In less than a week, the dazzling sounds of jazzy Broadway tunes will filter down the corridors of Lincoln Hall as “Cabaret” takes the stage.
Every semester, Illini Student Musicals puts on a musical completely produced, directed and cast by University students. This semester’s show will run from Nov. 7-9 and showcases ISM’s new style of musical.
“The musicals we have done in the past are very straightforward,” said Nathan Pugh, director of “Cabaret” and senior in Business. “‘Cabaret’ is so different; it’s a good example of using art as a medium to use your voice and tell an impactful story that will leave people thinking and, frankly, uncomfortable.”
The show takes place in 1931 Berlin, primarily inside the sleazy Kit Kat Klub during the Nazi occupation of Germany. Throughout the performance, the main character and British Cabaret singer, Sally Bowles, navigates her complicated relationship with her male counterpart, Cliff Bradshaw. The story is guided by Emcee, a narrator character who often breaks the fourth wall.
“‘Cabaret’ tells the story of a changing world,” said Nick Pugh, senior in Business who plays Emcee. “It examines the themes of what happens when we are indifferent and apathetic to the world around us, whether it be politics or whether it be socially.”
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The production carries heavy political implications, with the secondary storyline exploring the tension of the relationship between a German boarding house owner, Fräulein Schneider, and her Jewish fiancé, Herr Schultz.
As Emcee, Pugh is excited for audiences to see the end of the show because ISM crafted an original ending. He described the alternative ending as “harrowing.”
“I like to say the show feels like we are on a train that is slowly derailing and it’s about to come up on a curve and go off the tracks,” Nick Pugh said.
The musical, originally written and produced in 1966, has recently gained new traction with it returning to Broadway in 2024 and hosting stars like Billy Porter, Orville Peck and Adam Lambert playing the elusive Emcee role.
Dance director and senior in dance, Harper Clark has been with ISM for four shows. According to Clark, “Cabaret” will be the best show ISM has ever put on because it holds a lot of weight regarding the political and social climate.
Bob Fosse choreographed the 1972 film version of “Cabaret.” He specialized in jazz-style choreography, incorporating that into other iconic productions such as “Chicago,” “Pippin” and “Sweet Charity.” His style is primarily associated with “Cabaret,” leaving Clark intimidated but ready to fill the shoes.
“I wanted to make sure I have some classic Fosse moves in it,” Clark said. “He had lots of small intricate movements that can have so much meaning, and I tried to incorporate some of those without losing my own original choreography style.”
Not only is the choreography a challenge, but the score is also distinct in that the original composer, John Kander, blended gritty jazz melodies with theatrical vocals. Kristina Vezmar, senior in FAA and vocal director for “Cabaret,” took on the iconic score.
“The songs have a very recognizable theme,” Vezmar said. “There’s a lot of songs where the dance interacts with the singing, and it works so well because it’s kind of like a performance within a performance.”
For the first time, ISM is using its dramaturg, Keely Wixted, senior in ACES, to assist in the historical context of the performance. A dramaturg is a consultant who researches the script and presents the knowledge to the cast and crew so they can produce the show true to history. The dramaturg plays a crucial role in the show because they deepen the cast and crew’s understanding of historical contexts and enhance their performances.
Soon, Lincoln Hall will host “Cabaret’s” flashy costumes, glamorous makeup and vivacious dancing. Tickets are on sale through its website.
“I feel confident with where the show is right now,” said Ainsley Holland, senior in LAS who plays Sally Bowles. “I feel like everyone just has a great grasp on the characters they are playing, and everyone is working incredibly hard.”
