Willkommen to the Historic Plummer Auditorium. Enter stranger....
I am sorry that this is my last FUHS Musical with Mr.Hedgecock. I approached Mr. Hedgecock in April of 2018 and asked him what musical he would like to work on before he officially "graduates." His response, without hesitation was, “Cabaret.” Naturally I was worried because eleven years ago when I first began my tenure at FUHS he suggested Damn Yankees and that show made it obvious that directing a musical was more difficult than directing a play. However, what I have learned from Mr. Hedgecock is that you always take a risk, answer questions when they arise and focus on the work-- not just the “talk” about the work. Over the last eleven years we have celebrated life, family and developed a friendship that will continue beyond his retirement. I am thrilled to be able to work on one last musical with him.
Our mainstage season explores how quick we are to judge others, how our percieved ideals can be used to manipulate others and, most importantly, how we all are more alike than we are different.
Over the last few months I have shared with other theatre educators about how excited I am to direct Cabaret. The first response I received was “how are you able to get away with that?” I am reminded of a conversation I had with Playwright John Cariani in the lobby of a hotel in Denver in September. He was surprised that so many high schools perform his play, Almost, Maine because he worried that high school students could not grasp the idea of love and relationships that are embedded in his work. While I know that Almost, Maine does not come close to the content of Cabaret, I reminded him that it is within the nature of our students to not only be sympathetic, but empathetic as well, and that the telling of a story is within the realm of their humanity, whether or not they have ever experienced these identical situations. Before the actors and technicians take the stage each night, we stand in a circle and I ask them, “Who are you speaking for tonight?” This is because I believe that art should give a voice to those who do not have one. Many of their responses to the question go beyond the scope of their personal experience(s) and many of the comments from the students are profound and beautiful.
I do not see performing Cabaret as something I am “getting away with,” but as a vehicle for students to dig deep into their own personal understanding of racism, “bystanderism,” and the consequences of personal actions. It also makes me wonder what we in our society are ignoring because we are too focused on ourselves, as opposed to what is happening around us.
Israeli historian and scholar Yehuda Bauer, stated that "Thou shalt not be a victim, thou shalt not be a perpetrator, but, above all, thou shalt not be a bystander." So often it is easier to watch something happen as opposed to doing something about it. Such is the case with the story we are presenting tonight. This show is about how, in our individual bubbles, we may not see hatred forming. This show is about people who are so focused on the night life and their own personal dramas they do not see that they are quickly heading into the Holocaust. The Emcee states, “we have no troubles here,” as a way to shield the audience from the rise of the 3rd Reich. However it becomes clear in act two when Cliff states, “Sally -- don’t you understand-- if you’re not against all this--you’re for it...Sally, wakeup! The party’s over! It was lots of fun -- but now it’s over.” The reality is the people represented in this musical do have troubles, much like the person who may be sitting next to you, and and if more people had paid attention, maybe, just maybe, the outcome might have been different.
Cabaret first premiered in 1966 at the Broadhurst Theatre and later the Imperial Theatre where it played for 1,165 performances. In 1972 it was turned into a feature film starring the incomparable Liza Minnelli, Michael Stone and Joel Grey. This production utilizes the 1993 (directed by Sam Mendes) and 1998 (directed by Rob Marshall) revival.
I would like to personally thank the following people for the energy and time they have put into this FUHS production. Genni Klein for being a wonderful creative partner and friend. Beverly Shirk for your many years of service to this program and your tireless work. Andrea Oberlander and Evona Markanian for there poinant choregraphy. Zachary Hillman for putting in the time to help us develop new systems to collaborate. Troy Trimble, Anthony Lopez and Scott Hedgecock who give of themselves so that our students can use music to convey their own humanity. Emily McCardell for her passion to learn the art of directing and always anticipating the needs of the production. Samantha Brackman, Hayley Harvey, Nathaniel Castaneda, and Jeremy Kraus for leading this whole team. David Renken for your love and support. Finally, the Cabaret Company (Cast and Crew) for the pleasure I have had collaborating with you on this project.
Michael Despars
Artistic Director, FUHS Theatre
Department Chair, Fullerton Union High School Academy of the Arts
President, California Educational Theatre Association
