Licensing Company: Concord Theatricals
Cabaret (1998 Version)
Daring, provocative and exuberantly entertaining, Cabaret explores the dark and heady life of Bohemian Berlin as Germany slowly yields to the emerging Third Reich.
The licensed orchestration from Concord is based on the 1998 Broadway revival at Studio 54 which was based on the 1993 Mendes-Donmar Warehouse production.
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 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 strings, steel guitar, xylophone, and celeste to name a few. 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 the Revised 1987 version includes “Don’t Go.”
- Only this 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 KEYBOARD PROGRAMMER
Electronic Music System Design: Andrew Barrett
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: Michael Gibson
Dance and Incidental Music arranged by: David Krane
Original Dance Music arranged by: David Baker
Musical Director: Patrick Vaccariello
Assistant Musical Director: Fred Lassen
Kit Kat Band
Piano: Patrick Vaccariello
Synthesizer/Keyboard 2: Fred Lassen
Drums: Gary Tillman
Bass: Bill Sloat
Trumpet: Rich Raffio, Christina Pawl and Linda RomoffBill Szobody
Clarinet: Denis O’Hare and Michael O’Donnell
Clarinet / Tenor Sax: Kristin Olness
Alto & Tenor Sax / Flute: Brian Duguay
Alto Sax: Joyce Chittick
Harp, Alto & Tenor Sax / Flute: Erin Hill
Violin: Leenya Rideout
Cello: Fred Rose
Banjo / Accordian: Michele Pawk and Vance Avery
Music Preparation: Donald Oliver, Evan Morris and Chelsea Music Services, Inc.
Musical Coordinator: John Monaco
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.”