John Kander Cabaret: "Tomorrow Belongs To Me"
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- Опубліковано 15 лют 2012
- Playwright John Kander was born in Kansas City, Missouri on March 18, 1927. He earned a Master's Degree from Columbia University. In 1962, John Kander partnered with Fred Ebb, and they created many Broadway musicals over the next 40 years. Ebb wrote the lyrics and Kander the music. Their collaborations include Cabaret, Zorba, Chicago, Woman of the Year, The Rink, Kiss of the Spider Woman, Steel Pier, and Curtains. John Kander was interviewed by Mike Wood on January 27, 2002 at his home in Manhattan. The interview segments are courtesy of the William Inge Center for the Arts in Independence, Kansas.
Absolute Legend .
I agree with Kander. That was definitely how I felt when I first saw the musical. Initially the song was pretty and lovely, then the second time it was played it turned menacing. The shift in the movie was just too jarring. On the other hand, the movie is better when it comes to the reactions of the crowds (i.e. the old man shaking his head). You couldn't have done that in the musical. Guess this is the give and take when moving from one medium to another.
the movie scene was perfect
The film creates the same effect, just faster! You start being beguiled and lulled by the voice of the beautiful blonde boy, and the camera slowly pans down to the Nazi armband. A total gutpunch.
I got a chance to see the original touring company from the very first iteration of the stage show in the late 1960s while it was also playing on Broadway. Something that Kander doesn't mention is that in this particular version, the young waiters standing next to a small cafe table with a small trellis with flowers behind them, are standing in a small pool of light. The rest of the stage is dark. They sing the song gorgeously, and at the end of the song, they freeze, the stage is silent, and the MC pokes his head out from the stage left wing, silently enters from stage left and creeps across the stage, regarding the waiters with a look of alarm on his face. As he gets closer to the the waiters before passing in front of them he takes a beat to look at them, does a frightened take to the audience, and then swiftly scurries off, stage right. This is the first time and only time we see the MC looking genuinely rattled. THAT was chilling. Message definitely received. The contrast between the gorgeous, Hitlerjugend-looking young waiters with their beautiful harmonies (and subtly creepy lyrics) and the MC's reaction to them, was perfect. I love the show, but I was always a bit sad that they kept tampering with that formula in the numerous iterations of the show to follow.
@@peeweetommy that must have been so bone-chilling. i do however like the more popular version they use with the record-player, in which the MC stops it with his hand, finishes the song and usually does the sieg heil or an imitation of hitler. i think that, when the final reveal happens of the MC being a camp prisoner, it leaves us with the question of: well, was he the victim or the perpetrator? and the fact that we don't really know is quite scary in itself.
This is a great explanation !
He describes the current london production...and it's contextualising of the song...
0:16 0:25
Why didn't you do it that way in the film. So marvelous.
Totally agree with the comments of Newest
I prefer the original stage version over the newer versions as far as this scene goes
I disagree with Kander on this. There were many visual themes Fosse used, the most obvious was a Hitlerjugend with an angelic voice. When you first hear his voice and get a closeup of his face, how could you not like this boy who sings of nature and babes asleep? But as you pan down his body and see the swastika, you are drawn into the words and what Hitler INTENDS to get out of this kid. But there are other themes. too. At first, the closeups of the other patrons of the outdoor beer garden are friendly looking, people you'd like to have for next door neighbors. But after you see the swastika on the Hitlerjugend uniform, the facial closeups are angry, defiant. At first, the closeups are of young people, who, perhaps, are looking at life of depression until Hitler comes along to save them. But then you start seeing middle-aged people singing along, whether a hausfrau or a bearded, balding man who probably fought in WWI and felt stabbed in the back by Versailles. And, then, finally, there is the old, old man just shaking his head in dismay. He might have been old enough to have fought in the Franco-Prussian war of 50 years ago, or maybe he lost a son in WWI. He's seen enough of senseless war. No, I thought Fosse caught everything perfectly with his staging of this song.
Yes. And the boy's face getting more and more contorted.
I think they knew the end but they push the GOTTESKRIEGER defence mind set ...and you can't understand that till war its raging in their hearts...nice capture of how u can fight or die for a noble idea ... might be whorn but might be legit ..these times show the winners and how they dont spot wars...sad 22 we have to live nowadays
yes, but the transition is a little quick, just a few seconds before it "sinks in", as Kander says.