During my research for Cabaret, I came across an image from the incredible 1974 film The Night Porter, directed by Liliana Cavani, in which Charlotte Rampling, adorned in a Nazi hat, long black leather gloves, suspenders and a pair of male trousers was forced to perform a fetishistic dance as an androgynous figure for the SS officers of a death camp. The image was strikingly complicated, disturbingly sexy and painfully hungry. It was a ravenous image that devoured the viewer, and it literally took my breath away. When I saw this image, I knew it contained the emotional texture and psychological complexity I hoped we would capture in our production of Cabaret. The image has served as a muse— a source of inspiration lighting the way through some very dark corridors. These corridors are where the frailty of a collective subconscious memory struggles to escape the vice grip of totalitarian control. It is the wolf that gnaws through its own leg to free itself from the hunter’s trap.
As I think about the characters in Cabaret, I find myself identifying with Cliff’s moral fortitude, but then realizing that I am probably more like Fraulein Schneider, who merely fears for her life, or Herr Schultz, who cannot believe the country he dearly loves could reject him and perform atrocities that are, to this day, impossible to know unless you have lived them. Or am I like Sally Bowles who wants love, excitement and to live passionately no matter how seemingly frivolous? I also think about the Emcee and the dancers, how their lives and art were stolen from them, and how I wish I had their courage.
I would like to take this opportunity to thank Diane Paulus and the wonderful staff of the American Repertory Theater for trusting Amanda Palmer’s faith in me as a director. Creating again with Amanda, the other Lexington High School alums, our terrific cast and the Cabaret creative team has been momentous and filled with great joy. Thank you.
During my research for Cabaret, I came across an image from the incredible 1974 film The Night Porter, directed by Liliana Cavani, in which Charlotte Rampling, adorned in a Nazi hat, long black leather gloves, suspenders and a pair of male trousers was forced to perform a fetishistic dance as an androgynous figure for the SS officers of a death camp. The image was strikingly complicated, disturbingly sexy and painfully hungry. It was a ravenous image that devoured the viewer, and it literally took my breath away. When I saw this image, I knew it contained the emotional texture and psychological complexity I hoped we would capture in our production of Cabaret. The image has served as a muse— a source of inspiration lighting the way through some very dark corridors. These corridors are where the frailty of a collective subconscious memory struggles to escape the vice grip of totalitarian control. It is the wolf that gnaws through its own leg to free itself from the hunter’s trap.