Cabaret: Music on Film Series by Stephen Tropiano

Author:Stephen Tropiano [Tropiano, Stephen]
Language: eng
Format: epub
Tags: Video / Guides &#38, PER004020 PERFORMING ARTS / Film &#38, Reviews
ISBN: 9780879104221
Publisher: Hal Leonard
Published: 2011-02-01T08:00:00+00:00

We are all bisexual by nature in that we have the capacity to be attracted to both men and women. I externalized those feelings, and attempted to project them through the character of the Baron. The Baron really liked both of them; perhaps he liked Brian a bit more. But the Baron was a catalyst in that he helped each of them see themselves more clearly and realistically before they parted.

The remaining cast members included six dancers, four Europeans and two Americans (Louise Quick and Kathryn Doby). Quick and Doby were “Fosse girls” who had appeared in both the stage and screen versions of Sweet Charity and would assist Fosse after Cabaret on the Broadway musical Pippin (1972). Quick was also the assistant choreographer on the Emmy-winning TV special, Liza with a Z: A Concert for Television (1972), while Doby had the same credit on Fosse’s All That Jazz (1979), in which she was also featured. Auditions were held in Germany for the other four dancers. Minnelli recalls, “It was funny because all the girls who came to audition for the roles of the dancers thought they were going to be in a Hollywood musical. Then they put the bruises on them and made them grow hair under their arms. They looked so confused at first.” When they finished shooting the dance numbers, the cast had a party for them and gave them razors and soap so they could shave under their arms again.

One issue that became the source of great tension between Fosse the director and Feuer the producer was the director of photography. Fosse demanded they hire three-time Academy Award winner Robert Surtees, who had shot Sweet Charity. But to cut down on costs, Feuer and Baum wanted a European cinematographer. Whether Feuer did or did not promise to hire Surtees is not clear. In Munich, during preproduction on the film, Feuer received a telephone call from Martin Baum, who wanted to see how things were going. When Feuer said that the issue about the cinematographer had not been resolved, Baum suggested they just cut their losses and fire Fosse. Feuer assured Baum that Fosse was the right director for the project, yet he had no intention of hiring Surtees. In the hotel room next door, Fosse listened through the walls to Feuer’s end of the conversation. The following morning, an angry Fosse confronted Feuer and accused him of lying and being duplicitous. Martin Baum flew to Munich to referee. Fosse demanded that Feuer be fired, but Baum refused. Fosse and Feuer continued to work together on a professional basis, but their friendship was over. In a 1974 interview with Penthouse, the director explained that he can “live with ball-busting truth a lot easier than deception. That’s what my differences with Cy Feuer were all about. I mean he lied to me.…If he’d leveled with me, we could have worked it out together. But he told me first one thing, then another. I can’t stand deception.”

Fosse did get

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