top of page

Spring 2007: Cabaret

 

Music and Lyrics by: John Kander and Fred Ebb,Book by: Joe MasteroffBased on the play by John van Druten, Based on stories by Christopher Isherwood.

Cabaret was, and still remains, one of the most daringly modern of Broadway musicals; with its overall style and the seediness of the Berlin night-club in which it is set. The goings on at the Kit Kat Klub appear typical of Berlin nightlife in the late 1930's, but they also serve as a metaphor for the chaotic world outside, and the rise of Nazism. Cabaret's director wanted to "present a challenge to audiences conditioned to the jolly predictability of musical theatre". The musical is set in pre-Second World War Berlin. Based on the diaries of Christopher Isherwood, it tells the story of Cliff, a writer, and his acquaintance with a cabaret performer, Sally Bowles, whom he meets in the sordid 'Kit Kat Klub'. It has a sub-plot of a Jewish couple Fraulein Schneider, and Herr Schultz, who have to come to terms with the uncertainty of their future together. The story is emphasized throughout by the eccentric and sometimes camp 'Emcee', played superbly in the film version by Joel Gray.

 

Master of Ceremonies

Kit Kat Girl

Kit Kat Girl

Kit Kat Girl

Kit Kat Girl

Kit Kat Girl

Kit Kat Girl

Kit Kat Girl

Kit Kat Girl

Waiter

Waiter

Waiter

Waiter

Waiter

Waiter

Waiter

Clifford Bradshaw

Ernst Ludwig

Customs Officer

Fraulein Schneider

Fraulein Kost

Herr Schultz

Sally Bowles

Sailor

Sailor

Sailor

Sailor

Sailor

Telephone Girl

Max

Lady

Lady

Tenor Soloist

Gorilla

Brute

Brute

 

Tré Tennyson

Forrest Gladstone

Leah Goldman

Tucker Harris

Kathleen Laird

Leigh Rossi

Peyton Rothwell

Ashley Tucker

Carol Anna Van Deventer

Brendt Harris

David Leon

Chris Moneymaker

Justin Paxton

Nathan Rogers

Malcolm Stevenson

Mark Williams

Danny Cackley

Sam Rabinovitz

Chris Moneymaker

Caroline Ryon

Carol Ann Van Deventer

Jordan Yonce

Anne Larimer Hart

Brendt Harris

David Leon

Justin Paxton

Nathan Rogers

Mark Williams

Peyton Rothwell

Mark Williams

Tucker Harris

Malcolm Stevenson

Nathan Rogers

Brendt Harris

Christ Moneymaker

Nathan Rogers

 

Cast

Pit

 

Music Director

Piano

Trumpet

Trumpet

Alto Sax

Tenor Sax

Flute

Flute

Clarinet

Percussion

Bass

 

Joe Hodge

Renee Gruber

Joey Wyatt

Ben Holmes

Josh Dugat

Rachel Brown

Allison Sheaver

Christina Joo

Brynn Ritchie

Mark Benson

Matt Shuster

Tech Staff

 

Asst. Technical Director

Asst. Technical Director

Asst. Technical Director

Stage Manager

Stage Manager

Set Designer

Asst. Set Designer

Master Carpenter

Asst. Carpenter

Lighting Designer

Master Electrician

Asst. Electrician

Props Mistress

Sound Designer

Sound Manager

Costume Designer

Hair/Make-Up Designer

Co-Painter

Co-Painter

Run Crew Chief

Run Crew Chief

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

Tech Crew Member

 

Jimmy Bishop

Bryce Griffler

Rebecca Mahon

Lauren Davis

Lauren Paullin

Mary Becica

Miles Morrison

Caleb Erikson

John Pappas

Wes Young

Katherine Pfister

Lisa Harbin

Kate Resta

Jamie Coupar

Kate Howling

Erin Moran

Sarah Edwards

Laura Fakhry

Erika Atzl

Sarah Morgan

Adam Smith

David Barnes

Christine Conners

Bailey Disselkoen

Nicole Fields

Susan Fisher

Jimmy Gross

Megan Hanrahan

Laura Harris

Russ Hicks

AJ Johnson

Rebecca Koslover

Jessie Lawler

Ryan Logue

Julia Moonves

Desiré Moses

Kelsey Mosley

Sydney Provence

Janice Reade

Joey Romeo

Jenn Root

Sarah Rosenthal

Sean Rowan

Chris Shuptrine

Will Slusher

David Solomon

Kimberly Steimel

Casey Stein

Laura Wagner

Kate Welch

Liz Zipperle

 

Director

Asst. Director

Asst. Director

Vocal Director

Asst. Vocal Director

Choreographer

Asst. Choreographer

Asst. Choreographer

Asst. Choreographer

Music Director

 

Mark Gray-Mendes

Harrison Gibbons

Erin Lynn Heath

Mike Wilber

Sara Dougadir

Monica Talley

Matt Baer

Lee Kelly

Katie Smith

Joseph Hodge

 

Artistic Staff

Production Staff

 

Producer

Asst. Producer

Business Manager

Asst. Business Manager

Technical Director

Fundraising Chair

Publicity Chair

Social Chair

Social Chair

Social Chair

Historian

Historian

Historian

 

James Villarrubia

Meghan Knoll

Emily Riggs

Adam Smith

Laura Beauchesne

Suzanne Casey

Laura Fakhry

Jeremy Arthur

Colleen Berry

Matt Fletcher

Ryan Cleary

Matthew Lukens

Jamie McCelland

Director's Notes

Welcome one and all to tonight’s performance of CABARET! Before I get started here, I’d like to thank each and every one of you sitting in the audience this evening simply for choosing to be here tonight. What you see before you tonight is the product of the hard work of twenty-one exceptionally talented cast members, ten devoted and committed artistic staffers, a diligent and hard-working technical staff, a melodious orchestra, and an entire organization uniting in the pursuit of one goal: to bring you this show on this night. Without an audience, what we do tonight is not theatre, and so you are just as much as a part of this experience as any of us.


Many people approach me asking me exactly what CABARET is about. Chances are they’ve heard of it, and some of them have heard a few of the songs from the show. However, I don’t believe that it’s possible to do justice to what CABARET is about in a space such as this. For one thing, I would be arrogant if I claimed to understand the show fully and completely. I’ve been studying this show for over three years now, having performed in it during my freshman year at Virginia Tech, and to this day I still discover nuances and themes that I’d never encountered before.


I believe that, more than anything else, this show speaks to the theme of avoidance. We as University students enwrap ourselves in the safety blanket of college life on a daily basis, finding comfort in the things that we do to avoid the realities of the world outside Grounds. In much the same way, people like you and me go to the theatre to engage ourselves in a world that is not our own; a world outside Grounds. In much the same way, people like you and me go to the theatre to engage ourselves in a world that is not our own; a world absent of the troubles that we face every day. I encourage you, for this reason, to allow yourself to be enveloped by the illusion of the Kit Kat Klub, for “in here, life is beautiful – the girls are beautiful – even the orchestra is beautiful”. Forget your exams, your readings, your papers, and enjoy the show.


As a graduating fourth-year student, this show essentially represents my swan song, my goodbye to the University of Virginia. I have been lucky enough in my brief three-year career here to be affiliated with some tremendous organizations: the Virginia Glee Club, whom I thank for teaching me the value of unconditional brotherhood; the University Singers, whom I thank for showing me the power of horal excellence; Spectrum Theatre, whom I thank for the opportunity to direct The Fantasticks last fall; and Shakespeare on the Law, whom I thank for introducing me to one of the most powerful pieces of theatre to ever grace the stage.
It is appropriate, however, that I should end my career here with this group, this marvelous organization committed to a set of goals that I believe in with all of my heart. First Year Players isn’t just about putting together a spectacular show. More importantly, it is about the formation of a community of individuals, dependent upon each other from start to finish, to create something in which the group as a whole can take collective pride. It’s about extending an open hand to anyone who wants to be a part of the group, regardless of talent or experience or social skills. It’s about taking what the group has to offer and then giving back to it, something which I hope that I’ve been able ot do with this endeavor. Most of all, it’s about having fun, and tonight you have the opportunity to experience the fun that we have in creating this show.


To that end, there are countless individuals who deserve thanks for their contributions to this show and to making it happen. I can’t get to everyone in this space, but I will do the best that I can.


First and foremost, I thank First Year Players as an organization for giving me the opportunity to bring this show to the University community, and for everything that it has given me throughout my three years here. I thank the Production Staff for everything that they have done to make this show a possibility and for the support that they have given to every aspect of the show.
I owe a tremendous debt of gratitude to my supremely talented Artistic Staff. Most of what you see onstage tonight is the direct result of their tireless effort in teaching the nuts and bolts of the songs, dances, and scenes to the cast. You all never cease to amaze me.


I thank the cast for the relationships that I’ve build with many of them and for the countless hours of hard work learning and putting together this show. I sincerely hope that this has been an experience that you will be able to take pride in for the rest of your life. I also hope that you have, through the vehicle of this process, made a few friendships that will last a lifetime.
I also would like to thank the technical Staff – words cannot express the amount of gratitude that I have for the work that you’ve put into this show. Lighting, sound, costumes, woodwork, makeup, set design, paint, and a million other things that perhaps even I don’t know about… you all are the people who have made the magic happen, and for that I am eternally grateful. It has been truly a pleasure to work so closely with you all.


A few individual people worth special note:
My best friend, Brian Bartoldus, for making me realize that I’m worth something.
My partner in crime, AJ Johnson, for following his dream and helping me follow mine.
My producer, James Villarrubia, for helping me through every crisis that has come along,
My girlfriend, Jamie Coupar, for believing in me and for always being there for me.
My brother, John Rogers, for teaching me the value of faith.
My inspiration, Walt McGough, for encouraging me to try again.
My teacher, Kathie West, who forced me to audition for TJ Drama and who taught me how to keep the faith and take care of each other.


And most importantly, my parents, for their constant and unwavering support throughout all my endeavors in my twenty-one years on this Earth. Thank you and I love you.


So now I’m finally finished…except for a few things. I ask that you be honest with us about this show. If you loved it, tell the cast how much you loved them. If you hated it, tell me about why. If you didn’t get it, feel free to ask me anything about it. A group will never get any better at what it does unless it is honest with itself about what it does. And also… many of you in the audience have been affiliated with this organization in the past. Come back. We miss you.
And now I’m really finished…except… just kidding. Enjoy the show!
--Mark Gray-Mendes

Producer's Notes

FYP is an organization that was founded out of a love for theatre, but continued on by our love for each other. Cabaret marks the 48th production in FYP’s long history: such is the strength of our love and our friendship. I am very proud o associate myself with such a wonderful group of people, and I am very proud of this year’s spring production.


But love and friendship will only go so far. Dedication, hard work, and leadership are cultivated in this organization as much as anything else. Without strong student leaders to direct, design, and plan every aspect of our shows, we would fall apart. I cannot possibly name every person who has contributed to this show, but there are a few people that deserve particular recognition. Our director, Mark Gray-Mendes, with his talented staff, has made a beautiful, inspiring, polished, final product. Our Business manager, Emily Riggs, has applied a new vigor and professionalism to the position and has prepared the organization, not only for the next semester, but for years to come. Our Assistant Producer, Meghan Knoll, has confidently led the group through several difficult situations. Our Technical Director, Laura Beachesne, has handled new technical challenges with strength and grace. And I finally must recognize the FYP elders of “358,” who have been superb resources and support this entire semester.

 

Finally, I must recognize the first years – ultimately Cabaret is their show. They are all so very talented, and I expect great things from each and every one of them for years to come.
Thank you, all for coming and supporting FYP. Please, enjoy the show!
--James Villarrubia, Producer

 

Although this organization has members who are University of Virginia students and may have University employees associated or engaged in its activities and affairs, the organization is not a part of or an agency of the University. It is a separate and independent organization which is responsible for and manages its own activities and affairs. The University does not direct, supervise or control the organization and is not responsible for the organization’s contracts, acts or omissions

  • Facebook - White Circle
  • Twitter - White Circle
  • Flickr - White Circle
  • Instagram - White Circle
  • LinkedIn - White Circle
bottom of page