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CABARET (1998 VERSION) at Ivoryton Playhouse

Dates: (8/7/2019 - 9/2/2019 )

Theatre:

Ivoryton Playhouse


8 Industrial Park Road
Ivoryton,CT

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  3. CABARET (1998 VERSION)


In a Berlin nightclub, as the 1920's draw to a close, a garish Master of Ceremonies welcomes the audience and assures them they will forget all their troubles at the Cabaret. With the Emcee's bawdy songs as wry commentary, Cabaret explores the dark, heady, and tumultuous life of Berlin's natives and expatriates as Germany slowly yields to the emerging Third Reich. Cliff, a young American writer newly arrived in Berlin, is immediately taken with English singer Sally Bowles. Meanwhile, Fräulein Schneider, proprietor of Cliff and Sally's boarding house, tentatively begins a romance with Herr Schultz, a mild-mannered fruit seller who happens to be Jewish. Musical numbers include "Willkommen," "Cabaret," "Don't Tell Mama" and "Two Ladies."

Cabaret opened on Broadway on November 20, 1966, and played for 1,165 performances at the Broadhurst, Imperial, and Broadway Theatres. The London production ran for 336 performances at the Palace Theatre. The show was revised for Broadway, first in 1987, when it played for 261 performances at the Imperial and Minskoff Theatres, and again in 1998 at Studio 54, where it played for 2,377 performances. In 2014, Cabaret returned to Broadway at Studio 54, playing an additional 388 performances.

News About CABARET (1998 VERSION) at Ivoryton Playhouse

BWW Review: CABARET at Ivoryton Playhouse
BWW Review: CABARET at Ivoryton Playhouse
August 27, 2019

The Ivoryton Playhouse's current production of Kander and Ebb's 'Cabaret' does justice to the musical in its own unique way. It is by no means a slavish replica of Sam Mendes's 1998 revision that stressed the decadence to a significantly risqué degree. Nor does it reflect the more conventionality of the 1968 original that still managed to shock audiences with its more subtle but piquant references to the rise of the Nazi party in 1930's Berlin and a huge on-stage mirror that placed the audience as observers and participants in the fall of the German culture.

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