CABARET

THE SET
Jenna McFarland Lord 
CABARET was performed at
​The Boston Conservatory
​at Berklee College of Music. 
​
Erin Kearney - Production Stage Manager 

Matt Stern - Musical Director

Jenna McFarland Lord - Set Design

Ryan Park - Costume Designer
 
Jeff Adelberg - Lighting Designer 
​
Otis Sallid  - Director Choreographer ​​
COSTUMES 
Ryan Park 
Picture
DIRECTORS NOTES:
First they came for the socialists, and I did not speak out--
     Because I was not a socialist.
Then they came for the trade unionists, and I did not speak out--
     Because I was not a trade unionist.
Then they came for the Jews, and I did not speak out--
     Because I was not a Jew.
Then they came for me—and there was no one left to speak for me.
  • Martin Niemöller
The show Cabaret, written in 1966 is set in 1931 Berlin as the Nazis were coming to power. It takes place in a seedy nightclub called the Kit Kat Club, and focuses on a love affair between an American writer Cliff Bradshaw and a mediocre cabaret singer Sally Bowles.  Unlike previous versions of the show, it was my interest to explore the seedier and darker side of the written text. In direct opposition to Aristotelian philosophy, it is here in the show Cabaret that we see Life Imitating Art.

In 1931 Berlin, indignities against Jews, blacks, gays and women by politicians, religious leaders and family members went unquestioned by the rest of the population, and gave rise to the Nazi party.  This musical shows us how so many decent people who had the opportunity to speak out and make a difference did not. Because of this Cabaret seems more relevant than ever.

I have completely stayed away from the “pop and glitz’ of previous productions and relied on the more angular, raw and deeply emotive designs of the period called German Expressionism. By casting an African American in the role of the Emcee, which is  never (or rarely) done, I wanted to bring attention to the Afro-German struggle during this period in time.   It seemed an appropriate directorial choice as currently we find ourselves in a world of great political and cultural change and upheaval.  

I would like to thank the Theater Division at Boston Conservatory at Berklee and all of the inspiring students for their talent, expertise and support. ​
VIDEO GALLERY 
OPENING AND WILLKOMMEN
DON'T TELL MAMA 
MONEY
MARRIED
THE PINEAPPLE SONG
WHAT WOULD YOU DO 
SCHULTZ/SCHNEIDER SCENE 
TWO LADIES 
I DON'T CARE MUCH