Play the Songs
In a Berlin nightclub, as the 1920’s draw to a close, a garish Master of Ceremonies welcomes the audience and assures them they will forget all their troubles at the CABARET. With the Emcee’s bawdy songs as wry commentary, CABARET explores the dark, heady, and tumultuous life of Berlin’s natives and expatriates as Germany slowly yields to the emerging Third Reich. Cliff, a young American writer newly arrived in Berlin, is immediately taken by English singer Sally Bowles. Meanwhile, Fräulein Schneider, proprietor of Cliff and Sally’s boarding house, tentatively begins a romance with Herr Schultz, a mild-mannered fruit seller who happens to be Jewish. Musical numbers include “Willkommen,” “Cabaret,” “Don’t Tell Mama” and “Two Ladies.”
NOTE: Three Broadway versions of this show (1966,1987, and 1998) are available for licensing. Though all three follow the same story and share most songs, there are some differences in the script and score for each:
- Only this 1998 version includes “Mein Herr” and “Maybe This Time.”
- Only the Original 1966 version includes “Why Should I Wake Up?” and “Meeskite.”
- Only the Revised 1987 version includes “Don’t Go.”
- The 1966 and 1987 versions include “The Telephone Song” and “Sitting Pretty.” This 1998 version does not.
- The 1987 and 1998 versions include “The Money Song” and “I Don’t Care Much.” The Original 1967 version does not.
- The three versions differ in their treatment of the character of Cliff: In the Original 1966 version, there is no suggestion that he may be gay or bisexual. In the Revised 1987 version his bisexuality is implied, and in the 1998 version, he is clearly gay or bisexual.
All three versions include “Willkommen,” “So What,” “Don’t Tell Mama,” “Perfectly Marvelous,” “Two Ladies,” “It Couldn’t Please Me More (The Pineapple Song),” “Tomorrow Belongs to Me,” “Married,” “If You Could See Her” and “Cabaret.”
Authorized performance and rehearsal tracks for CABARET (1998 Version) are available from The MT Pit. For more information, visit themtpit.com.
Authorized Logo Pack or Customizable Poster for CABARET now available from Subplot Studio! For more information, visit subplotstudio.com.
Music samples courtesy of Masterworks Broadway, Alley Music Co. and Trio Music Co.
- Musical Numbers
Germany, New Year’s Eve, 1929: The Master of Ceremonies, or Emcee, welcomes the audience to the Kit Kat Club, a seedy Berlin nightspot (“Willkommen”).
Meanwhile, in a railway car, an aspiring young American writer named Clifford Bradshaw heads towards Berlin in hopes of finding inspiration for a new novel. Cliff meets Ernst Ludwig, a German who appears to be in the smuggling business. When Cliff inadvertently helps him, Ernst recommends a boarding house in Berlin. Fräulein Schneider, the proprietress of the boarding house, offers Cliff a room for one hundred marks. When he hesitates, she accepts half the usual price; years of oppression have left her weary but pragmatic (“So What?).
On his first night in Berlin, Cliff visits the Kit Kat Klub, where the Emcee introduces a young English singer named Sally Bowles (“Don’t Tell Mama”). After Sally’s number, Max, the proprietor of the club, fires her; he says it’s “time for a new face.” When Cliff comes backstage, Sally flirts and attempts to shock him. Sally leaves Cliff alone in her dressing room, and a young man named Bobby enters. As Cliff and Bobby kiss, Sally sings her final number at the club (“Mein Herr”).
The next day, as Cliff finishes teaching an English lesson to Ernst, Sally suddenly appears in Cliff’s room with her baggage. Max has thrown her out, and she convinces Cliff (and Fräulein Schneider) to let her move in (“Perfectly Marvelous”). The Emcee and two companions sing a bawdy number about cohabitation (“Two Ladies”).
Herr Schultz, a Jewish fruit seller, woos Fräulein Schneider with the gift of a costly pineapple (“It Couldn’t Please Me More”). On a small gramophone, the Emcee plays a recording of a young boy singing a patriotic anthem to the Fatherland (“Tomorrow Belongs to Me”).
Months pass. Cliff is getting nowhere with his novel, but has grown accustomed to life with Sally. Sally reveals that she is pregnant. After the initial shock, Cliff is excited by the prospect of fatherhood, and Sally allows herself to hope (“Maybe This Time”). Ernst arrives and offers Cliff a job smuggling a briefcase into Germany, and Cliff accepts. The Emcee comments on everyone’s need for cash (“Money”).
Meanwhile, Fräulein Schneider has caught one of her boarders, Fräulein Kost, soliciting sailors in her room. Fräulein Kost notes Fräulein Schneider’s hypocrisy; she has seen Herr Schultz spend the night in Fräulein Schneider’s room. To save Fräulein Schneider’s reputation, Herr Schultz declares they are engaged to be wed in three weeks (“Married”).
At the engagement party, Cliff hands Ernst the smuggled suitcase in exchange for an envelope full of cash. Ernst removes his coat, revealing a swastika armband. Realizing that Herr Schultz is Jewish, Ernst goes to leave, but Fräulein Kost stops him, singing “Tomorrow Belongs To Me.” As Cliff, Sally, Herr Schultz and Fräulein Schneider look on, the entire ensemble joins in singing the Nazi anthem.
The second act begins with the Kit Kat Girls and the Emcee, in drag, dancing in a kick-line that morphs into a goosestep. Fräulein Schneider expresses her concerns about marrying Herr Schultz, but he assuages her fears (“Married” Reprise). But their moment of reconciliation is interrupted by the crash of a brick thrown through the window of Herr Schultz’s shop. At the Kit Kat Klub, the Emcee performs a duet with a female gorilla, explaining that society will not accept their love (“If You Could See Her”).
Fräulein Schultz breaks off her engagement to Herr Schultz (“What Would You Do?”). Cliff decides to take Sally back to America where they can raise the baby together. Sally protests, declaring how wonderful their life in Berlin is, and Cliff sharply tells her to “wake up” and take notice of the growing unrest around them. As the Emcee sings a rueful ballad (“I Don’t Care Much”), Cliff and Sally brutally waken each other to the truth. At the Kit Kat Klub, Cliff and Ernst argue, and Ernst’s Nazi bodyguards beat Cliff and drag him out. On stage, the Emcee introduces Sally, who enters to perform again, singing that “life is a cabaret, old chum,” cementing her decision to live in carefree ignorance (“Cabaret”).
The next morning, as Cliff is packing to leave, Herr Schultz explains that he is moving to another boardinghouse, confident that the bad times will soon pass. He understands the German people, he says, because he is a German too. When Sally returns, she reveals that she’s had an abortion; Cliff slaps her. As Cliff leaves, Sally asks him to dedicate his novel to her. On the train to Paris, Cliff begins to write his novel, reflecting on his experiences: “There was a cabaret, and there was a master of ceremonies, and there was a city called Berlin, in a country called Germany… and it was the end of the world.” (“Willkommen” Reprise).
In the Kit Kat Klub, the Emcee again welcomes the audience (“Willkommen”), but he is now harsh and violent. The set disappears, leaving only white space. The Emcee sings, “Auf Wiedersehen… à bientôt…” and slowly removes his coat, revealing the clothes of a concentration camp prisoner. There is a drum roll and cymbal crash. Blackout.
Book by Joe Masteroff
Based on the play by John Van Druten and
Stories by Christopher Isherwood
Music by John Kander Lyrics by Fred Ebb
Co-directed and Choreographed by Rob Marshall
Directed by Sam Mendes
Such credits to the authors for all purposes shall be in type size equal to or greater than that of any other credits except for that of the star(s) above the title. In the programs, the credits shall appear on the title page thereof.
The title page of the program shall contain the following announcement in type size at least one-half the size of the authors’ credits:
is presented by arrangement with
Tams-Witmark, A Concord Theatricals Company
Additionally, you agree to include the above language hyperlinked to https://tamswitmark.com/ on all websites on which you promote the play.
NOTE: Authorized performance and rehearsal tracks for CABARET (1998 Version) are available from The MT Pit. For more information, visit themtpit.com.
1 Reed I (Clarinet, Alto Saxophone & optional Clarinet in A)
1 Reed II (Clarinet & Tenor Saxophone)
1 Synthesizer (primarily Accordion)
1 Guitar/Banjo (primarily Banjo)
Piano (Piano-Conductor’s Score sent with rehearsal material [2 volumes])
Optional Orchestra Parts
(played by actors, if possible, for certain numbers only)
1 Alto Saxophone
1 Tenor Saxophone & Clarinet
1 Trumpet II
2 Piano/Conductor Scores
20 Libretto/Vocal Books
NOTE: Authorized performance and rehearsal tracks for CABARET (1998 Version) are available from The MT Pit. For more information, visit themtpit.com.
Master of Ceremonies (Emcee)
Customs Official (doubles as Herman, non-speaking; and Max, speaking)
Fräulein Kost (doubles as Fritz, non-speaking)
Rudy (a sailor, non-speaking; doubles as Hans, also non-speaking)
Max (doubles as Herman, non-speaking, and Customs Official, speaking)
Gorilla (non-speaking, doubles as French, also non-speaking)
Boy Soprano (pre-recorded, non-speaking)
The Kit Kat Girls:
Frenchie (non-speaking, doubles as Gorilla, also non-speaking)
Fritzie (non-speaking, doubles as Fräulein Kost, who speaks)
The Kit Kat Boys:
Hans (non-speaking, doubles as Rudy, a sailor, also non-speaking)
Herman (non-speaking, doubles as Customs Official and Max, both speaking)
The 1998 Broadway production had a cast of 16 performers, plus pre-recorded Boy Soprano voice. Some doubling was employed in the minor parts, as outlined above.
CABARET opened on Broadway on November 20, 1966, and played for 1,165 performances at the Broadhurst, Imperial, and Broadway Theatres. The London production ran for 336 performances at the Palace Theatre. The show was revised for Broadway, first in 1987, when it played for 261 performances at the Imperial and Minskoff Theatres, and again in 1998 at Studio 54, where it played for 2,377 performances. In 2014, CABARET returned to Broadway at Studio 54, playing an additional 388 performances.
8 Tony Awards for Musical, Composer and Lyricist, Director, Choreographer, Scenic Design, Costume Design, Featured Actor and Featured Actress
The Outer Critics Circle Award for Production
The New York Drama Critics Circle Award for Best Musical
4 Tony Awards for Revival, Actor, Actress, and Featured Actor
3 Drama Desk Awards for Outstanding Revival, Actor and Actress
3 Outer Critics Circle Award for Outstanding Revival, Actor and Actress
1. “Willkommen” – M.C. & Company
2. Playoff: Willkommen – Orchestra
3. Train Music – Orchestra
4. “Welcome to Berlin” – M.C.
5. “So What?” – Fräulein Schneider
6. Klub Transition – Orchestra
7. “Don’t Tell Mama” – Sally & the Kit Kat Girls
8. Playoff: Don’t Tell Mama – Orchestra
9. Underscore: Don’t Tell Mama – Orchestra
10. “Mein Herr” – Sally & Girls
11. Playoff: Mein Herr — Orchestra
12. “Perfectly Marvelous” – Sally & Cliff
13. “Two Ladies” – M.C. & Two Girls
14. Playoff: Two Ladies – Orchestra
15. “It Couldn’t Please Me More” – Schneider, Schultz, & M.C.
16. Into Tomorrow – Orchestra
16a. “Tomorrow Belongs to Me” – Boy’s Voice (pre-recorded)
17. Scene Change: After Tomorrow – Orchestra
18. “Maybe This Time” – Sally
19. “Money” – M.C. & Girls
20. Playoff & Underscore: Money – Orchestra
21. “Married” – Schultz, Kost, & Schneider
22. Fruit Shop Dance – Orchestra
23. Reprise: Tomorrow Belongs to Me – Kost, Ernst, & Guests
24. Entr’acte – Orchestra
25. Kick Line Number – Girls
26. Reprise: “Married” – Schultz
27. “If You Could See Her” – M.C.
28. Playoff: If You Could See Her – Orchestra
29. “What Would You Do?” – Schneider
30. “I Don’t Care Much” – M.C.
31. Incidental: The Fight – Orchestra
32. “Cabaret” – Sally
33. Underscore: After Cabaret – Orchestra
34. Finale (recorded) – Cliff & M.C.
35. End of Show – M.C.
Find upcoming performances near you.
Organization City, State First Performance Last Performance Grand Theatre London, ON 04/09/2019 05/05/2019 Wolfbane Productions Appomattox, VA 04/11/2019 05/04/2019 Crossroads College Prep School Saint Louis, MO 04/24/2019 04/28/2019 South Valley Civic Theatre Morgan Hill, CA 04/24/2019 05/16/2019 Rockland Community College Suffern, NY 04/25/2019 04/28/2019 University of Massachusetts Dartmouth Theatre Company North Dartmouth, MA 04/25/2019 04/28/2019 Linfield College McMinnville, OR 05/01/2019 05/11/2019 Ensemble for Lyrical Operetta Productions Edmonton Edmonton, AB 05/03/2019 05/11/2019 Playhouse on the Square - Youth Memphis, TN 05/03/2019 05/26/2019 St. Mary's College of California Moraga, CA 05/03/2019 05/11/2019 Victor Valley College Victorville, CA 05/03/2019 05/12/2019 Barshop Jewish Community Center San Antonio, TX 05/04/2019 06/02/2019 Port Townsend High School Port Townsend, WA 05/04/2019 05/19/2019 Booker T. Washington Performing & Visual Arts Dallas, TX 05/10/2019 05/11/2019 Joseph Case High School Swansea, MA 05/10/2019 05/15/2019 Peabody Veterans Memorial H.S. Peabody, MA 05/10/2019 05/12/2019 Pittsfield High School Pittsfield, MA 05/11/2019 05/20/2019 Roble Hall Stanford University Stanford, CA 05/16/2019 05/25/2019 North Coast Repertory Theatre Eureka, CA 05/17/2019 06/16/2019 San Diego School of Creative and Performing Arts San Diego, CA 05/17/2019 06/01/2019 Silhouette Stages Columbia, MD 05/17/2019 06/02/2019 Dos Pueblos High School Goleta, CA 05/18/2019 05/18/2019 The Cote Saint-Luc Dramatic Society Cote Saint-Luc, QC 05/29/2019 06/16/2019 Franklin Performing Arts Company Franklin, MA 06/07/2019 06/08/2019 Imaginary Theatricals Los Angeles, CA 06/07/2019 06/09/2019 Not Your Normal Entertainment LLC Tampa, FL 06/14/2019 06/16/2019 Owosso Community Players Owosso, MI 06/14/2019 06/25/2019 Beavercreek Community Theatre Dayton, OH 06/20/2019 06/30/2019 San Francisco Playhouse San Francisco, CA 06/26/2019 08/31/2019 Connecticut Repertory Theatre Storrs, CT 07/05/2019 07/21/2019 Peregrine Theatre Ensemble Provincetown, MA 07/05/2019 09/08/2019 Sierra Stages Nevada City, CA 07/11/2019 08/03/2019 Bucks County Center for the Performing Arts DOYLESTOWN, PA 07/17/2019 07/28/2019 Woodbridge Community Players Woodbridge, NJ 07/19/2019 07/27/2019 Bay City Players Bay City, MI 07/25/2019 07/28/2019 Deerfield Valley Players Wilmington, VT 08/01/2019 08/03/2019 Michael Salvatore Taccetta Productions Staten Island, NY 08/02/2019 08/04/2019 Ivoryton Playhouse Ivoryton, CT 08/07/2019 09/02/2019 Little Lake Theatre Company Canonsburg, PA 08/08/2019 08/25/2019 Curtain Call Performing Arts Company Hamilton, ON 08/16/2019 08/24/2019 Olney Theatre Corporation Olney, MD 08/28/2019 09/29/2019 Town Hall Arts Center Littleton, CO 09/06/2019 10/13/2019 Evergreen Chorale(DBA Ovation West Performing Arts) Evergreen, CO 09/13/2019 10/06/2019 Evolution Theatre Columbus, OH 09/18/2019 09/28/2019 Cowardly Scarecrow Theatre Company Chicago, IL 10/04/2019 10/26/2019 University of Oklahoma - University Theatre Norman, OK 10/04/2019 10/13/2019 Sherman Players SHERMAN, CT 10/11/2019 11/03/2019 Chanticleers Theatre Castro Valley, CA 10/18/2019 11/17/2019 Community Players Theater Bloomington, IL 11/01/2019 11/17/2019 Selma Arts Center Selma, CA 11/08/2019 11/23/2019 Randolph Academy for the Performing Arts Toronto, ON 11/26/2019 11/30/2019 High Point Community Theatre High Point, NC 02/27/2020 03/01/2020 Ovations Theatre Rockville, MD 02/29/2020 03/02/2020 Argyle Theatre Babylon, NY 03/12/2020 04/19/2020 Front Row Centre Players Calgary, AB 03/20/2020 04/04/2020 Loyola University New Orleans, LA 03/20/2020 03/28/2020 Daytona Playhouse Daytona Beach, FL 03/27/2020 04/12/2020 Act 3 Productions Atlanta, GA 04/10/2020 04/26/2020 Sunset Playhouse Elm Grove, WI 04/23/2020 05/10/2020 Scarborough Music Theatre Scarborough, ON 04/30/2020 05/16/2020 Columbian Theatre Wamego, KS 06/05/2020 06/22/2020 Second Generation Theatre Company Buffalo, NY 06/12/2020 06/28/2020 Broadway Theatre of Pitman Pitman, NJ 10/23/2020 11/15/2020