Sourced                          Period cover          -
                                                             added if needs be
Fan                         Matt                             -                     -
Luggage                     Sourced                          -                     -
Dictionary                  Matt                             -                     -
Bags of Groceries           Matt                             Matt has accrued      -
                                                             brown paper bags
                                                             from King Babas.
Envelope                    Matt                             -                     -



                                                  - 24 -
Prop                       Source                        Notes                 Price
Blanket                    Callum                        -                     -
Newspaper                  Boar with added front sheet   Made when             -
                                                         needed
Bottle of schnapps         DC cupboard                   -                     -
Writing Pad                Matt                          -                     -
Eggs, salt, pepper and     Matt                          Matt regularly has    -
Worcestershire sauce                                     foodstuffs that can
                                                         be employed for
                                                         drama
Ernst and Cliff’s          DC cupboard                   -                     -
suitcases
Brown Briefcase            Sourced                       -                     -


Typewriter                 Matt has one                  -                     -
Passport                   Sourced and re-covered        Re-covered to         -
                                                         historically
                                                         accurate image
Bottle of Schnapps         DC Cupboard                   Wrapped in paper      -
                                                         bag to cover label
Old-style telephones x 2   Priory Theatre                -                     £10.00
Cigarette holder           Borrowed                      -                     -
Dictionary                 DC Cupboard                   -                     -
Pineapple                  Tesco                         -                     £1.25
Bandages                   Poundland                     -                     £1.00
Whiskey glasses            DC Cupboard                   -                     -
Apple juice                Tesco                         As “whiskey” - 1      £2.80
                                                         carton per
                                                         performance
2 x Pack of Menthol        Tesco                         7 per performance     £9.86
Cigarettes                                               (5 for dress)


Table Lamps x 12           Charity Shops                 -                     £6.00
Gramophone                 Jon Pashley’s Gramophone      -                     -
Cushion                    Matt                          -                     -
Glasses                    Matt                          -                     -
                                                                               £29.91




                                                - 25 -
Auditions
Auditionees will have to prepare a short, simple dance and one of two songs given in advance. The dance
and songs will be taught at a pre-audition workshop given on Monday of week 9. On the day they will be
given a piece of dialogue before their audition and will have some time to look over it before auditioning.
We will film the dance being taught and put it on the audition event page if people miss the workshop. It
will also be relatively simple and both Lily and Katie will ensure that they know the dance so can help
people out if they need to arrange an extra session. 


Auditions will be held on the morning of Friday week 9 and Saturday afternoon to avoid the Drama Ball.
There will be auditions all day on Sunday. Recalls will be on Monday evening. We will do our best to see
anyone who can’t make these times if they contact us to arrange a separate slot.


Audition Songs
Men 
Willkommen               
Why Should I Wake Up 
Women 
Perfectly Marvelous 
What Would You Do?



Accents
Most members of the cast will be required to speak and sing with a German accent. The only exceptions
to this are Cliff (who speaks/sings with an American accent) and Sally (who speaks/sings in a well-
spoken English accent). We understand that adopting unfamiliar accents can be daunting for cast
members, but we hope to work with the actors to build their confidence. They will be encouraged to listen
to clips of Germans speaking English which we intend to provide. Ex-MTW member Bex Roberts who is
half-German and speaks the language fluently, has agreed to come back to Warwick to lead an accent
workshop.


Auditionees will be asked to attempt the accents in the auditions. Our attitude is that ‘it is always better
to have a go’. We need to see that auditionees are willing to try things out.



Marketing
The advantage of this particular show is that it is extremely well known, even by people with very little
prior knowledge of musical theatre. This is particularly helpful in terms of marketing, as people who have
never seen the show before will be tempted by its outstanding reputation, and people who have seen the
show done before will be lured in by the prospect of seeing it performed differently, in an actual cabaret-


                                                   - 26 -
environment. As a show with a lighthearted exterior, but an undertone of powerful poignancy and
historical importance, Cabaret is a show that will appeal to a vast range of people, of all ages, on and off
campus. The marketing team will be using the decadent, fun-loving reputation of the 1930s cabaret as a
main selling point for the show, using the marketing campaign to extend an irresistible invitation to
potential audience members.


Chalking
The marketing campaign will begin with ‘teasers’ around campus; we will be taking actual lyrics from the
show as taglines, which will form the basis of this ‘teaser’ campaign. The song Cabaret particularly lends
itself to this purpose, as the song is itself a temptation into the Kit Kat Klub, the cabaret of the show. We
will be chalking the lyrics round campus, focusing on the ones that seem particularly relevant to the
student environment, such as “What good is sitting alone in your room?” and “Time for a holiday,” etc.
These lyrics work particularly well as we must take into consideration that the majority of students will be
working for the exams around Week 6; the invitational form these lyrics take will very effectively tempt
the students away from revision, justifying a night at the theatre as a well-earned “holiday.”


Off-Campus
Due to the exam pressures of next term, however, we will not be able to rely solely on students as
potential audience members. As a result of this we will extend our marketing beyond the university, and
will also be heavily targeting Leamington and Coventry with the campaign. In order to allow for this
extended marketing campaign, and as we will not be able to be in the AC diary, we have allowed for extra
posters and flyers for distribution around Leamington and Coventry, which will result in a heightened
awareness of the show in a much larger area. Additionally to this print publicity around Leamington and
Coventry, we will notify local theatre and musical societies about the show, as well as contacting local
schools and colleges, as the historical setting of the show may be suitable to their syllabuses.


Print and Distribution
The print publicity for the show will consist of:
        25 A3 posters, which will be posted around the most notable areas of campus, such as the
         library, the SU, and the music centre, as well as departmental common rooms and notice boards.
         We will also focus on areas in Leamington and Coventry in which they will be most noticed, such
         as bus stops, and the Parade.
        1000 full colour flyers, which will again be distributed around the most populated areas of
         campus. We think it would be most productive to focus this flyer distribution around the library
         area, as that is where the majority of students will be, due to exams, and it is likely most of these
         students will be looking for any possible distraction. We have allowed for 1000 flyers, so we will
         also be able to distribute them liberally around Leamington and Coventry, in order to raise full
         awareness for the show.




                                                    - 27 -
         Hoodies or polo shirts will be printed with the show’s logo and details, for the cast and crew to
          wear around campus, whilst flyering and performing publicity stunts, in the weeks leading up to
          the show.
Fundraiser:
A publicity stunt will be held in Week 3 of next term in Leamington, in order to ensure the highest number
of attendees, which will raise awareness, as well as some funding for the show. Guests will pay a small
entrance fee to a well-known venue, which will be decorated in the style of the 1930s setting of the play.
The cast will be present at the fundraiser, to talk about the show, and perform a couple of taster
numbers, in order to stir the potential audience members’ curiosity.


Online:
Facebook, as always, will play a part in spreading awareness of the show to friends and family, as well as
being an ideal method for reminding potential audience members to buy their tickets, and ensuring the
show doesn’t get forgotten among the exam-distractions of next term. Last-minute attention-grabbing
statuses, as well as the cast and crew changing their profile pictures to the show’s logo will ensure that
people are permanently being made aware of the show. Additionally, the university email will be used to
advertise the show around all departments and societies.


Education Pack
Since the show focuses on Weimar Germany which features on many GCSE and A Level History syllabi we
will be approaching local schools to invite them to attend and Callum will produce an education pack for
the show which will be helpful in this end.



Publicity
The publicity design for Cabaret is going to be incredibly striking. I want to incorporate the emblematic
colours of the Nazi third Reich, that being red, white and black, but subverting them, bringing out the
sexual undertones that these bold tones can also suggest. The extensive use of black and white also
means the posters can stand out and photocopy well.


The logo for the show will essentially be chaotic in its design and reflect the damaged economy of
Germany’s depression. I will use lettering of random size and location to achieve this, and incorporate
fonts that imply a grime and decay. This will also suggest the darker tones of the show.


In terms of Publicity style, I would like to hint at the seductive nature of the Kit Kat Klub, and the
entrancing allure of its inhabitants. We want to entice the audience into this show, and the aesthetic of
the Publicity excellently compliments the aesthetic of the show and should serve to bring in a large
audience.




                                                    - 28 -
                                                                nary publicity design
                                                         Prelimin            y




            offer written proof of rights but they ha confirmed verbal right to both my
cope do not o             p             s,          ave                    ts         yself and
            tting a quote from them o the price of the rights in the week an will present a
n. We are get                       on          o              n           nd
budget for the presentatio Jonathan spoke to Pam on Wed 23rd Feb and M
             e           on.                   m         3           Matt spoke to Pam on
Feb.



          ociety
s to the So
            brilliant show for MTW to p
 would be a b                                                  ws        n            ult
                                      perform. Our last two show have been fantastic cu
             ould be great to perform a well-known, mainstream show that is still hard hit
s and so it wo                                    ,          m            s              tting and
                           astic parts fo r men and wo
l. It has a balance of fanta                                                 women. With the
                                                     omen with slightly more w
as of women who audition for MTW sh
          n                       hows, we thin this is an excellent selliing point. Also, with
                                              nk           e
                                       bject that is on many history syllabi in s
s on the build up to World War II, a subj                                                   im
                                                                                schools we ai to get


                                          - 29 -
schools to come to performances. With Matt’s experience with marketing and Callum’s experience with
education work we think we would be able to get some schools to attend and also build relationships
with schools that the society can build on for future shows or MTW Juniors. Finally we intend for this to be
a training show for students. We have an experienced team and so, as much as possible, we are trying to
have shadows and assistants who can learn as the show progresses which will benefit the society in
future. 



Schedule
The show is lovely to rehearse as it’s quite neatly compartmentalised. The Kit Kat Klub and the real world
are quite separate and so this means that we can get a lot done in rehearsals. The aim is to get all of the
songs and dances taught over week 0 and week 1, hopefully taking advantage of the fact that term
doesn’t start until Wednesday!  


Week                       Creative Team                Production Team               Band
9                          Mon – Workshop               Contact Schools about
                           Auditions + Recalls          the possibility of trips
10                         Introduce Cast to the        Publicity ordered
                           show + each other –          Final design sent to Luke
                           social(?)                    Meet cast in the show
                                                        introduction!
0                          Teaching songs, character
                           work + dancing + accent
                           workshop
1                          Mon - Songs + Dancing        Flyering and postering off    Auditions advertised
                           Sat – Recap of what          campus
                           we’ve done
2                          Mon – Musical numbers        Teaser campaign begins        Auditions happen
                           Wed – Acting                 on campus!
                           Sat – Both
3                          Mon – Musical numbers        Teaser lengthens              Weds - Rehearsal
                           Wed – Acting                 Flyering off campus –
                           Sat – Stagger through        Fundraiser
4                          Mon – Issues from            Teasers continue and          Weds – Rehearsal
                           stagger through              campaign starts properly      Weekend –
                           Wed – What’s needed          on campus                     Rehearsal if
                           Sat – Run                                                  necessary
5                          Mon - Issues from Run        Marketing blitz               Weds – Band Call
                           Wed – Band Call                                            Sat – Full Run
                           Sat – Full Run with Band



                                                   - 30 -
                         w           m
                    Show week! Perform lots      Mon – Get in                   Show week play
                                                                                S         p
                                                   es
                                                 Tue – Tech                      beautifully
                                                  eds
                                                 We – Dress and Show
                                                   t
                                                 Sat – Get Out




                                                      Sally – wake up! The party in Berlin is
                                                     “S                        y

 ct rights figur is currently pending and so
               re           y           d             ver!       ts                         d
                                                     ov It was lot of fun, but it’s over. And

ased it on the figures for Wild Party. W
             e             W           We            w                         omiting in the
                                                     what is Berlin doin now? Vo            e

             mance, but fe
 extra perform           ewer seats in                treet.”
                                                     st

             enting the sco
 ow and are re                       sic
                          ores and mus
          t                                                               g            udget on
 ame amount of time and so this is an educated guess. We will be submitting a correct bu
             ns                       ateness of th Due to th the budget is subject to
 of submission and apologise for the la           his.      his       et             o
            sented here is provisional!  
 the one pres            s


             onsorship in Leamington. We are hoping to approach venues su as TJs, Ko
 to secure spo            L                                             uch        okos,
             e             d                                     ser        s            me
ar etc and see if they could be used as the venue for our fundrais as well as offering som
             o            pproach King Babas, as th will likely play the host to most of our
 ship. We also intend to ap                       hey                       t            o
                           s
and so could be willing to sponsor us.


              ss         ed          or         re                       At         pacity
  want to stres our reduce capacity fo when you’r looking at the budget. A normal cap
            n             oncession, m
ur break even is 69% all co                       o            e            Studio show and so
                                     much closer to what you’d expect for a S
               e           p
 atively, we are in a good position!


                                                                    

 aret

ME                                                 andard
                                                 Sta
                           N
                           Number                  P
                                                   Price                     n
                                                                    Concession Price
                                                £
             Seats
 ard Tickets/S             111                 7.50                    £          6.50
             s/Seats
 ative Tickets             0                                           -

 er of performances        5
number of tiickets         5
                           555                  All Standard
                                                    S                          ession
                                                                       All Conce              50:50
                                               £                                           £
          sold exc. co
me @ 100% s          omps                      4,1622.50               £       607.50
                                                                             3,6             885.00
                                                                                           3,8

 orship                    £       -

                                                £                                           £
            come
Potential Inc                                  4,162
                                                   2.50                £      3,6
                                                                                607.50       885.00
                                                                                           3,8


                                            - 31 -
OUTGOINGS - Variable
                             Fee %         VAT      All Standard     All Concession     50:50
                                           20.0    £                                  £
Royalty Charge               13.5%         %       674.33            £      584.42    629.37
                                           20.0    £                                  £
Box Office Fee               10.0%         %       499.50            £      432.90    466.20

                                                    £                                  £
Total Variable Outgoings                           1,173.83          £     1,017.32   1,095.57

OUTGOINGS - Fixed

GENERAL
                                    Per
                               Performance                               Total
Venue Hire                    £           180.00                     £      900.00
                                  Standard          Extra Time
Libretto Hire                 £           225.00    £            -   £      225.00
Orchestra Hire                £           175.00    £            -   £      175.00
Delivery Costs                                                       £       50.00
Printing Costs (e.g. Scripts for crew, audition material)            £        5.00
Other                                                                £          -
                      Total General Costs                            £     1,355.00

SET

Construction                                                         £      360.00
                        Total Set Costs                              £      360.00

TECHNICAL

5 Mics                                                               £      187.50
Gels                                                                 £       50.00
Smoke                                                                £        8.00
Haze                                                                 £       20.00
Fire Proofing (Tech Crew stock)                                      £          -
Contingency                                                          £       20.00
                    Total Technical Costs                            £      285.50

PROPS

See Props list pg.                                                   £       29.91
Contingency                                                          £       10.00
                       Total Props Costs                             £       39.91

COSTUME, HAIR & MAKE-
UP

See pack for breakdown                                               £      150.00
Contingency                                                          £       20.00
Cast's own make up                                                   £          -

                                              - 32 -
           Total Costume, Hair & Make-Up Costs                    £      170.00

MARKETING & PUBLICITY

25 A3 posters                                                     £          30.00
1000 A6 flyers                                                    £          32.00
Chalk                                                             £           3.00
Photocopying (100 x b/w poster 4p per sheet)                      £           4.00
               Total Marketing & Publicity Costs                  £          69.00

Total Fixed Outcome                                               £                  2,279.41

BREAK-EVEN POINT                                   All Standard   All Concession      50:50

                                                        £                                £
Total Potential Income                              4,162.50      £      3,607.50    3,885.00
                                                        £                                £
Total Outcome (Variable & Fixed)                    3,453.24      £      3,296.73    3,374.98

                                                        £                              £
Potential Profit @ 100% Sold exc. comps              709.27       £         310.78   510.02

Number of Tickets to Break-Even                        423             488             454
Number of Tickets per
Night                                                  85              98              91

Break-Even Percentage                                76.27%           88.0%           81.7%



                         MTW Production Budget Template - 2010/2011




                                            - 33 -

				
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