Why is nobody talking about how much Bob Fosse’s choreography in the film brought so much to this show. The missing of that secret sauce is so noticeable. Not to disparage this choreography but it’s simply a different level of creativity and artistry.
So glad I stumbled across this. The 1972 movie was so definitive for me I never thought to hunt for the Broadway version. Joel Grey had already perfected the emcee five years earlier. Kind of surprised the "each one a virgin. Go ahead - test her!" got by the censors.
@@tombennett3827 Clint Eastwood or John Wayne in Joel Grey's role? Are you out of your mind? I've heard of miscasting, but this is ridiculous! That's like having a white actor play Martin Luther King.
My first Broadway show. I'll never forget it. Joel Grey was amazing and with Lotte Lenya and Jack Gilford, it was perfect! Such wonderful memories, thanks so much for uploading.
@@chazofalsa The Broadway show was much darker than the movie, although the comedic parts were hilarious. No bisexual threesome sub theme either. Interestingly, Bert Convey was the male lead (later more noted as a TV game show host). The Lotte and Jack numbers were very Kurt Weil but Kander and Erb struck gold with the entire score. My only regret is that I had to choose between this and Mame with Angela Lansbury. Oh how I wished I had seen that as well. My only other total luckout on Broadway was seeing The Producers just a few weeks after opening (I bought tickets based on loving the movie and while the show was still pre-Broadway in Chicago). Another night to relish forever. My memory is very sketchy now but the ending was the breakup and sad separation between Sally and the English teacher (someone correct me if this 70 year old's memory has further slipped). Can't wait for live theater to resume. Come on vaccines!
@@williamzavlaris4054 Wow I wish I was born during that time. I hope when the vaccines are ready I wanna go see Hadestown, Moulin Rouge, Jagged Little Pill and West Side Story. I was supposed to see Mean Girls in Vegas but then the pandemic happened, luckily I saw Once On This Island and it was amazing. In the original 66 Cabaret ending did Joel Grey take off his clothes to reveal his inmate clothing like the 98 version with Alan Cumming or no?
@@chazofalsa No. it was in 1967 much before the liberalizing of on-stage nudity although I remember the fuss over Hair a few years later and I did see Diana Rigg in London in 1970 be briefly nude in Abelard and Heloise. Never saw the Cummings update for Cabaret when it came out but I am sure it was more risqué.
@@williamzavlaris4054 Funny you should mention both shows. I saw Cabaret and Mame on Broadway and both were fabulous. I also saw West Side Story in 1959 for my 16th birthday, Flower Drum Song, and the all black cast of Hello, Dolly with Pearl Bailey and Cab Calloway. And also Fiddler on the Roof. Nothing beats a Broadway show.
go straight to 2:15 for Joel Gray. the intro is pure mad men commercial :p hollywood never makes a Broadway show real. it always changes the real feeling of the stage!!!!!!!! Why? this is fantastic!!!
I think Hollywood has pretty much proven in the last 10 or 20 years that it cannot do a musical justice. We need to go back to filming them live on the stage. They are way more entertaining that way, and shown the way they're supposed to.
I'll tell you why. An experience in a theater in entirely different to the one we have in a cinema. Totally, completely, different. Even watching a hit show on the Tony Awards is sometimes mystifying. What is thrilling on the stage is often disastrous on the screen. Have you ever seen a filmed live performance that works on a screen? Try to watch the live performance of Hello Dolly with Bernadette Peters. It's embarrassing. That's why Broadway shows have to be totally rethought for the screen. Fosse learned that and instead of a traditional musical that Cabaret might have been, we got a tough, ruthlessly witty, bold and thrilling film. Joel Grey was forced to rethink his stage performance, and the rest is history.
It is amazing how much his performance changed for the movie. It really demonstrates the talent and vision of Bob Fosse. The performance here is just standard Broadway showmanship. In the movie, he's almost sinister. You don't know what's up--he seems to know everything, he's almost nasty at times. The performance is SO much deeper than it is here.
Bob Fosse had a real battle with Grey to give a performance for the cameras, not the stage, and Grey was very difficult. But Fosse was right, and he gave the film what was needed for the screen. The film was boldly different to the original show, which was sensationally good - but Fosse's ruthless approach to the material is the reason why the film is still brilliant.
I always thought the MC in the movie version was a Hitler figure, or at least a sinister figure who knew where Nazism was going. That is why I was so puzzled by Cumming's version revealing himself as a death camp inmate. But I never saw either stage version just the movie and snippets like this from the stage versions.
I just read Joel Greys autobiography it was fabulous . Bob Fosse didn’t want him . he wanted Ruth Gordon . I love her and they were thinking of Anthony Newley. Love them both but come on. Fosse said either Joel goes or I go and they all looked s nd everything and said you can go Bob. According to my godmother, who saw the play in 1967 she said the play was 100 times better than the movie and then I read up about the play . they never should’ve cut the Lotte Lenya and Jack Gilford love story and substituted it with the Fritz and Natalia. . Jill Haworth was excellent as Sally. According to Hal Prince , Sally wasn’t supposed to be an experienced singer she was supposed to be a kind of naïve British girl. He said she nailed it . Liza was too talented and loud for the role. And according to people Louise Brooks she looks like in the movie . she’s had a long long way to go to look like the exquisite Louise. The closest Catherine Zeta Jones in Chicago Sorry about the long post
I would disagree with you about retaining the older characters plots and songs. Fosse's vision was to do it naturalisticlly. He didn't want "book" songs with music coming out of nowhere. He wanted all the music to come from the Cabaret, or Tomorrow Belongs to Me in that park. THAT absolutely worked as a movie. The play and the movie are two very separate things, each brilliant in their own ways. I'm actually not a huge fan of Sam Mendes 1993-97 revival, but that's another story.
I don't care if Liza was too talented for this - she is the only person I can bear to listen to as Sally Bowles. I just hate listening to people who can't really sing tunefully and there seems to be a trend towards people who can't sing getting leading roles.
@@paora7122 That's fine. But, you say CAN'T sing tunefully. Jane Horrocks is a wonderful singer (check out her vocal work in the movie Little Voice.) But, in the 1993 Cabaret revival, she decided to play Sally more historically accurate. A mediocre singer. Now Paora712, that may not be your thing, but it's a valid choice, and it worked for that production. Just as Liza gave a classic performance with her interpretation. The trend of people not singing as well on Broadway these days has nothing to do with the choice Horrocks made, or the decision back in 1966 to cast a so so singer as Sally in the Broadway version.
Bob Fosse stripped the material back and did away with everything that wasn't needed on the screen. He learned his lesson from Sweet Charity. The film is much closer in tone to the original Isherwood stories by the way. Joel Grey, who was already proving to be impossible to work with - is strangely not very good in this clip. Nobody wanted to direct the film. None of the great directors could figure out a way to put it on the screen. Fosse had figured out a fresh way to do it, and we got a classic. And frankly, if Bob Fosse hadn't forced My Grey to give the performance he demanded in the film of Cabaret - he would not have had a career.
No me canso de verlo!!!!!!!......esto es genial...es hermoso!!!......1967 es el año en que nací....y siempre me ha llamado la atención este musical.gracias por compartir este documento.saludos desde México.
I first come to know Joey Grey through The Muppets show. That leads me to fall in love with musical show. He performed “Razzle dazzling” and “Wikkommen”. I learned a bit of French, German and the difference in pronunciation. Every time I sing this songs, it brings me confidence and smiles to my face to talk just like a show host. Thank you for uploading this 🥰
I have seen many versions of Cabaret on stage including Alan Cumming's widely applauded version and Raúl Esparza's too, however none comes close to Joel Grey's performance... he is more magnetic, sleazy, magnificently charismatic, and eccentric than any of them. He is as brilliantly definitive in this role as Robert Preston was in The Music Man. And just looking at the film version... Bob Fosse's choreography made every stage version I've ever seen (including several revivals) seem amateurish by comparison. Thank you for posting this.
Fosse at his best was a visionary director. He puts pre war Berlin on the screen, with all the sleeze that went with it. The Broadway show was fabulous - but the film is another level.
I watched this broadcast when I was 11. I thought to myself, is this what I have to look forward when I'm an adult? How ridiculous. I got see see Joel Grey many years later when he did the show in Baltimore. What an amazing artist !
Never understood why this performance was half live and half lip synced with the original cast album. It was live until "And now to serve you"... the change in audio quality is obvious. Keep an eye on the onstage drummer--she's trying hard to look like she's playing but missing the drums by a mile.
@@vintagesubliminals3398 Grey seems so anxious because he developed this level of intensity playing to the back of the theater - in 1966. A movie in 1972 couldn't possibly contain such howling.
The Wilkommen versions in the 1998 and 2014 Tonys are the " drunk version " performed by a low caliber performer . I can easily give that wannabe a ZERO out of 10 rating. Joel Grey is the best.
The genius of Joel Grey. The MC is strange, exotic, even grotesque, but without being so painfully literal-minded as, say, Alan Cumming and his gross bondage gear.
Liza was at home having dinner, watching and fuming. Never dreaming that after she was turned down for the Broadway show at her audition, Fosse would rethink the show entirely and she would get the best role of her life - in the film.
Why is nobody talking about how much Bob Fosse’s choreography in the film brought so much to this show. The missing of that secret sauce is so noticeable. Not to disparage this choreography but it’s simply a different level of creativity and artistry.
Thank god he was in the film version. Nobody else could have done it justice
Jastis ye bat not mucs better thinking tu Mae it better. Iy wish you the best!
Alan Cummings: Hold my beer!
@@maestroclassico5801no one at the time at least
@@insertnamehere15253 I do agree actually.
So glad I stumbled across this. The 1972 movie was so definitive for me I never thought to hunt for the Broadway version. Joel Grey had already perfected the emcee five years earlier. Kind of surprised the "each one a virgin. Go ahead - test her!" got by the censors.
It didn't. He says, "Ask her".
@@kevinbailey8827 Yep! "Ask her!".
@@kevinbailey8827 Yeah, I guess I knew it. May have been wishful thinking. "Test her" would've been pretty raunchy...
I didn't know you could say "virgin" on tv in 1967 LOL
Joel Grey is brilliant.
Bravooi
Joel Grey exhibited more talent in that one number than many celebrities exhibit in their entire careers. Huzzah!
Rikki0 Joel Grey was okay as the Emcee, but I think Clint Eastwood or John Wayne would have been better casting for the role.
@@tombennett3827 Clint Eastwood or John Wayne in Joel Grey's role? Are you out of your mind? I've heard of miscasting, but this is ridiculous! That's like having a white actor play Martin Luther King.
Kidding, right?
@@vinnieviddivicci5459 Clint Eastwood as the Emcee. Boy, I'd pay to see that.
@@tombennett3827 thank God you're not a casting agent!
Joel Grey Extraordinaire! We love him!
The original production of Cabaret was something else.
That’s the point of Caberet. It was supposed to high energetic, creepy, weird, and sexy all at the same time
My father saw Cabaret on a business trip in 1967. In 1999 I saw the revival at the old Studio 54.
Loved Joel in the movie Cabaret. What a live Wire!😜
My first Broadway show. I'll never forget it. Joel Grey was amazing and with Lotte Lenya and Jack Gilford, it was perfect! Such wonderful memories, thanks so much for uploading.
Hi there! It must've been awsome witnessing broadway history! How did show end in the original version?
@@chazofalsa The Broadway show was much darker than the movie, although the comedic parts were hilarious. No bisexual threesome sub theme either. Interestingly, Bert Convey was the male lead (later more noted as a TV game show host). The Lotte and Jack numbers were very Kurt Weil but Kander and Erb struck gold with the entire score. My only regret is that I had to choose between this and Mame with Angela Lansbury. Oh how I wished I had seen that as well. My only other total luckout on Broadway was seeing The Producers just a few weeks after opening (I bought tickets based on loving the movie and while the show was still pre-Broadway in Chicago). Another night to relish forever. My memory is very sketchy now but the ending was the breakup and sad separation between Sally and the English teacher (someone correct me if this 70 year old's memory has further slipped). Can't wait for live theater to resume. Come on vaccines!
@@williamzavlaris4054 Wow I wish I was born during that time. I hope when the vaccines are ready I wanna go see Hadestown, Moulin Rouge, Jagged Little Pill and West Side Story. I was supposed to see Mean Girls in Vegas but then the pandemic happened, luckily I saw Once On This Island and it was amazing. In the original 66 Cabaret ending did Joel Grey take off his clothes to reveal his inmate clothing like the 98 version with Alan Cumming or no?
@@chazofalsa No. it was in 1967 much before the liberalizing of on-stage nudity although I remember the fuss over Hair a few years later and I did see Diana Rigg in London in 1970 be briefly nude in Abelard and Heloise. Never saw the Cummings update for Cabaret when it came out but I am sure it was more risqué.
@@williamzavlaris4054 Funny you should mention both shows. I saw Cabaret and Mame on Broadway and both were fabulous. I also saw West Side Story in 1959 for my 16th birthday, Flower Drum Song, and the all black cast of Hello, Dolly with Pearl Bailey and Cab Calloway. And also Fiddler on the Roof. Nothing beats a Broadway show.
go straight to 2:15 for Joel Gray. the intro is pure mad men commercial :p
hollywood never makes a Broadway show real. it always changes the real feeling of the stage!!!!!!!! Why? this is fantastic!!!
I think Hollywood has pretty much proven in the last 10 or 20 years that it cannot do a musical justice.
We need to go back to filming them live on the stage. They are way more entertaining that way, and shown the way they're supposed to.
Cabaret was a great movie but good adaptations are few and far between
I'll tell you why. An experience in a theater in entirely different to the one we have in a cinema. Totally, completely, different. Even watching a hit show on the Tony Awards is sometimes mystifying. What is thrilling on the stage is often disastrous on the screen. Have you ever seen a filmed live performance that works on a screen? Try to watch the live performance of Hello Dolly with Bernadette Peters. It's embarrassing. That's why Broadway shows have to be totally rethought for the screen. Fosse learned that and instead of a traditional musical that Cabaret might have been, we got a tough, ruthlessly witty, bold and thrilling film. Joel Grey was forced to rethink his stage performance, and the rest is history.
Joel Grey, fantástico 👏🏻👏🏻
Joel Grey is so great. Wow.
That being said....I would have LOVED to see Tim Curry play this role.
Joel Grey is fabulous and creepy looking and scary as well,brilliant!❤️❤️❤️
Brilliant. Even 55 years later!
OMG! Talk about your flashbacks. I saw "Cabaret" during its out-of-town tryout in Philly. Incredible then and exciting now. Thank you.
so did I. It was amazing
Wow ! He really ! Refined ! And Perfected His Performance !.👍 By The time ! He Appeared ! In the Film !!!!!! In 72 !!!
Joel grey was magnificent.
wonderful. thank you!
What a gift to watch! Thank you so much for uploading.
I only recently learned that Joel Grey is Jennifer "Baby" Grey's dad. 🤣
It is amazing how much his performance changed for the movie. It really demonstrates the talent and vision of Bob Fosse. The performance here is just standard Broadway showmanship. In the movie, he's almost sinister. You don't know what's up--he seems to know everything, he's almost nasty at times. The performance is SO much deeper than it is here.
Bob Fosse had a real battle with Grey to give a performance for the cameras, not the stage, and Grey was very difficult. But Fosse was right, and he gave the film what was needed for the screen. The film was boldly different to the original show, which was sensationally good - but Fosse's ruthless approach to the material is the reason why the film is still brilliant.
I always thought the MC in the movie version was a Hitler figure, or at least a sinister figure who knew where Nazism was going. That is why I was so puzzled by Cumming's version revealing himself as a death camp inmate. But I never saw either stage version just the movie and snippets like this from the stage versions.
I just read Joel Greys autobiography it was fabulous . Bob Fosse didn’t want him . he wanted Ruth Gordon . I love her and they were thinking of Anthony Newley. Love them both but come on. Fosse said either Joel goes or I go and they all looked s nd everything and said you can go Bob. According to my godmother, who saw the play in 1967 she said the play was 100 times better than the movie and then I read up about the play . they never should’ve cut the Lotte Lenya and Jack Gilford love story and substituted it with the Fritz and Natalia. . Jill Haworth was excellent as Sally. According to Hal Prince , Sally wasn’t supposed to be an experienced singer she was supposed to be a kind of naïve British girl. He said she nailed it . Liza was too talented and loud for the role. And according to people Louise Brooks she looks like in the movie . she’s had a long long way to go to look like the exquisite Louise. The closest Catherine Zeta Jones in Chicago
Sorry about the long post
Don’t apologize. That was great for Broadway nerds like me. The Fosse part is particularly fascinating though. Wow. ☺️✌️thank you
I would disagree with you about retaining the older characters plots and songs. Fosse's vision was to do it naturalisticlly. He didn't want "book" songs with music coming out of nowhere. He wanted all the music to come from the Cabaret, or Tomorrow Belongs to Me in that park. THAT absolutely worked as a movie. The play and the movie are two very separate things, each brilliant in their own ways. I'm actually not a huge fan of Sam Mendes 1993-97 revival, but that's another story.
I don't care if Liza was too talented for this - she is the only person I can bear to listen to as Sally Bowles. I just hate listening to people who can't really sing tunefully and there seems to be a trend towards people who can't sing getting leading roles.
@@paora7122 That's fine. But, you say CAN'T sing tunefully. Jane Horrocks is a wonderful singer (check out her vocal work in the movie Little Voice.) But, in the 1993 Cabaret revival, she decided to play Sally more historically accurate. A mediocre singer. Now Paora712, that may not be your thing, but it's a valid choice, and it worked for that production. Just as Liza gave a classic performance with her interpretation. The trend of people not singing as well on Broadway these days has nothing to do with the choice Horrocks made, or the decision back in 1966 to cast a so so singer as Sally in the Broadway version.
Bob Fosse stripped the material back and did away with everything that wasn't needed on the screen. He learned his lesson from Sweet Charity. The film is much closer in tone to the original Isherwood stories by the way. Joel Grey, who was already proving to be impossible to work with - is strangely not very good in this clip. Nobody wanted to direct the film. None of the great directors could figure out a way to put it on the screen. Fosse had figured out a fresh way to do it, and we got a classic. And frankly, if Bob Fosse hadn't forced My Grey to give the performance he demanded in the film of Cabaret - he would not have had a career.
No me canso de verlo!!!!!!!......esto es genial...es hermoso!!!......1967 es el año en que nací....y siempre me ha llamado la atención este musical.gracias por compartir este documento.saludos desde México.
LOVE THIS!!! Thank you :)
I first come to know Joey Grey through The Muppets show. That leads me to fall in love with musical show. He performed “Razzle dazzling” and “Wikkommen”. I learned a bit of French, German and the difference in pronunciation. Every time I sing this songs, it brings me confidence and smiles to my face to talk just like a show host. Thank you for uploading this 🥰
I first came to know him through the Wizard of Oz concert
I have seen many versions of Cabaret on stage including Alan Cumming's widely applauded version and Raúl Esparza's too, however none comes close to Joel Grey's performance... he is more magnetic, sleazy, magnificently charismatic, and eccentric than any of them. He is as brilliantly definitive in this role as Robert Preston was in The Music Man. And just looking at the film version... Bob Fosse's choreography made every stage version I've ever seen (including several revivals) seem amateurish by comparison. Thank you for posting this.
Fosse at his best was a visionary director. He puts pre war Berlin on the screen, with all the sleeze that went with it. The Broadway show was fabulous - but the film is another level.
I watched this broadcast when I was 11. I thought to myself, is this what I have to look forward when I'm an adult? How ridiculous. I got see see Joel Grey many years later when he did the show in Baltimore. What an amazing artist !
Did cabaret for nearly 2 years
WOW
здорово!!
What an awesome production, why does no one talka bout this one?
Never understood why this performance was half live and half lip synced with the original cast album. It was live until "And now to serve you"... the change in audio quality is obvious. Keep an eye on the onstage drummer--she's trying hard to look like she's playing but missing the drums by a mile.
So what it's television in the 60's.
What do you want?
Seems like the tape is dying. Maybe the tracking got off like in the intro.
This was the 1st year the Tonys were broadcast on TV.
@@raymondlopez29 has
It was not lip synced. The problem is the below par filming.
5:08 when the guys come to serve you
Talent Ed
5:44 When Scooter’s Pizza Is Closed
Was this the first televised Tony?
5:49 when the pastor tells you to sit down on the floor
wow! what a classic! wonder if Mel Brooks saw this & was inspired to create 'Springtime For Hitler'?
I would be surprised if you are right.
some one help me. what type of music are they playing at 3:45???? jazz?
Dixieland Jazz. It originated in New Orleans around the turn of the 20th century.
Why does Joel seem so anxious in this performance? Especially when he says “Ladies and Gentlemen”? Was that how the Emcee was originally portrayed?
Jeff, the God of Biscuits you answered everything but their question..
@@vintagesubliminals3398 Grey seems so anxious because he developed this level of intensity playing to the back of the theater - in 1966. A movie in 1972 couldn't possibly contain such howling.
Is it just me, or does he sound like Gru every time he says "girls" and Pewdiepie when he says "ladies and gentlemen"?
Yes. Bad at accents. Forced to polish them for the film by the very tough Mr. Fosse.
Love Simon sent me here
kind of raunchy for Sunday night television.
I wonder if it was cleaned up a little bit.
I'm shocked they let Grey say "virgin ".
It was very cleaned up for television.
The Wilkommen versions in the 1998 and 2014 Tonys are the " drunk version " performed by a low caliber performer . I can easily give that wannabe a ZERO out of 10 rating. Joel Grey is the best.
The genius of Joel Grey. The MC is strange, exotic, even grotesque, but without being so painfully literal-minded as, say, Alan Cumming and his gross bondage gear.
Where is Liza? :(
Liza was not in the original Broadway cast of the show. Just the movie
Liza was at home having dinner, watching and fuming. Never dreaming that after she was turned down for the Broadway show at her audition, Fosse would rethink the show entirely and she would get the best role of her life - in the film.
Ironic that in 67 Grey was a very closeted gay man.
caca
Браво маэстро Джоэл Грей!😊 Развал и нищета Евросоюза это реальность😊