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Cabaret

 Thinking about "Hadestown," I feel it's hard not to see a debt to "Cabaret." (In fact, the leading lady of "Hadestown" went on to become the leading lady in the recent revival of "Cabaret.")


Kander and Ebb took the Rodgers and Hammerstein template--two braided stories of romance--and did something disturbing. In an R&H show, we expect at least one romantic storyline (Maria/Georg, Forbush/Emile) to work out. Kander and Ebb asked, What if *both* storylines are just brutally sad?

It's a grand tradition to let the supporting players upstage the leads. Persephone is more interesting than Eurydice. We fall for Ado Annie; we are less captivated by Laurey.

For me, the heart of "Cabaret" is Fraulein Schneider. She is more moving than Sally Bowles. This is because--for Fraulein Schneider--love is more of a surprise. Her plainspoken words are impressive:

The old despair that was often there--
Suddenly ceases to be.
For you wake--one day--
Look around--and say--
Somebody wonderful married me.

Then Fred Ebb twists the knife. Hope dies.

It seems possible to draw a line from "What Would You Do" to the shattering final minutes of "Hadestown."
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