In some ways, Cabaret, the 1966 musical about party people in decadent 1930s Berlin, is an old-fashioned, razzle-dazzle musical with lots of singing and dancing. One asks, "Do you think that's dry?" The other shrugs. Two members of the build crew see the actors leaning up against it. The stairs to the second floor aren't load-bearing, so tape keeps actors from climbing them. They're the student producers and members of the backstage tech and build crews. Some watch the rehearsal, some click and scroll through smartphones, some have laptops open and do homework. Another 10 or so undergraduates are scattered around the theater's seats. Some grab phones, others lean against parts of the set. The cast, clad in combinations of sweats, T-shirts, tights, shorts, sneakers, and dance heels, falls out of formation. She calls for a quick break, just long enough for the cast to grab a swig of water and get comments from Hunter and Albstein. ![]() Stage manager Shireen Guru sits stage front at a table with a laptop and what looks like a copy of the script and score absolutely overrun with notes. ![]() He watches from one of the theater's seats and asks Samantha Albstein, the company president and Cabaret's choreographer, "How are you feeling about that?"Īlbstein, who also plays one of the Kit Kat dancers, grimaces. All told, more than 60 students are working on the production in some way.ĭirector Max Hunter is the only nonstudent at rehearsal today, hired by the Barnstormers nine-member executive board in February. They've hired a few Peabody and professional musicians for the 13-member pit. They're building a two-story set inside Swirnow Theater, the company's main stage since 2001. This production marks the 100th anniversary of the undergraduate-run theater company's founding, and they're going big for the occasion. They're gathered inside a black-box theater on the Homewood campus on a Saturday afternoon in March, four weeks before the Johns Hopkins Barnstormers opens its spring 2019 musical. The group of about 10 young men and women rehearsing the choreography for the song "Money" in the musical Cabaret are discovering it's easier to aim for a ruckus than it is to raise one onstage. They finish this catchy love letter to everything being for sale with the emcee standing center stage, encircled seductively by the dancers.Īt least, that's the idea. All the while, their club's emcee sings about money's ability to buy happiness, nice things, and temporary companionship. Two dancers cradle briefcases ostensibly full of cash. ![]() They slink around the stage, kick their legs into the air, and twirl around.
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