1- Macy’s Jazz (Money)

 Rehearsal Log 1:

Macy’s ‘Money’ – 22nd April

Summary of Session:
Today, we resumed our rehearsals for Macy’s jazz piece to "Money" from Eddie Redmayne’s live recording of Cabaret. We spent most of the session working on new choreography and adjusting to the change in pace of the music. Since I’m playing the role of the Emcee, the rehearsal required intense character work. This role involves intricate movements and precise musicality, as I’m miming the lyrics while dancing. It’s been a fascinating process not only learning the lyrics but also being challenged by Macy to sing while dancing. This, she said, would help with the authenticity of the miming.

We also addressed some spacing issues I was facing with the chair and the steps, particularly when traveling through the crowd of people and chairs. Given the large rehearsal studio compared to the actual stage size, I had to adjust my movement to avoid overextending.

Additionally, we began the chair hand-clapping section. For this, I need to focus on being sharp with my fist closures and head positions. Although Macy mentioned that I may not be included in this section, I need to ensure I’m still picking up and executing the specific beats in the music.

Personal Observations:
I’ve been given the opportunity to create some of my solo choreography, which Macy will later review and adjust. So far, she’s liked everything I’ve created, though she’s emphasized that I need to highlight moments of breath and pause in the vocals of the track. To deepen my understanding of the Emcee character, I did some research into the harrowing storyline of Cabaret to better grasp the character’s depth and nuances. Macy often pointed out that my movements were coming across as too "normal" which is a challenge since the Emcee requires me to move in a much more raw, unrefined way. It’s been difficult to break away from my technical training and default posture, but I’m making progress.

Who is the Emcee?
The Emcee in Cabaret is a flamboyant, androgynous master of ceremonies at the Kit Kat Klub in 1930s Berlin. He serves as both narrator and commentator, using charm, cynicism, and humor to distract the audience from the growing political turmoil outside the club. His carefree exterior conceals a deeper, disillusioned perspective on society, reflecting the moral decay of the era. The Emcee embodies the tension between escapism and the harsh realities of life, offering a seductive yet chilling commentary on the rise of the Nazi regime.

Through songs like "Willkommen" and "I Don’t Care Much," the Emcee invites the audience into a world of indulgence, all while subtly reminding them of the looming dangers. His androgynous persona challenges boundaries, positioning him as both a symbol of liberation and the moral decay of the time. Ultimately, the Emcee represents a society more concerned with pleasure than confronting the rising fascist threat.

Understanding these layers of the Emcee character is essential for my portrayal. The contrast between his charismatic, carefree demeanour and the darker, more cynical undertones gives me a clear guide for balancing both his playful side and the more unsettling aspects. The androgynous nature of the Emcee also informs how I approach movement and expression, encouraging me to break free from conventional norms and embrace a more fluid, unpredictable performance. His complex duality will allow me to create a portrayal that feels both entertaining and chilling, staying true to the character’s deeper moral and emotional conflicts.

Next Steps for Progress:

• Incorporate my research on the Emcee’s character into my facial expressions and posture. I’ll look at portrayals of the character by famous actors to see how they embodied him.

• Listen to the song repeatedly, practicing both singing and miming to commit the vocal quality and lyrics to memory, especially since the lyrics are quite wordy.

• Review the hand-clapping section to ensure I'm hitting the right counts. I’ll also watch the video to compare my timing with the rest of the group.

  References:

  -DR Sandra E. Cohen . “CABARET How Quickly Freedom Disappears -.” Characters on the Couch , 13 Sept. 2018, charactersonthecouch.com/cabaret-how-quickly-freedom-disappears/.

  -HARMS, TALAURA. “Eddie Redmayne on How His Emcee in Cabaret Is a Shape Shifter.” Playbill, 2023, playbill.com/article/eddie-redmayne-on-how-his-emcee-in-cabaret-is-a-shape-shifter.

  -Carter, Gerrard. “Willkommen, Bienvenue, Welcome: The Emcee and the Master of Metaphors in Bob Fosse’s Cabaret.” Miranda, no. 19, 7 Oct. 2019, https://doi.org/10.4000/miranda.21233.