THE SCHOOL OF THEATRE AND DANCE AND THE SCHOOL OF MUSIC PRESENT
CABARET
Book by JOE MASTEROFF
Based on the play by JOHN VAN DRUTEN and
Stories by CHRISTOPHER ISHERWOOD
Music by JOHN KANDER
Lyrics by FRED EBB
Director: Bernadette Sweeney
Choreographer: Pamyla Stiehl
Music Director: Spencer Stern
Scenic Designer: Jay Michael Roberts
Costume Designer: Sarah Sizemore
Lighting Designer: Mike Post
Projection Designer: Peter Fedock
Sound Designer: McCabe Thomas
Stage Manager: JM Christiansen
Dramaturg: Min Sun*
*Partial fulfillment of the Master of Arts degree in Theatre
1998 Version Originally Co-directed and Choreographed by Rob Marshall
1998 Version Originally Directed by Sam Mendes
CABARET is presented by arrangement with Concord Theatricals on behalf of Tams-Witmark LLC.
THE VIDEOTAPING OR MAKING OF ELECTRONIC OR OTHER AUDIO AND/OR VISUAL RECORDINGS OF THIS PRODUCTION AND DISTRIBUTING RECORDINGS OR STREAMS IN ANY MEDIUM, INCLUDING THE INTERNET, IS STRICTLY PROHIBITED, A VIOLATION OF THE AUTHOR(S)’S RIGHTS AND ACTIONABLE UNDER UNITED STATES COPYRIGHT LAW. INFORMATION CAN BE FOUND ON THE Concord Theatricals Resource site.
LAND ACKNOWLEDGEMENT
The School of Theatre and Dance acknowledges that these are the aboriginal territories of the Salish and Kalispel people, a number of whom are our colleagues, students, and friends. We honor the path they have always shown us in caring for this place for the generations to come.
*Es mistéʔes qe es lʔ, ci łu l ,T,atʔ̓ ayaqn u Qlispélixʷ sqlixʷúʔulexʷs t Nłʔaycčstm Kʷtis Snacx̓ ̣łqe̓ ym̓ ín. Qe es putʔem łu Sqélixʷ m̓ im̓ éʔeye̓ ms x̣ʷl ,olqʷštulexʷ łu x̣ʷl ,qł sqlqelixʷ.
AUDIENCE STATEMENT OF EMPOWERMENT
The School of Theatre & Dance recognizes that art can provoke; therefore, during the course of this performance, patrons are empowered to leave if themes or situations make them uncomfortable.
AUDIENCE ADVISORY
This production contains sexually explicit themes/content, violence, and depictions of anti-Semitism; viewer discretion is advised.
CAST
(in order of appearance)
Emcee: Ben Wambeke
Rosie-Kit Kat Girl: Lucy Schindler
Lulu-Kit Kat Girl: Samantha Mitchell
Frenchie-Kit Kat Girl/Girl in Gorilla Suit: Chloe Kearns
Texas-Kit Kat Girl: Bailey Carlson
Fraulein Kost/Fritzie-Kit Kat Girl: Daria Porter
Helga-Kit Kat Girl: Emily Albright
Bobby-Kit Kat Boy: Andy Lottis
Victor Kit-Kat Boy: Connor Romandine
Rudy/Hans-Kit Kat Boy: Enrique Mendez
Customs Official/Max/Herman-Kit Kat Boy: Blake Sowers
Sally Bowles: Rikky Johnson
Cliff Bradshaw: Tyler Glowinski
Ernst Ludwig: Dylan McCumber
Fraulein Schneider: Wallace Wilder
Herr Schultz: Andy Taylor
SETTING
Berlin, Germany. New Year's Eve 1929.
~There will be one fifteen-minute intermission.~
MUSICIANS
Piano/Conductor: Spencer Stern
Reed I: Jacob Logan
Reed II: Alexandra Vincent
Trumpet: Andrew Kagerer
Trombone: Sean Stineford
Drums/Percussion: Troy Bashor
Synthesizer: Landon Kleeman
Banjo/Guitar: Nick Barr
Bass/Tuba: Will Roesch
Flute: Andy Lottis
Cello: Andy Taylor
MUSICAL NUMBERS
ACT ONE
The Kit Kat Klub:
“Willkommen” (Emcee & Kit Kats)
“Welcome to Berlin” (Emcee)
Schneider’s House:
“So What” (Schneider)
The Kit Kat Klub:
“Don’t Tell Mama” (Sally & Kit Kats)
“Mein Herr” (Sally & Kit Kat Girls)
Cliff’s Room in Schneider’s House:
“Perfectly Marvelous” (Sally & Cliff)
The Kit Kat Klub:
“Two Ladies” (Emcee & Two Kit Kats)
Schneider’s House:
“It Couldn’t Please Me More” (Schneider, Schultz & Emcee)
In a Void:
“Tomorrow Belongs to Me” (recording)
Cliff’s Room in Schneider’s House:
“Maybe This Time” (Sally)
The Kit Kat Klub:
“Money” (Emcee & Kit Kats)
Schneider’s House:
“Married” (Schultz, Kost & Schneider)
Schultz’s Fruit Shop:
“Tomorrow Belongs to Me (Reprise)” (Kost, Ernst & Guests)
~15-Minute Intermission~
ACT TWO
“Entr'acte” (Orchestra)
The Kit Kat Klub:
“Kick Line Number” (Emcee & Kit Kats)
Schultz’s Fruit Shop:
“Married (Reprise)” (Schultz)
The Kit Kat Klub:
“If You Could See Her” (Emcee)
Cliff’s Room in Schneider’s House:
“What Would You Do?” (Schneider)
The Kit Kat Klub:
“I Don’t Care Much” (Emcee)
“Cabaret” (Sally)
Train:
“Finale” (Cliff & Emcee)
“End of Show” (Emcee)
DIRECTOR’S NOTE
In the title song, “Cabaret,” the incomparable Sally Bowles sings, “Start by admitting from cradle to tomb, isn’t that long a stay.” And in her first number, landlady Fraulein Schneider sings, “It will all go on if we’re here or not, so who cares, so what?”
So, for the short time that we are here, why should we care? And what should we care about?
Cabaret was first written in story form by novelist Christopher Isherwood as observations by a foreigner on the culture of Berlin during the rise of Nazi Germany—documenting all that was ‘tawdry and terrible.’ In Cabaret, this writer figure is characterized as American novelist Cliff Bradshaw; through his eyes we see the Kit Kat Klub as a place of license, of escape, of freedom of expression. But that freedom is all too soon lost as the political ideologies of the day encroach on it and place it in a desperate light. The Emcee becomes our guide and provocateur as he takes us into and through this world—we see the terrible fate of Jewish Germany in the story of Schultz; we see uncomfortable truths in the friendly face of Ernst; we see survival instincts in the actions of Sally Bowles and Fraulein Schneider. In producing Cabaret now, we are asked, and we ask again—Who cares? So what? What would you do?
There are many versions of Cabaret out there in print, on stage and on film, but we are particularly proud of how hard everyone has worked to re-envision this work for our students, our audiences, and our moment in history. I am grateful to my creative collaborators—choreographer and colleague Pam Stiehl, and music director and MFA music directing candidate Spencer Stern—for bringing their vision and artistry into this new imagining of Cabaret. I am grateful to Rabbi Mark Kula for his guidance and wisdom. My heartfelt thanks and admiration to the talented design team, the extraordinary cast and band, and to a wonderful stage-management team.
Now, right this way, your table’s waiting …
Thank you for coming to the cabaret; we hope you enjoy the show.
~Dr. Bernadette Sweeney
CHOREOGRAPHER'S NOTE
Theatre choreography is the design of bodies in space, time, relationship, aesthetics, and storytelling—all using a dance vocabulary that serves the world of the play. Thus, I was thrilled and challenged to provide a movement landscape for Cabaret—most especially, the Kit Kat Klub and its range of debauchery and entertainment, incorporating transgression, aggression, and metatheatrical narrative. My collaboration with director Bernadette Sweeney was crucial, providing the linchpin and driving force as to how she wanted this world to look and feel. I quoted actual choreography used in the floor shows of Berlin clubs at the time, while also exploring work with our amazing artists in the cast to both titillate and alienate. The cast rose to the task of pushing boundaries, both physically and artistically, while attending to technically difficult dance, necessarily moving between performative seduction and extroverted entertainment, while sometimes evolving into dehumanization. Such is the journey of Cabaret; and I am so proud of everyone involved in this endeavor.
~Dr. Pamyla Stiehl
CULTURAL ADVISOR'S NOTE
Cabaret is a nuanced musical with layers of intimacy, political satire, glimpses of Germany’s rising Nazi evils of anti-Semitism, bigotry and racism. Generations past as today, there is no escaping societal malevolence into a nightclub stage or ivory tower. Communities fail when apathy reigns. All of us must challenge totalitarianisms, anti-Semitism and unfettered hatreds. Witness on this stage talent balanced with sensitivity and wisdom. Thank you to this unique Cabaret cast for sharing with me in our emotional and intellectual exploration of the production’s themes and their implication for the theater, our neighbors, and most meaningfully, for ourselves.
~UM Campus Rabbi Mark Kula
PRODUCTION STAFF
Production Manager: Jason McDaniel
Assistant Music Director: Bailey Carlson
Assistant Choreographer/Dance Captain: Emily Albright
Fight/Intimacy Choreographer: Mark Plonsky
Fight Captain: Andy Lottis
Intimacy Captain: Samantha Mitchell
Rehearsal Accompanist: Spencer Stern
Cultural Advisor: Rabbi Mark Kula
Assistant Costume Designer: Jamie Howard
Assistant Lighting Designer: Kendall Skoog
Dialect Coach: John Kenneth DeBoer
Properties: Kinsey Church
Assistant Stage Manager: Caleb Boelman
Technical Director/Scene Shop Manager: Brian Gregoire
Charge Artist: Jay Michael Roberts
Scenic Artist/Painter: Ashley Milleson
Scene Shop Staff: Ellie Haag, Ashley Milleson, Trevor Monsos, Jay Michael Roberts
Carpentry and Paint Crew: Wilder Ayer, Joy Bakkum, Seth Campbell, Octavio Jimenez, Jerome Johnson, Oskar Murphy, Walker Winterburn
Prop Shop Manager: Laila Sisson
Costume Shop Manager: Jessica Lang
Cutters/Drapers: Ember Cuddy, Aurrora Watkins
Stitching Leads: Ember Cuddy, Megan Johnson, Sarah Sizemore, Aurrora Watkins, Molly White
Assistant Tailor: Peter Fedock
Costume Shop Staff: Donna Campbell, Ember Cuddy, Megan Johnson, Sarah Sizemore, Aurrora Watkins
Costume Construction Crew: Violet Anderson, Cassie Berg, Sam Chavez, Hannah Davis, Peter Fedock, Brenna Holgate, Sara Kutz-Yeager, Elle Lundgren, Michael Painter, Norrah Patch, Conner Rorie, Rae Scott, Joel Stewart, Jurate Varanavicius, Shadie Wallette, Aurrora Watkins, Molly White
Costume Crafts: Jurate Varanavicius
Dye Crew: Justin Freeny, Aurrora Watkins
Light/Sound Shop Manager: Terry Jorgensen
Lead Electrician: Terry Jorgensen
Assistant Lead Electrician/Lighting Programmer: Jason Bernardi
Light Shop Staff: Peter Fedock, Aurrora Watkins
Light Hang and Focus Crew: Liana Dillon, Tyler Glowinski, Alicia Griggs, Christopher Lubitz, Anthony Matury, Marcee Murphy, Auna Noah, Lexia Pilutik, Laila Sisson, Valen Underhill, Rebecca White, Paige Wisneski, Everett Works
Light Board Operator: Christopher Lubitz
Followspot Operators: Molly Brandt, Valen Underhill
Production Audio Engineer: Spencer Perry
Performance Sound Engineer: McCabe Thomas
Deck Audio: Lexia Pilutik
Scenery/Props Crew: Josephine Caringi, Hannah Davis, Kerrigan Edwards, Brady Grenfell, Eryn Laramie
Wardrobe Crew: Wren Gardner, Emily Kirkpatrick, Auna Noah, Eleanor O’Brien, Audrey Sylling
House Manager: Sara Kutz-Yeager
SPECIAL THANKS
Ayla Anderson
David Cody
Bryan, Ruby and Saoirse—as always
Fort Peck Summer Theatre
Missoula Children’s Theatre
UM Residence Life Maintenance/Paint Shop
TALENT SCHOLARSHIP RECIPIENT 2022-2023
Hannah Dusek
Growing up in Chicago, Illinois, I was constantly surrounded by the arts and found dancing to be my passion at the young age of two. Training with my pre-professional company (Beyond Words Dance Company, under the instruction of Kate Jablonski) for eight years, I could not deny the drive and passion I had for dance and knew that it was always going to be a part of my life. Graduating from Beyond Words in 2019 allowed me to start discovering my own unique artistry through movement. Using my own experiences, emotion, and education to drive this curiosity, I was able to find a sense of comfort and strength through movement.
The fire within me fueled my determination to constantly create and move throughout my time here at the University of Montana. Once joining this amazing program in 2019, I was showered with innumerable opportunities that were graciously given to me through the love the faculty have for each one of us artists. Putting every ounce of my being into the training I’m getting here at UM has been one of the best experiences in my life … especially thanks to Brooklyn Draper and Heidi Jones Eggert, two powerhouse women who believed in me from the start. Had they not pushed me to step out of my comfort zone and find the true artist that lived right in my heart, I would not be where I am.
Performing and training in many styles including contemporary, lyrical, jazz, hip-hop, ballet, and tap have been most of my career up until my time at UM. The Dance Program of the School of Theatre and Dance introduced me to the modern style of movement; through this, I have been challenged and so beautifully introduced to the world of modern dance. The program allows for us artists to fully dive into our creative skills by consistently being shown the ins and outs of choreography and performance while being given the ability to create and showcase our own works from the very first day we walk through the studio doors. I am constantly inspired by my fellow majors, who have turned into the best family for which I could have ever asked. I want to thank all of them from the bottom of my heart for all the love and support they give me and give this program.
I am beyond grateful to have been awarded the Talent Scholarship and appreciate the help and encouragement it will bring to my senior year. This would not be possible without the generosity of donors or the encouragement from audience members, so thank you so much from the bottom of my heart. I am so honored to continue feeding my passion for dance through my senior year under this scholarship title and into the future. It is through your support and encouragement that performing artists continue to create and be seen. Thank you for believing in us and in our art.
UM THEATRE AND DANCE STUDENTS SUPPORTED BY
Ballet Beyond Borders Scholarship; Charles Ross Capps, Sr., and Agnes Ranjo Capps Scholarship; George & Louise Caras Scholarship; James Caras Family Scholarships; Sarah Crump Memorial Scholarship; Alexander & Virginia Dixon Dean Scholarships; W.K. & Alice Dwyer Scholarship Endowment; William P. Gillespie Scholarship; Riki Gordon Scholarship; Donal Harrington Scholarships; Bill Kliber Endowment for the Arts Scholarship: Jim Kriley Memorial Scholarship; Mary Cardell Moore and Robert & Florence Cardell Awards; Mott Ranch Scholarship; Odyssey of the Stars Scholarships; Sarah Ottley Memorial Scholarship; Sheila M. Sullivan Scholarship; Talent Scholarship; Thespian Scholarships; UM Dance Days Scholarships; Dick & Marith Willis Scholarships; May Carol Zeman Award
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