When the movie premiered, Grey’s celebrated numbers - “Willkommen,” “Two Ladies, “If You Could See Her” - were intact. Shop affordable wall art to hang in dorms, bedrooms, offices, or anywhere blank walls arent. His performance amounted to little more than a cameo. Unique Emcee Cabaret Posters designed and sold by artists. Fosse had reduced all of his big musical numbers to snippets. Grey saw a screening of the movie several months later.
“How dare you!” Fosse screamed, and stormed off the set. During a scene in which the Kit Kat girls mud wrestle, Grey, embracing spontaneity, stuck his finger in the mud and smeared a bit of it on his upper lip. Every now and then, though, Grey would do a take and see that his chilly director was smiling. Throughout the shoot, Fosse never once gave Grey a pat on the back. Alongside Redmayne, the Irish actor Jessie Buckley is playing the club’s English singer Sally Bowles (played by Liza Minnelli in the Bob Fosse film). We were supposed to be doing second-rate nightclub stuff. Dove Cameron plays Jenny Banks, Ariana DeBose plays the Emcee and Ann Harada is Madame Fraue, who are directly influenced by Bowles, Master of Ceremonies and Fraulein Schneider, respectfully. Eddie Redmayne has courted controversy for playing Emcee in the latest of revival of the Kander and Ebb musical Elsewhere in this new Cabaret there is no controversy. And we weren’t supposed to be neat, perfect performers. “Fosse was a martinet, and the dancers loved him, because he was so good. He wanted Grey and the Kit Kat Klub dancers to be a polished company. This androgynous emblem of decadence served as inspiration for the Master of Ceremonies or MC (Emcee), a character that Prince created to serve as a magnetic. He drilled his dancers in every move, right down to elbows, thumbs, head turns, even when to take a breath. I think he knew I was going to keep an eye on him.”Īnd that made for a tense set in Munich, where much of the film was shot.įosse hated spontaneity. I knew this character inside and out, and I was the keeper of the original musical. “He wanted to control everything, but I couldn’t let him. “That was his comeuppance in a way,” Grey tells me. He went to the hospital and that was the end of the back flip. He demonstrated - and landed on his face. Fosse responded: “It’s either me or Joel Grey.” To his chagrin, they said, “Then it’s Joel Grey.”įosse was nasty to Grey at the first rehearsal. ‘Is Clint Eastwood available?’ ‘What if we offer it to Kirk Douglas?’” “At first they always want to reinvent the wheel.
He had won a Tony for creating the role of the Emcee in the 1966 Broadway production of “Cabaret.” But that was precisely problem: Aside from the score, Fosse didn’t want to use anything - or anyone - from the Broadway show.ĭistraught, Grey called his agent Sam Cohn, who also represented Fosse. Grey was stunned to read that bit of news one morning in Variety. Ruth Gordon, then riding high from her Oscar win as the sweetly sinister devil worshipper in “Rosemary’s Baby.” In fact, as Grey writes in his absorbing new memoir “Master of Ceremonies” (Flatiron Books), Fosse didn’t want him in the movie at all. Joel Grey won an Oscar for his performance as the creepy Emcee in the 1972 movie version of “Cabaret.” But he did so in spite of - not because of - director Bob Fosse.
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