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I always loved fish for the colors and birds for the plumage. In the same way, I loved those women of the cabaret. They were birds of paradise.
I love deep cleavage on the foot. It reminds me of Berlin in 1930s, 'Cabaret.'
Look at the darkest hit musicals - Cabaret, West Side Story, Carousel - they are exuberant experiences. They send you out of the theater filled with music.
I am the last of the Mohicans, the creme de la creme of cabaret.
The most rewarding thing is being on Broadway. I went into Cabaret as a replacement and was really challenged beyond anything I could have imagined.
Growing up, I was very conservative in my wardrobe, so when I first joined the Pussycat Dolls, the biggest challenge was wearing those cabaret costumes. I didn't feel comfortable showing my body so much, showing my legs and butt, chest and midriff.
Getting to do 'December Songs' in a cabaret-style format was so interesting because it's like a one-woman song cycle that actually tells a story. It feels like a theatrical experience more than a cabaret because I didn't talk in between. We went from one song to the next, nine songs in a row - bam - I told the story in half an hour.
Manchester was a fantastic place to go out in. There were 10 clubs with world-class cabaret and comedians. You'd go in and Tom Jones might be singing, or Shirley Bassey or Engelbert Humperdinck.
My own cabaret is constantly evolving with what is occurring in my own life, so motherhood is a natural addition to it.
I don't know how to explain how, probably to my detriment, unselfpromoting I am. I used to have a cabaret act and I didn't even like to tell me people about that. I really hate selling myself.
What a turnaround in sentiment 'Glee' exemplifies. It was only a few years ago that pursuing the dream of a Broadway career or cabaret stardom relegated some poor yearning dope to a lavender ghetto of losers, self-deluders, and social rejects.
Cabaret is a great format. All you have to do is sing and be funny sporadically.
I hate singing. I hate dancing. I enjoyed doing 'Cabaret' and 'Assassins,' but I would wither up and die in 'The Music Man.'
But what I like to sing mostly is blues and cabaret style.
I don't think I was considered to be a cabaret singer because I didn't have patter that was written.
After university, I was working as a stylist in the Paris theatres when I had a flash of inspiration. I made necklaces from the bikinis designed for the cabaret performers of Folies Bergeres. I was so happy with them that it was only then that I sought out formal training in jewelry.
Usually I like playing other people. I like finding myself through other characters. But when you do cabaret, you are yourself. I think it's the most fun, and I tell you, if somebody had told me that, I would have done it fifteen years earlier than I did.
For me, the most effective cabaret evenings have been some of the most personal ones, where the performer is comfortable enough to simply be themselves.
If I could live in a cabaret, I would. If I could live in 'Moulin Rouge,' I would.
I am inspired by show girls and Vegas. I was a cabaret performer, so that's where all that influence comes from.
I was once part of a Christmas cabaret. I sang 'I Saw Mommy Kissing Santa Claus.' I tap-danced. I had a ten-gallon hat. It was quite absurd.
A cabaret song has got to be written - for the middle voice, ideally - because you've got to hear the wit of the words. And a cabaret song gives the singer room to act, more even than an opera singer.
It's so easy in these cabaret venues to get earnest.
We then took a shortened version of what we'd been doing in the pubs, with the best gags and things like that, out to cabaret clubs and things in the north of England for six weeks. And we became a big success.
I have an amazing 1930s dress I picked up in Toronto at Cabaret on Queen West. It's a red knee-length tea dress, and it's absolutely beautiful. It makes me happy every time I put it on.
John F. Kennedy
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