Maybe This Time: How Bob Fosse got "Cabaret" right
Sharp student essay breaks down the film's choreography
Thrillifying! The Broadway Maven will be offering a FREE class on Wicked Tuesday, March 4 at Noon and 7 pm ET. Co-instructors Broadway Maven David Benkof and music educator Mateo Chavez Lewis will dive deep into the hottest musical theater property of the moment (setting box-office records in both its stage and screen versions). What is it about the story, the music, the lyrics, the set, the costumes, the lore that makes the show so beloved? There's no cost for the class, although if you become a Member of The Broadway Maven there are three more swankified classes the following three Tuesdays that will go even deeper into the green-shaded beauty of this landmark show.
Shalom, Broadway lovers!
In today’s MARQUEE: The Broadway Maven’s Weekly Blast: A) a student essay about the ways in which Fosse made Cabaret really shine in his direction of the film; B) a Broadway Maven YouTube video quiz about American states and Broadway shows; C) a Broadway Blast about Pacific Overtures and Hamilton; D) a fun announcement about David and Mateo going on The Broadway Cruise; E) a homework video for Tuesday’s FREE Wicked class; and F) a Last Blast about Oklahoma!.
STUDENT ESSAY: What made the 1972 movie musical Cabaret so special? Berlin? Liza? Joel Grey? In my opinion: Bob Fosse. His innovative choreography and directorial vision were key to the film’s critical and commercial success. He created a more authentic vaudevillian setting based on his personal experiences, took a darker approach to political themes than Hal Prince, and elevated the film’s performance quality through his groundbreaking dance style—ultimately transforming Cabaret into a landmark in musical theatre history.
Growing up in vaudeville theatre, Fosse was exposed to adult matters such as alcohol, drugs, and the hypersexual portrayal of women, which would later appear prominently in his choreography. Those childhood experiences influenced his design of the Kit Kat Club, capturing the dark, gritty realities of the world he knew. The atmosphere is filled with objects that are just slightly off: a musical saw, strobe lights, a small-statured ventriloquist.
His choreography also incorporated vaudevillian elements like the surprise in “If You Could See Her Through My Eyes,” the use of double-takes in Sally’s first entrance, and intricate use of the body, including iconic hat-and-cane routines, as seen in the opening number “Willkommen.”
Fosse also took a darker approach to the political themes in the musical, using his platform to challenge stereotypes and address societal issues. Cabaret explored the representation of women, the darkness of show business, and the rise of the Nazi Party. In "Tiller Girls," Fosse stages a small ensemble of women in traditionally sexualized costumes, using classic hat-and-cane choreography—only to shock the audience with an abrupt shift in movement and direction, as the dancers morph into marching soldiers wielding guns, making a bold political statement on war.
In the number “Mein Herr,” Sally Bowles (Liza Minnelli) and the Kit Kat Club girls perform an entertaining routine conforming to Fosse’s stylization: for example, holding an awkward position while balancing on a chair with a bowler hat. One leg is held in a traditional "attitude" position but with a flexed foot, while the hands and fingers execute precise, isolated movements in direct sync with the music.
Fosse’s movement style also impacted the success of the movie as the choreography remains timeless and influences productions to this day. For example, in “Money Money” there are repeated hip isolations to mirror solo instruments in the music: Isolations, sexual movements and musicality are all key features of his successful movement style. Of course, “Mein Herr” uses similar isolation, minimalistic choreography and awkward positions where women may balance on a chair with flexed feet, pigeon-toed feet or hunched shoulders. His choreography was captivating because it invited the audience to focus on small, precise movements, creating an intimacy in the performance that contrasted with the spectacle of larger dance numbers.
In Cabaret, Fosse used camera techniques like close-ups and cross-cutting (as demonstrated in numbers like “Two Ladies”) to amplify this effect and add to the original Broadway production. Fosse’s work as director and choreographer of Cabaret ensured the film successfully expanded on the stage musical by taking more risks with the darker themes and improving the versatility of the performers.
Cabaret revolutionized the movie musical by taking greater creative risks, deepening its thematic weight, and setting a new standard for choreographic storytelling—cementing Fosse’s legacy as one of Broadway and Hollywood’s most visionary directors. -Robyn Gray, Maven Scholar Fall 2024
VIDEO QUIZ: Here's a fun check-up to see if you know Broadway geography. Here are 10 snippets of famous Broadway songs. In what US state are they being sung? Be careful, I've included some tricks!
BROADWAY BLAST: When imperialism takes the stage in Pacific Overtures and Hamilton, it arrives with a punchline—but the comedy cuts deep. In Pacific Overtures, Western emissaries like Commodore Perry stride onto Japanese soil with exaggerated, almost farcical politeness that quickly devolves into musical chaos, their clashing anthems reflecting their arrogant inability to comprehend or respect the culture they invade. Meanwhile, King George in Hamilton turns colonial hubris into high camp, delivering a hilariously possessive “breakup” anthem that frames America’s revolution as a lover daring to defy his rule. Both musicals use satire to dismantle the myth of imperial majesty, reducing Western power to its most absurd elements and forcing audiences to confront the emptiness behind its pomp and self-importance. By turning conquerors into clowns, these works expose the farcical, destructive nature of historical domination.
ANNOUNCEMENT: David and Mateo are going on The Broadway Cruise! Broadway Maven David Benkof and co-host Mateo Chavez Lewis will be sailing from Miami to Cozumel on the four-night voyage starting March 31. The cruise features performances by Laura Benanti, Wayne Brady, and Shoshana Bean and appearances by Broadway celebrities like Brian Stokes Mitchell, Caissie Levy, and Adam Pascal. Fellow Substacker Gordon Cox (Jaques) will be on board interviewing Broadway celebrities, and the schedule is chock-full of fun for Broadway lovers like David and Mateo: karaoke, movie sing-alongs, and a drag brunch. MARQUEE will take that week off, but look out for a full report in the April 10 issue! (More information.)
DRAWING: Congratulations to Ruthellen Mulberg, the winner of our recent drawing for a ticket to the Opening Night of the highly anticipated drama Purpose by Tony winner Brandon Jacobs-Jenkins, opening March 17. Directed by Phylicia Rashad, the show is an epic family drama about a prominent Black political family. Ruthellen will be coming all the way from Florida to join David, Broadway Maven friend Peter Filichia, and two other longtime Broadway Maven students (Donna Scarfe and her sister Dee) at this sure-to-be star-studded event. There will be at least one more opening night drawing for Broadway Maven Members later this year. Join today!
PARLEZ-VOUS? Do you speak French? Do you love Sondheim? Broadway Maven David Benkof (who happens to be a polyglot), in preparation for a mid-March speech about The Master in Paris (where, of course, the first act of Sondheim's Sunday is set), will be offering a trial run on Zoom on Sunday, March 2. The session, covering the highlights of Sondheim's career, is FREE and is appropriate both for fluent speakers and those who are still learning. If you are interested, send a note to BenkofStaff@gmail.com and you'll get a detailed invitation (en français) with a Zoom link. Merci in advance!
MEMBERSHIP: Broadway Maven Membership is just $18 a month and includes 5-15 classes and other expert-led Broadway experiences, plus a password to the Clips Archive and periodic giveaways to Broadway and off-Broadway shows, including at least one opening-night performance and party. Upcoming Members-only classes include a “Savoring Broadway” presentation (similar to David Benkof’s BroadwayCon talk); the final three parts of a four-part course on Wicked, a two-part class on Black Broadway, The Rocky Horror Show, and the return of Juilliard Prof. Edward Barnes with a Rodgers & Hammerstein lesson. Join this vibrant learning community at the button below. It’s your home for Broadway appreciation!
HOMEWORK: To prepare for Tuesday's FREE class on Wicked, watch this video featuring seven teen Elphabas and decide which student did the best job. Are the performances polished or are any of these young performers too, well, green? Explain your answer in the comments.
Note: A full calendar of upcoming classes is always available at TheBroadwayMaven.com.
• Sunday, March 2 midi ET Discours : Sondheim en Français (GRATUIT, répondez pour recevoir une invitation)
• Tuesday, March 4 Noon and 7 pm ET Wicked FREE first week of a four-week course (Register here)
• Wednesday, March 5 4 pm ET (note unusual time) “Savoring Broadway” lecture (Members only)
• Monday, March 10 Noon ET Black Broadway: The Lost Decade with University of Washington Prof. David Armstrong (Members only)
• Tuesday, March 11 Noon and 7 pm ET Wicked part two (Members only)
• Monday, March 17 Noon ET Black Broadway: the Jazz Age with University of Washington Prof. David Armstrong (Members only)
• Tuesday, March 18 Noon and 7 pm ET Wicked part three (Members only)
• Monday, March 24 Noon and 7 pm ET The Rocky Horror Show (Members only)
• Tuesday, March 25 Noon and 7 pm ET Wicked part four (Members only)
• Monday, March 31 9 am ET (note early start time) Juilliard Prof. Edward Barnes on Rodgers & Hammerstein (Members only)
LAST BLAST: Before Oklahoma!, the inclusion of a "dream ballet" in a Broadway musical would have been considered a strange concept, but in the years immediately afterward it was almost de rigueur. However, the show sets us up for a connection between dreams and dance in Jud's song of frustration, "Lonely Room." He sings "And a dream starts a-dancin' in my head"—a dream about a romantic relationship with Laurey. So when the Dream Ballet follows immediately after Jud's song, the audience is already primed to think of choreographed slumber. And Agnes de Mille's groundbreaking approach in turn led to the incorporation of the form into musicals like Carousel, Brigadoon, and West Side Story.
The Broadway Maven is a vibrant educational community that helps its members think more deeply about musical theater. Every month, members may attend 5-15 expert-led classes and innovative Broadway experiences, all for just $18. We also foster enthusiasm for Broadway through the FREE weekly Substack newsletter MARQUEE and host an expansive YouTube channel. It's your home for Broadway appreciation. Contact The Broadway Maven at DavidBenkof@gmail.com.
Thank you for this! Now I’ll find the movie & see it again with a fresh take on it. I look forward to reading other insightful essays like this if you or others are up for it!