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New Line Theatre. Inside CABARET Background and Analysis by Scott Miller The burgeoning political activism in the United States when Cabaret hit the stage in — and its growth by when the film hit theatres — as well as Hal Prince's desire to break through to a new kind of socially responsible musical theatre all conspired to make Cabaret one of the most fascinating stage pieces of the s and a show that speaks to our world in a new millennium more now than at any time since it first opened, as evidenced by the smash hit Broadway revival.
Today, as activism at both ends of the political spectrum has experienced a renaissance in America, Cabaret as a cautionary morality play has tremendous resonance. Cabaret in its original form was a fascinating but flawed theatre piece.
It was director Hal Prince's first experiment in making a concept musical a show in which the story is secondary to a central message or metaphor , a form he would perfect later on with projects like Company, Follies, Pacific Overtures, Kiss of the Spider Woman, and other musicals.
Early in the process of creating Cabaret, Prince had gone to Russia to see theatre and had witnessed a provocative, confrontational, rule-busting production at the Taganka Theatre. It was everything Prince had been looking for. Cabaret's flaw lies in the fact that the concept musical was still in an embryo stage; Prince was traversing uncharted territory.
The end product was ground-breaking and often shocking, but it was only half a concept musical. Believing that Broadway audiences in still needed a central romantic couple and a secondary comic couple as in Oklahoma, Brigadoon, The Pajama Game, and others , Prince and his collaborators essentially created two shows, a realistic book show with traditional musical comedy songs, and a concept musical with songs that commented on the action and the central message of the show.