2008 Woodie Awards
'Cabaret' producer disputes review's theatrical validity
Issue date: 3/1/07 Section: Opinion
- Page 1 of 1
Circle Editors:
I am writing in regard to the February 22 review of the musical production of Cabaret by Circle contributor John Norton. I believe it is healthy to critically examine each production and Norton does a good job of making his points. It is important, however, for your readership to have clarification on a couple of topics contained in the review. Norton stresses that director Peter Westerhoff was "being unoriginal" in utilizing similar concepts and choreography from past Broadway productions of Cabaret. A more experienced play reviewer knows that it is an industry standard to replicate choreography from certain Broadway musicals, as many are closely connected to the original artist's vision. Musicals initially directed and choreographed by Bob Fosse routinely utilize both his original show concept and dance routines, including the recent NYC revival of Cabaret that Norton refers to as Marist's source. It is quite common for such productions as Chicago, Pippin, Cats and A Chorus Line to follow this approach. Norton spends too much time flexing his theatrical knowledge and not enough time evenly reviewing Marist's version. Furthermore, the Marist cast should be applauded, not chastised, for attempting to meet the stylistic demands of a Broadway musical.
When writing the review Norton should have disclosed that he auditioned for Cabaret, and as a result, that his review is a conflict of interest. I urge Circle editors to carefully review the process of appointing coverage assignments in the future. Students connected to a particular organization should not report on a related event as they lack the neutral status required for objective journalism.
In sum, that we are still discussing Cabaret several weeks after its closing tells me theatre is a precious asset to our learning community.
Prof. Matt Andrews
Associate Professor of English/Theatre
Producer of Cabaret
I am writing in regard to the February 22 review of the musical production of Cabaret by Circle contributor John Norton. I believe it is healthy to critically examine each production and Norton does a good job of making his points. It is important, however, for your readership to have clarification on a couple of topics contained in the review. Norton stresses that director Peter Westerhoff was "being unoriginal" in utilizing similar concepts and choreography from past Broadway productions of Cabaret. A more experienced play reviewer knows that it is an industry standard to replicate choreography from certain Broadway musicals, as many are closely connected to the original artist's vision. Musicals initially directed and choreographed by Bob Fosse routinely utilize both his original show concept and dance routines, including the recent NYC revival of Cabaret that Norton refers to as Marist's source. It is quite common for such productions as Chicago, Pippin, Cats and A Chorus Line to follow this approach. Norton spends too much time flexing his theatrical knowledge and not enough time evenly reviewing Marist's version. Furthermore, the Marist cast should be applauded, not chastised, for attempting to meet the stylistic demands of a Broadway musical.
When writing the review Norton should have disclosed that he auditioned for Cabaret, and as a result, that his review is a conflict of interest. I urge Circle editors to carefully review the process of appointing coverage assignments in the future. Students connected to a particular organization should not report on a related event as they lack the neutral status required for objective journalism.
In sum, that we are still discussing Cabaret several weeks after its closing tells me theatre is a precious asset to our learning community.
Prof. Matt Andrews
Associate Professor of English/Theatre
Producer of Cabaret
Be the first to comment on this story