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The cabaret probably originated in France in the s as a small club in which the audience was grouped around a platform. The entertainment at first consisted of a series of amateur acts linked together by a master of ceremonies; its coarse humour was usually directed against the conventions of bourgeois society.
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The typical program, which first flourished in the Montmartre district of Paris at the tiny Chat Noir in , listed poetry readings, shadow plays, songs, and comic skits. The primary exponent of French cabaret entertainment was the Moulin Rouge, in Paris; established in as a dance hall, it featured a cabaret show in which the cancan was first performed and in which many major stars of variety and music hall later appeared.
The world of the Moulin Rouge in its heyday was immortalized in the graphic art of Henri de Toulouse-Lautrec. It retained the intimate atmosphere, entertainment platform, and improvisational character of the French cabaret but developed its own characteristic gallows humour.
It was also a centre for underground political and literary movements. Patronized by artists, writers, political revolutionaries, and intellectuals , the German cabarets were usually located in old cellars.
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They were the centres of leftist opposition to the rise of the German Nazi Party and often experienced Nazi retaliation for their criticism of the government. The composers Paul Hindemith and Erik Satie , unknown at the time, were active in the cabarets; so also were the playwrights Bertolt Brecht and Frank Wedekind.
The cabaret survived in post-World War II Germany as a forum for topical satire, but it lost most of its political significance. Petersburg during the 20th century.
The English cabaret had its roots in the taproom concerts given in city taverns during the 18th and 19th centuries. Vesta Tilley laid the foundation stone of what is now the Sunderland Empire on 29 September and took to the stage on 1 July to officially declare the theatre open. Customer Services. Live at. Buy Tickets.
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Sunderland Empire change. Tue 28 Jan - Sat 1 Feb Tue and Fri at T he revival of Sam Mendes' Cabaret on Broadway, 15 years after its first run, is a reminder that even shows this familiar can still hold surprises: you can forget it has an almost perfect score, with no padding or bad songs to fidget through like so many juggernaut musicals on Broadway. And the play is unexpectedly stressful: in this production, which is co-directed by Rob Marshall and stars Alan Cumming and Michelle Williams , you spend most of the second half in a state of gut-clenching anxiety.
The production was staged in the same venue, Studio 54, and starred Jennifer Jason Leigh as Sally Bowles, which she played with spiky, unpredictable abandon [see footnote]. Michelle Williams is a very different kind of actor, in this instance gauche, touching, unsure of herself in a way that seems as true to the idea of Sally Bowles as more robust approaches.
In this version, Williams's is almost a supporting role. As was the case the first time round, the show is Alan Cumming's and his MC has to be one of the great stage performances of all time. It's so rare to get a second shot at seeing something this good, you should do anything you can to get a ticket.
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Where Joel Grey, in the movie version, was impish and sinister, Cumming is brutish, jack-booted, playing the part with a yobbish licentiousness that highlights just how close the satirist and the satirised come to looking to each other in the end. It's a hard thing to be saucy and menacing at the same time, but Cumming pulls it off.