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Post by pi on Nov 5, 2024 12:40:45 GMT -5
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Post by svca on Nov 5, 2024 12:41:14 GMT -5
No, don't think you missed anything, SophieB.
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SophieB
Member
Posts: 3,506
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Post by SophieB on Nov 5, 2024 12:47:08 GMT -5
svca Such lazy journalism. How long would it taken to look up his pronouns? đ
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Post by pi on Nov 5, 2024 13:06:51 GMT -5
OFFICIAL VIDEO
Adam Lambert talks âCabaretâ debut, performing with Queen, more
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Post by svca on Nov 5, 2024 13:14:32 GMT -5
svca Such lazy journalism. How long would it taken to look up his pronouns? đ Agreed. |
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Post by pi on Nov 5, 2024 14:41:08 GMT -5
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Post by pi on Nov 5, 2024 17:54:09 GMT -5
PLAYBILL
Adam Lambert and Auliâi Cravalho Are Spitting in the Face of Fascism
In Cabaret, Lambert is connecting to his Jewish heritage while Cravalho tackles her most mature role yet.
There is something so delicious about rage onstage, isnât there. From Luciaâs mad aria in Lucia di Lammermoor to the vivid breakdown of âRoseâs Turnâ in Gypsy, there is an undeniable audience appetite for the unhinged as a contrast to the typically-buttoned-up routines of everyday life. âIt's a real joy and blessing to descend into madness every night!â says Cabaret on Broadwayâs newest Sally Bowles Auli'i Cravalho laughs, waving a hand in front of her face. âIt's not often that I get to play a character that completely loses it.â
Cabaret at the August Wilson Theatre, which envelops audiences into the mysteriously liminal world of the Kit Kat Club, has two new maddeningly compelling stars at its center: Moanaâs Cravalho opposite pop star Adam Lambert as the spectral Emcee. Both are making their Broadway debuts.
Some of the Adam parts: The article starts out talking about Auli'i's character in the play which I skipped to get to the Adam parts.
âThis role is so unapologetically queer, in every meaning of the word,â Lambert states. âI'm having an absolute ball playing him. As somebody thatâs Jewish and queer, the role of the Emcee really appealed to me, because heâs somebody that I can find myself in, and have a lot of fun being naughty and silly and free and sexyâwhile also being allowed to really dig into the deeper, darker elements of the second act.â
Lambertâs Jewish identity, which is often overlooked by even his most ardent of fans, colors many of his choices within Cabaret. While the Emceeâs true identity, even his real name, is intentionally unknown, Lambert has infused aspects of his personal identity into his portrayal. One moment in the second act, in particular, moves Lambert with a groundswell of emotion: The moment that he as the Emcee, in a clown costume, breaks a glass following the reprise of the tender love duet, "Married." Not to spoil the production, what starts as tenderness soon turns sour.
âIt's a metaphor for Kristallnacht; the Night of the Broken Glass.â The pogrom, which saw members of the Nazi Party ransacking synagogues and Jewish-owned stores, was one of the most violent warning shots of the genocide to come. Admits Lambert: âIt feels wrong to say this, but I love that moment. In a second, it demonstrates everything that happened with the Nazi occupation in Europe. It stole joy, it stole hope from people, and it stole life. To take the Jewish tradition of breaking a glass at a wedding and mirroring it in the Night of the Broken GlassâŠâ Lambert pauses, gathering himself. âI think it is brilliant.â
As the production's Master of Ceremonies, Lambert has the ability to directly interact with the audience throughout the show, a trait he particularly puts into action when Nazism starts to creep onstage. In particular, the âIf You Could See Her Through My Eyesâ sequence allows Lambert to face the seeping prevalence of antisemitism head on.
âI did some research on it, and I know that in the original Broadway production, they actually had to change the final line because it was so controversial.â The final line, âShe wouldnât look Jewish at all,â was changed to âShe isn't a meeskite at allââusing the Yiddish term for ugliness to indirectly indicate the antisemitism that Kander and Ebb were pressured to not explicitly depict onstage. This production refuses to pull that punch. âIt's a really intense statement to make. Itâs a loaded punchline that is meant to illustrate all the double standards and antisemitism that was going on at the time, and sometimes, people actually laugh. That's hard for me, because I know how unfunny it actually is. I tend to find the person in the audience that's laughing and look right at them. I can see everyone in that theatre. It is very confrontational,â Lambert laughs darkly. âIf someone laughs, I stare them down until they realize what theyâre laughing at.â
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. Skipped parts, but loved the last paragraph and wanted to post it. Read this fantastic article in full at the link below!
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âOne of the things that drew me away from theatre 15 years ago was that I wanted to make art and entertain people without having to compromise the unapologetically queer part of myself. I never wanted to have to dial it back or be told how queer to be, or how fabulous to be, or what to wear, or how to do my makeup," Lambert explains. "15 years ago, I felt stifled by who the theatre wanted me to be. But now, Iâm wanted as I am. I get to do my own makeup, and wear my own nail polish. Every part of me is wanted in this production, and I love them for that.â
More.. playbill.com/article/how-adam-lambert-and-aulii-cravalho-are-spitting-in-the-face-of-fascism
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Post by pi on Nov 5, 2024 17:57:30 GMT -5
New photo from the Playbill article.  |
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Post by pi on Nov 5, 2024 17:58:27 GMT -5
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Post by pi on Nov 5, 2024 18:04:01 GMT -5
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