| re: Jill Haworth and "Cabaret" | |
| Last Edit: lordofspeech 01:33 am EDT 09/09/24 | |
| Posted by: lordofspeech 01:30 am EDT 09/09/24 | |
| In reply to: Jill Haworth and "Cabaret" - PlayWiz 08:53 pm EDT 09/07/24 | |
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| SPOILERS: Sally Bowles tries so hard. She’s so in denial of her real feelings (and of the fascism around her). So she’s not easy. But I thought Liza captured that so well (partly because of the addition of ‘Maybe This Time’ and Liza’s beautiful acting after her abortion). In short, her unmistakeable vulnerability underneath the divine decadence. Haworth was absolutely fine, if she maybe erred on the facade-aspect. I always intuited that Walter Kerr might have been influenced against Haworth because she was not Julie Harris’ Sally in ‘I Am a Camera,’ the non-musical version of Sally’s story. Harris won a Tony for her Sally, and audiences at the time, including probably Kerr, adored her work. Harris could often break audiences’ hearts showing us how her bravado was so at odds with the simple child inside. I do still feel that, no matter how BI-sexual Chris/Cliff might be, there has to be a very real poetic love-possibility between Sally and him. (In Hal Prince’s original, Chris/Cliff was straight.). If there’s nothing between the two of them….even if it’s a ‘wrong-headed codependency,’ the story misses being tragic. I didn’t see Natasha Richardson, but word was that her giving up on herself (through addiction) was deeply moving. I think there are many ways to play Sally, but the vulnerability under the brashness is crucial. |
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