Licensing Company: Concord Theatricals
Cabaret (1987 Version)
PROGRAMMED INSTRUMENTS
Synthesizer
$275.00
Daring, provocative and exuberantly entertaining, Cabaret explores the dark and heady life of Bohemian Berlin as Germany slowly yields to the emerging Third Reich.
PROGRAMMING NOTES
The licensed orchestration from Concord is based on the 1987 Broadway revival at the Imperial and Minskoff Theatres.
There are 2 keyboard books for this version. The first is the Piano-Conductor book which contains no programming. This chair will require an advanced player.
The second book is the Synthesizer book which is essentially all accordion of various types that include all the stops and registrations of a real accordion. This book is not difficult to play compared to the Piano/Conductor book and an advanced high school student would likely be able to handle it. KeyboardTEK has not just provided a single accordion sound, but rather we have programmed it as though it were being played on the actual instrument itself. There are also a handful of other sounds such as Celeste, String Pad, Harp, Pipe Organ, Pedal Steel Guitar (with various pitch wheel settings) & optional Cash Register SFX.
It would be helpful to play this book on a keyboard that has a pitch bend wheel since some of the patches require this in order to mimic the original sounds of the Hawaiian Steel Guitar and the Accordion bellows.
FROM THE CONCORD WEBSITE:
NOTE: Three Broadway versions of this show (1966, 1987, and 1998) are available for licensing. Though all three follow the same story and share most songs, there are some differences in the script and score for each:
- Only the Original 1966 version includes “Why Should I Wake Up?” and “Meeskite.”
- Only this Revised 1987 version includes “Don’t Go.”
- Only the 1998 version includes “Mein Herr” and “Maybe This Time.”
- The 1966 and 1987 versions include “The Telephone Song” and “Sitting Pretty.” The 1998 version does not.
- The 1987 and 1998 versions include “The Money Song” and “I Don’t Care Much.” This Original 1966 version does not.
- The three versions differ in their treatment of the character of Cliff: In the Original 1966 version, there is no suggestion that he may be gay or bisexual. In the Revised 1987 version his bisexuality is implied, and in this 1998 version, he is clearly gay or bisexual.
All three versions include “Willkommen,” “So What,” “Don’t Tell Mama,” “Perfectly Marvelous,” “Two Ladies,” “It Couldn’t Please Me More (The Pineapple Song),” “Tomorrow Belongs to Me,” “Married,” “If You Could See Her” and “Cabaret.”
ORIGINAL MUSIC TEAM
Music by: John Kander
Lyrics by: Fred Ebb
Book by: Joe Masteroff
Based on the play by: John Van Druten
Based on stories by: Christopher Isherwood
Music orchestrated by: Don Walker
Additional orchestrations by: Michael Gibson
Original Dance Arrangements: David Baker
Dance arrangements by: Ronald Melrose
Musical Director: Donald Chan
Musical Supervisor: Don Pippin
Kit Kat Band
Piano: Donald Chan
Keyboards: Fred Barton
Trumpets: Jim Sedlar and Dave Rogers
Trombones: Porter Poindexter and Jim Miller
French Horn: Richard Price
Woodwinds: Al Bloch, Samson Giat, Ken Adams, Ken Berger and Robert Keller
Drums: John Gates
Bass: Ray Kilday
Concert Master: Elliot Rosoff
Violins: Kathy Livolsi, Elene Dumitrescu, Al Cavaliere and Max Tarr
Violas: Susan Follari and Richard Spencer
Celli: Ellen Hassmen and Marisol Estada
Banjo: Vin Bell
Tenor Saxophone in Girl Orchestra: Sheila Cooper
Drums in Girl Orchestra: Barbara Merjan
Trombone in Girl Orchestra: Panchali Null
Piano in Girl Orchestra: Eve Potfora
Music Copyist: Chelsea Music and Mathilde Pincus
Musical Coordinator: John Monaco
SHOW DESCRIPTION
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.”