
Diving into the vibrant yet shadowed world of “Cabaret,” auditionees are met with the challenge of encapsulating the essence of Berlin’s nightlife and the tumultuous era of the early 1930s. This musical, rich in history and emotion, requires more than just vocal talent; it demands a deep connection to the characters’ complex narratives and the socio-political climate they navigate. From the enigmatic Sally Bowles and the cunning Emcee to the spirited ensemble of the Kit Kat Klub, each role offers a unique opportunity to explore themes of love, loss, and identity against the backdrop of a society on the brink of change. In preparing for an audition, selecting the right song becomes a pivotal decision—one that can capture the soul of your character and resonate with the timeless themes of “Cabaret.” Here, we propose a collection of era-appropriate songs that mirror the feeling, tone, and emotional depth of the musical, aiming to guide performers in making an impactful choice for their audition pieces.
Sally Bowles
- “Something Cool” by June Christy: This jazz standard embodies the aloof, yet longing essence of Sally, with its cool detachment and undercurrent of yearning.
- “The Party’s Over” from Bells Are Ringing: Reflects Sally’s realization of the need to face reality, akin to the thematic undertones of her journey in “Cabaret.”
- “With Every Breath I Take” from City of Angels: Captures a deep sense of longing and introspection, much like Sally’s more reflective moments.
- “Lush Life” by Billy Strayhorn: This song’s exploration of nightlife and disillusionment aligns with Sally’s complex relationship with the cabaret world.
- “Here’s That Rainy Day” from Carnival in Flanders: Reflects the melancholy and reflection on lost love, mirroring Sally’s emotional depth.
- “By Myself” from Between the Devil: Captures Sally’s determination to forge ahead, despite the challenges she faces.
- “Blues in the Night” by Harold Arlen and Johnny Mercer: A blues standard that encapsulates the sorrow and complexity of Sally’s life in Berlin.
The Emcee
- “I Am What I Am” from La Cage aux Folles: Celebrates self-assertion and resilience in the face of societal rejection, mirroring the Emcee’s defiant spirit.
- “Mein Herr” by Marlene Dietrich: Though associated with “Cabaret,” Dietrich’s portrayal of similar themes through her music captures the Emcee’s essence without directly borrowing from the musical.
- “Everybody’s Talkin'” by Fred Neil, popularized by Harry Nilsson: This song’s themes of disconnection and escape reflect the Emcee’s commentary on society while maintaining a personal distance.
- “Life is a Cabaret” by Edith Piaf: Not from the musical “Cabaret,” but Piaf’s embodiment of living life fully, with all its highs and lows, resonates with the Emcee’s guiding philosophy.
- “Minnie the Moocher” by Cab Calloway: Captures the vibrant yet dark atmosphere of the cabaret, similar to the Emcee’s world.
- “Ac-Cent-Tchu-Ate the Positive” by Harold Arlen and Johnny Mercer: Offers a contrastingly upbeat yet eerily fitting commentary on life’s complexities, akin to the Emcee’s juxtaposition of showmanship and dark undercurrents.
- “Mackie Messer (Mack the Knife)” from The Threepenny Opera by Kurt Weill and Bertolt Brecht: Though it predates the era, the song’s themes and the cabaret style match the Emcee’s role as a commentator on the darker aspects of life.
Cliff Bradshaw
- “Lost in the Stars” from Lost in the Stars by Kurt Weill and Maxwell Anderson: This song captures Cliff’s sense of disillusionment and his search for meaning in a confusing world.
- “It Never Was You” from Knickerbocker Holiday by Kurt Weill and Maxwell Anderson: A beautiful, introspective piece that reflects Cliff’s deeper emotional connections and his internal struggles.
- “Lonely House” from Street Scene by Kurt Weill and Langston Hughes: Echoes Cliff’s feelings of isolation in the midst of Berlin’s chaotic and changing landscape.
- “A Quiet Thing” from Flora, the Red Menace by Kander and Ebb: Although from a different Kander and Ebb musical, it captures the bittersweetness of personal revelations and quiet moments of happiness, akin to Cliff’s journey.
- “Not a Day Goes By” from Merrily We Roll Along by Stephen Sondheim: Reflects the pain and complexity of love and loss, mirroring Cliff’s emotional turmoil.
- “Say It Isn’t So” by Irving Berlin: A classic song about denial and the hope that a troubling situation is not as bad as it seems, fitting for Cliff’s hopeful naivety.
- “Autumn Leaves” by Joseph Kosma and Johnny Mercer: The reflective and melancholic nature of this song parallels Cliff’s reflective moments and his realization of the impermanence of his time in Berlin.
Fraulein Schneider
- “September Song” from Knickerbocker Holiday by Kurt Weill and Maxwell Anderson: Captures the reflective nature of aging and the passage of time, relevant to Fraulein Schneider’s storyline.
- “As Time Goes By” by Herman Hupfeld: A song that speaks to enduring love amidst life’s changes, reflecting Fraulein Schneider’s deep feelings for Herr Schultz.
- “I Wish I Could Forget You” from Passion by Stephen Sondheim: Reflects the complexity and pain of love, especially when faced with societal pressures, akin to Fraulein Schneider’s situation.
- “Send in the Clowns” from A Little Night Music by Stephen Sondheim: Emphasizes the poignant realization of time’s passage and the opportunities missed, resonating with Fraulein Schneider’s choices.
- “What’ll I Do” by Irving Berlin: Captures the heartache and uncertainty of love lost, mirroring Fraulein Schneider’s emotional conflict.
- “Every Time We Say Goodbye” by Cole Porter: A beautiful, melancholic song that reflects the sadness and resignation of parting, relevant to Fraulein Schneider’s relationship with Herr Schultz.
- “Solitude” by Duke Ellington, Eddie DeLange, and Irving Mills: Reflects Fraulein Schneider’s loneliness and the solace she finds in her own company, despite the chaos around her.
Herr Schultz
- “My Funny Valentine” from Babes in Arms by Rodgers and Hart: This classic song reflects Herr Schultz’s tender and affectionate view of Fraulein Schneider, highlighting the sweetness in their relationship.
- “Edelweiss” from The Sound of Music by Rodgers and Hammerstein: Though from a different era and context, it captures Herr Schultz’s gentle nature and his deep love for his homeland, even in the face of changing and turbulent times.
- “I’m Old Fashioned” by Jerome Kern and Johnny Mercer: This song embodies Herr Schultz’s traditional views on love and life, reflecting his old-world charm.
- “When I Grow Too Old to Dream” by Sigmund Romberg and Oscar Hammerstein II: A song that captures the poignant acceptance of aging and the cherishing of memories, resonant with Herr Schultz’s perspective.
- “If I Were a Rich Man” from Fiddler on the Roof by Bock and Harnick: While more upbeat, it speaks to the dreams and reflections of a man deeply rooted in his culture and identity, akin to Herr Schultz’s character.
- “Let’s Face the Music and Dance” by Irving Berlin: Reflects Herr Schultz’s optimism and desire to face life’s challenges with Fraulein Schneider by his side, despite the ominous political climate.
- “You’ll Never Walk Alone” from Carousel by Rodgers and Hammerstein: This song’s message of hope and support resonates with Herr Schultz’s comforting presence and his relationship with Fraulein Schneider.
Ernst Ludwig
- “Mack the Knife” from The Threepenny Opera by Kurt Weill and Bertolt Brecht: While Ernst initially presents himself as affable, this song can subtly hint at the darker aspects of his character revealed later in the story.
- “Tomorrow Belongs to Me” from The Sound of Music (Cover Version): Although it’s from a musical, cover versions of this song outside the context of Cabaret can encapsulate Ernst’s dangerous ideology and the seductive nature of the political climate he represents.
- “This Nearly Was Mine” from South Pacific by Rodgers and Hammerstein: On the surface, it’s a song about lost love, but it can also reflect the broader theme of lost ideals and the tragic realization of one’s true nature, as seen in Ernst.
- “The Bilbao Song” from Happy End by Kurt Weill and Bertolt Brecht: Captures the allure and danger of Ernst’s Berlin, reflecting the city’s decadence and the impending doom.
- “The Last Time I Saw Paris” by Jerome Kern and Oscar Hammerstein II: Though nostalgic, it can mirror the loss of innocence and the transformation of Germany that Ernst is a part of.
- “Zu Asche, Zu Staub” from the series Babylon Berlin: While from a contemporary series set in a similar era, its themes of decadence, transformation, and the dark allure of power mirror Ernst’s journey and the broader societal changes.
- “Who Wants to Live Forever” by Queen: Not era-specific but captures the tragic realization and acceptance of one’s fate, akin to the darker turn in Ernst’s character arc and the impact of his choices.
The songs suggested above are carefully curated to resonate with the essence of each character, from the leading roles to the ensemble, reflecting the vibrancy, decadence, and underlying darkness of the Kit Kat Klub and its denizens. These selections not only aim to showcase your vocal abilities but also to highlight your capacity to delve into the characters’ emotional landscapes and the intricate world they inhabit. As you prepare to step into the audition room, let these songs serve as a conduit to the past, allowing you to embody the spirit of “Cabaret” and leave a lasting impression. Remember, the power of your performance lies in its authenticity and emotional resonance, offering a glimpse into the heart of one of musical theatre’s most enduring stories.
Photo by Camille Roux on Unsplash
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