Cabaret Joel

VARIOS INTERPRETES CABARET

Cheated out of playing nightclub canary Sally Bowles on Broadway in director Hal Price's Cabaret, Liza Minnelli nevertheless delivered an Oscar-winning star turn in Bob Fosse's cinematic reinvention of the show (which had the good sense to retain perverse imp Joel Grey from the stage production). Although the 1972 film discarded several songs from the original score, the new ones sound even better: Minnelli's breast-beating "Maybe This Time," the sultry "Mein Herr," and the salaciously satirical "Money, Money." By placing almost all the pertinent musical action on the stage of the decadent Kit Kit Club, the Kurt Weill-like compositional nuances and political underpinnings bask in the spotlight...that is, when Minnelli stops eclipsing it with her no-holds-barred performance. --Kurt B. Reighley

This original cast recording of Kander & Ebb's Cabaret is tough to beat: Jill Haworth as Sally Bowles, Joel Grey as the Master of Ceremonies, and Lotte Lenya as Fraulein Schneider all turn in classic performances that set a high-water mark for future reinterpretations. Lenya's "So What?" and "It Couldn't Please Me More" hark back to the dark cabaret work composed by her late husband, Kurt Weill, while other tunes ("Telephone Song," "Two Ladies") are much more upbeat. One of the best surprises found on this version--featuring liner notes by author Ken Mandelbaum--are the four previously unreleased (and fascinating) Kander & Ebb demo cuts and four brief intros for songs. The eight rarities are all low-fidelity but highlight the songwriting process of the pair nicely. --Jason Verlinde

"Put down the knitting, the book and the broom" and snap this one up! Original cast of Jill Haworth as Sally Bowles, Joel Grey as the Master of Ceremonies and Lotte Lenya as Fraulein Schneider. Includes Wilkommen; Telephone Song; Two Ladies; Tomorrow Belongs to Me; Meeskite; Money Song (Sitting Pretty); Married; Cabaret; What Would You Do?, and more! 25 tracks in all.

1966 Release First Album of Broadway Show Color Artwork Center of front cover Show credits under art work SEALED RECORD in PLASTIC NEVER OPENED

Winner of eight Academy Awards, including Best Director (Bob Fosse), Best Actress (Liza Minnelli), and Best Supporting Actor (Joel Grey), Cabaret would also have taken Best Picture if it hadn't been competing against The Godfather as the most acclaimed film of 1972. (Francis Ford Coppola would have to wait two years before winning Best Director, for The Godfather, Part II.) Brilliantly adapted from the acclaimed stage production, which was in turn inspired by Christopher Isherwood's Berlin Stories and the play and movie I Am a Camera, this remarkable musical turns the pre-war Berlin of 1931 into a sexually charged haven of decadence. Minnelli commands the screen as nightclub entertainer Sally Bowles, who radiantly goes on with the show as the Nazis rise to power, holding her many male admirers (including Michael York and Helmut Griem) at a distance that keeps her from having to bother with genuinely deep emotions. Joel Grey is the master of ceremonies at the Kit Kat Klub who will guarantee a great show night after night as a way of staving off the inevitable effects of war and dictatorship. They're all living in a morally ambiguous vacuum of desperate anxiety, determined to keep up appearances as the real world--the world outside the comfortable sanctuary of the cabaret--prepares for the nightmarish chaos of war. Director-choreographer Fosse achieves a finely tuned combination of devastating drama and ebullient entertainment, and the result is one of the most substantial screen musicals ever made. --Jeff Shannon

Winner of eight Academy Awards, including Best Director (Bob Fosse), Best Actress (Liza Minnelli), and Best Supporting Actor (Joel Grey), Cabaret would also have taken Best Picture if it hadn't been competing against The Godfather as the most acclaimed film of 1972. (Francis Ford Coppola would have to wait two years before winning Best Director, for The Godfather, Part II.) Brilliantly adapted from the acclaimed stage production, which was in turn inspired by Christopher Isherwood's Berlin Stories and the play and movie I Am a Camera, this remarkable musical turns the pre-war Berlin of 1931 into a sexually charged haven of decadence. Minnelli commands the screen as nightclub entertainer Sally Bowles, who radiantly goes on with the show as the Nazis rise to power, holding her many male admirers (including Michael York and Helmut Griem) at a distance that keeps her from having to bother with genuinely deep emotions. Joel Grey is the master of ceremonies at the Kit Kat Klub who will guarantee a great show night after night as a way of staving off the inevitable effects of war and dictatorship. They're all living in a morally ambiguous vacuum of desperate anxiety, determined to keep up appearances as the real world--the world outside the comfortable sanctuary of the cabaret--prepares for the nightmarish chaos of war. Director-choreographer Fosse achieves a finely tuned combination of devastating drama and ebullient entertainment, and the result is one of the most substantial screen musicals ever made. --Jeff Shannon

Winner of eight Academy Awards, including Best Director (Bob Fosse), Best Actress (Liza Minnelli), and Best Supporting Actor (Joel Grey), Cabaret would also have taken Best Picture if it hadn't been competing against The Godfather as the most acclaimed film of 1972. (Francis Ford Coppola would have to wait two years before winning Best Director, for The Godfather, Part II.) Brilliantly adapted from the acclaimed stage production, which was in turn inspired by Christopher Isherwood's Berlin Stories and the play and movie I Am a Camera, this remarkable musical turns the pre-war Berlin of 1931 into a sexually charged haven of decadence. Minnelli commands the screen as nightclub entertainer Sally Bowles, who radiantly goes on with the show as the Nazis rise to power, holding her many male admirers (including Michael York and Helmut Griem) at a distance that keeps her from having to bother with genuinely deep emotions. Joel Grey is the master of ceremonies at the Kit Kat Klub who will guarantee a great show night after night as a way of staving off the inevitable effects of war and dictatorship. They're all living in a morally ambiguous vacuum of desperate anxiety, determined to keep up appearances as the real world--the world outside the comfortable sanctuary of the cabaret--prepares for the nightmarish chaos of war. Director-choreographer Fosse achieves a finely tuned combination of devastating drama and ebullient entertainment, and the result is one of the most substantial screen musicals ever made. --Jeff Shannon

CABARET - DVD Movie

Winner of eight Academy Awards, including Best Director (Bob Fosse), Best Actress (Liza Minnelli), and Best Supporting Actor (Joel Grey), Cabaret would also have taken Best Picture if it hadn't been competing against The Godfather as the most acclaimed film of 1972. (Francis Ford Coppola would have to wait two years before winning Best Director, for The Godfather, Part II.) Brilliantly adapted from the acclaimed stage production, which was in turn inspired by Christopher Isherwood's Berlin Stories and the play and movie I Am a Camera, this remarkable musical turns the pre-war Berlin of 1931 into a sexually charged haven of decadence. Minnelli commands the screen as nightclub entertainer Sally Bowles, who radiantly goes on with the show as the Nazis rise to power, holding her many male admirers (including Michael York and Helmut Griem) at a distance that keeps her from having to bother with genuinely deep emotions. Joel Grey is the master of ceremonies at the Kit Kat Klub who will guarantee a great show night after night as a way of staving off the inevitable effects of war and dictatorship. They're all living in a morally ambiguous vacuum of desperate anxiety, determined to keep up appearances as the real world--the world outside the comfortable sanctuary of the cabaret--prepares for the nightmarish chaos of war. Director-choreographer Fosse achieves a finely tuned combination of devastating drama and ebullient entertainment, and the result is one of the most substantial screen musicals ever made. --Jeff Shannon

When you are a tall strapping man who dresses like a woman for a living, finding a pair of sexy but durable shoes can be worth your weight in gold. Lola (Chiwetel Ejiofor)--a drag queen also known as Simon--finds her shoe salvation in straight-laced Charlie Price (Joel Edgerton), who has inherited his father's shoe factory. Unable to pay the bills making traditional loafers and wingtips, Charlie agrees to make Lola a pair of kinky boots that turn out to be so fabulous the pair end up going into business together. They face a few obstacles, such as the bawdy union workers who aren't too keen on taking orders from a drag queen who's more of a man than they are. Then there's Charlie's posh real estate girlfriend, who wants to convert the factory into pricey condos. While the movie doesn't provide any real surprises (or even any scenes as suggestive as its title might suggest), the English film (which is loosely based on a true story) is highly entertaining that will delight fans of both comedy and shoes. --Jae-Ha Kim

Based on a true story this is the inspiration & whimsical comedy about a shoe factory owner who goes to outrageous lengths to stay in business. Studio: Buena Vista Home Video Release Date: 05/11/2007 Run time: 107 minutes Rating: Pg13

This book presents Edwardian entertainment and the Edwardian entertainment industry as parts of a vital, turbulent era whose preoccupations and paranoias echo those of our own day. Responding to recent shifts of attitude toward the Edwardians and their world, the essays in this collection take as their provenance broad patterns of theatrical production and consumption, focusing on the economics of theater management, the creation of new audiences, the politics of playgoing, and the meteoric rise of popular forms of mass entertainment, including musical comedy, variety theater, and the cinema.

This book presents Edwardian entertainment and the Edwardian entertainment industry as parts of a vital, turbulent era whose preoccupations and paranoias echo those of our own day. Responding to recent shifts of attitude towards the Edwardians and their world, the essays in this collection take as their provinence broad patterns of theatrical production and consumption, focusing upon the economics of theatre management, the creation of new audiences, the politics of playgoing, and the meteoric rise of popular forms of mass entertainment, including musical comedy, variety theatre, and the cinema.

This eight-six page issue documents the opening night performance of the 1987 Broadway revival of Kander & Ebb/Masteroff's masterpiece, directed by Harold Prince and choreographed by Ron Field, which starred Joel Grey, Alyson Reed, Regina Resnik, Werner Klemperer, Gregg Edelman. Program contents include the title page (with credits), a production photo of the cast performing "Willkommen", six production shots of the principal characters, cast list, musical numbers, orchestra members, "Who's Who", staff, and credits. Feature articles (sharing the theme of health and well-being) include some weight and beauty tips from some theatrical stars (Angela Lansbury, Joel Grey, Lynn Redgrave, Cher, Lucie Arnaz, Laurence Luckinbill, James Earl Jones, Judd Hirsch), an interview with Chita Rivera about her recovery from a serious leg injury and her career, how opera singers stay in shape, and tips on how actors "cool off, calm down, and unwind." Regular popular columns, such as "At This Theatre", "Notes From the League", among others and a centerfold of LIZA - looking sensational while promoting Revlon - complete this issue.

Joel Grey autographed photo 8x10 (Cabaret ) ** item pictured above comes with autographwarehouse certificate of authenticity and numbered hologram