Joe Masteroff –– music: John Kander –– lyrics: Fred Ebb –– based on John van Druten's play "I am a Camera" and on a book written by Christopher Isherwood –– German version by Robert Gilbert –– short version for orchestra by Chris Walker –– Stage direction and choreography by Răzvan Mazilu
In 1930s Berlin, when Nazism came to power, Sally Bowles, a young singer and dancer in a night club called Kit Kat, falls in love with Cliff Bradshaw, an American whose dream was to become a novelist. At the same time, though of old age, Ms Schneider and Mr Schultz are living their own delicate love story, which cannot materialize into marriage because he is Jewish. Between humour and resignation, ludic and decadent, fulfilled dreams and shattered ones, the fate of the characters in the musical "Cabaret" are marked by a political and social context whose influence is just at the beginning.
"Cabaret" – a world of fascination and deceit at the same time, whose scenic depiction and songs that have become hits of the genre, won the hearts of millions from the very first staging, in 1966.
Two Ladies: Anne-Marie Waldeck / Olga Török, Horia Săvescu
Gorilla-Mädchen: Suzana Vrânceanu
Sailors: Horia Săvescu, Richard Hladik, Aljoscha Cobeţ
Two nazis: Richard Hladik, Aljoscha Cobeţ
Orchestra: Gianluca Vanzelli, Cosmin Hărşian, Călin Pop, Marius Roman, Cristian Ilie, Nicolae Bialiş, Dorin Tereu, Sergiu Cârstea, Emil Ionescu, Valentina Peetz, Ionuţ Dorobanţu, Szamtártó Zsolt, Sorina Savii, Valentin Tătaru
"The German Theatre's Cabaret is one of those performances one must see
again and again. It is well sung, well structured, wisely staged; one of
those productions you come back to with pleasure, a form of non-thesist
theatre, albeit backed by an idea, a form of theatre that any type of
audience can enjoy."
"Răzvan Mazilu did in Timişoara exactly what he was supposed to do. He
became an energy binding factor. He knew how to ask and he gracefully
received what was given to him, from the people of the place. Before
anything, he received absolute devotion, in the absence of which nothing
aesthetically notable could ever result. He offered and received
rigour. I do not know how many of the cast members are native Germans.
Surely, not many. Yet, I know that the performance is, as they say, «of
German quality», it works like a Swiss clock, and it has the
sensibility, passion and rhythm of the Latin soul."
"The play area breathes naturally the evoked atmosphere, 1930s Berlin,
the colour of the era with metaphorical nuances, completed by the no
less evocative costumes, while the space offers dynamism and openness.
[…] Under the musical direction of Peter Oschanitzky, the wonderful
instrumentalists expressively shape the themes that have travelled
around the world in hits of many generations: Willkomen, Mein Herr,
Cabaret. […] The young actors unravel here exuberant energy, exemplary
dedication, eagerness to perform, dancing and singing techniques,
obviously assimilated, and not just outwardly mimicked."