The flamboyant, presumably pansexual Emcee (baritone Curt Olds) and his ensemble of performers welcome the audience with the curtain-raiser, “Willkommen,” which immediately makes clear the seedy and highly sexualized nature of the venue’s entertainment (even if somewhat glamorized versus the real-life experiences of Isherwood and his friends). The musical opens at a Berlin cabaret, the Kit Kat Klub, during a celebration of the New Year of 1929. In the musical, Isherwood, a shy gay British expatriate, appears in the character of American writer Clifford Bradshaw (portrayed by Atlanta native Billy Tighe in his Atlanta Opera debut). The Tony Award-winning 1966 musical Cabaret was adapted from the 1939 novel, Goodbye to Berlin, by Anglo-American writer Christopher Isherwood, who documented the decadence of the cabaret scene in a disintegrating Berlin from 1929 to 1932. The movie experience will not help you much, and it is best to take the stage version on its own compelling merits. There are also considerable differences in scripts, the dramatic structure and focus, the number and selection of songs, and even the characters. As great as the film is in many ways, the stage musical is even better and has far more bite. Those were top among a myriad of questions plaguing my mind after witnessing last Thursday’s opening night performance of a powerful and provocative new production of Cabaret from Tomer Zvulun and The Atlanta Opera.įirst and most importantly, the observer must completely forget the award-winning 1966 movie of the same name. Is it a symptom of a crumbling society or its cause? Or are both true, working simultaneously, feeding off each other? ( 1cover for Lee Osorio on opening night 2cover for Matti Steriti on opening night.) Creative: Alexander Dodge, set designer Erik Teague, costume designer Marcella Barbeau, lighting designer Melanie Steele, wig & makeup designer Nick Hussong, projection designer Jon Summers, sound designer Ricardo Aponte, choreographer Michelle Ladd Steele, intimacy director & fight choreographer Jon Summers, sound designer Felipe Barral & Amanda Sachtleben, filmed media. Ensemble: Brandon Nguyen (Gorilla/Victor), Gwynn Root Wolfiord (Frenchie), Jacob Attaway (Herman), Patrick Coleman (Rudi/Hans), Rachel Shiffman (Rosie), Bailey Jo Harbaugh (Lulu), Eva Lukkonen Sullivan 2 (Texas), Terelyn Jpones (Helga), Peyton McDaniel Davis (Bobby). Cast: Curt Olds (Emcee), Aja Goes (Sally Bowles), Anthony Laciura (Herr Schultz), Billy Tighe (Clifford Bradshaw), Deborah Bowman (Fraülein Kost/Fritzie), Joyce Campana (Fraülein Schneider) Nick Morrett 1 (Ernst Ludwig/Max) Max Cook (Boy Soprano). Our DJs have good sense of read the crowd to choose genres of music to play experts at keeping the party going using perfect blend of musical selection Indian Djs in Los Angeles.Francesco Milioto, conductor Tomer Zvulun, director. We plan playlist in advance or open for requests at the event. We are open to plan special moments that will be part of your ultimate events. ![]() We’ll mix it up with your guests and get everyone motivated to dance. Our Indian DJs are trained to entertain appropriately for every occasion. The memories are on Indian Djs in Los Angeles. We’ll change the music, set the mood and keep everyone celebrating. Let our magnetic talent make sure everyone is entertained so you can relax and get down on the dance floor with your guests. ![]() Our style is always professional and friendly because we know how important it is that you feel comfortable and confident. ![]() We know the Indian DJs/Emcee is an essential part of your special event so we make it our goal to ensure each wedding or event flows smoothly and successfully also everyone is having a great time.
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