The musical “Cabaret”
(based on the semi-autobiographical
novel by Christopher Isherwood, Good-
bye to Berlin) tells the story of a society
on the brink of chaos in 1930’s Berlin
during the rise of Nazism. The narrative
revolves around a group of hedonistic
characters and the sleazy ‘Kit Kat Klub’.
The majority of the story fol-
lows the American writer Clifford Brad-
shaw and his risque relationship with
the English singer Salley Bowles. There
is also a doomed side plot relationship
between a Jewish fruit vendor, Herr
Shultz, and a German boarding house
owner, Fraulein Shneider, whose love is
directly tested by antisemitic violence.
Throughout the show, the Emcee (or
master of ceremonies) guides the story
and the Kit Kat Klub, which serves as a
metaphor for the growing political ten-
sion of the time, and the rise of Nazism.
At its core, “Cabaret” is about
the distraction and denial of dark
political realities. The most prevalent
example of this is the main female char-
acter, Sally, who lives in the moment,
and denies the somber truth of Nazism.
In opposition to Sally’s willful igno-
rance, Clifford, her romantic counter-
part, is far more aware of the dangerous
political landscape, and is rightfully
concerned. This conflict of attitude is
a direct reflection of the theme, how
apathy in the face of fascism can be
dangerous.
The show includes musical numbers that
are threaded with dark irony which serves as com-
mentary on a rapidly derailing society. On a literal
level, the musical ends with Cliff leaving Berlin.
Sally stays in the city, choosing to live in escapism.
“Politics…what’s that got to do with us?” she says
in reference to the Nazzis.
The Kit Kat Klub is a space where the
citizens of Berlin can escape from their dark reality.
The performances are sexually
charged, unrestrained, and
boisterous, providing a space
for the escape that characters
crave. Sally Bowles can be seen
as a characterized symbol of
this kind of escapism. She per-
forms at the club even as her
personal life and the political
climate worsens, as a way to
ignore the consequences of her
actions.
WFS student Ali
Sanfrancesco ‘25 comments
on the enormous parallel can
be drawn here to American
contemporary society; a world
engrossed in consumerism,
online distractions, and short
term pleasures.
“The main point of
each Cabaret ending is to hold
audience reflection. So I think
if anyone does go see Cabaret,
please research anything you’re
confused about,” Sanfrancesco
says.
“The message is really
important. It encourages people
to take action, and it’s so important today in our
society to take action, and realize what’s happening
around us in politics.”
Online spaces where many hide from the
pressing political and societal issues can be consid-
ered the modern Kit Kat Klub. The steady rising of
American extremism pervades American democ-
racy, despite those who have turned their heads
against it. Between the emboldening of Neo-Nazi
groups in recent months, the rising of anti-semi-
tism, transphobia, racism, and recent discrimina-
tory executive orders signed by President Trump,
some WFS students have expressed for the future
that lies ahead of them.
“Hate groups becoming more bold makes
me scared for the future of the US”, says Sage Miller
‘25. “It makes me worry if there will even be a
future…But I have hope, and that’s important.”
News outlets and citizens have likened
the salute performed by Elon Musk during the cel-
ebration of President Trump’s inauguration to the
well known and recognized Nazi salute, but some
disagree.
The themes of political apathy,
escapism, and opulent distrac-
tion present in Cabaret create an
uncomfortable cautionary tale
that warns its audience against
watching from the sidelines as
an authoritarian and fascist so-
ciety is created. Cabaret invites
audiences to think about moral
responsibility, and what political
apathy can lead to in times of
crisis.
“We’ve strayed so far away from
politics, and some people don’t
think it’s important anymore”
Ali Sanfrancesco ‘25 says, when
commenting on the lack of
interest in the 2024 presidential
election. “They don’t feel the
need to be involved in it, but in
reality, it affects us all the time,
every day, everything we do is
rooted in politics”.
Cabaret paints a picture of
enticing facism can be, as Sally
and Cliff watch Berlin fall far-
ther and farther into chaos. In a
similar extreme manner, U.S. far
right movements have increasing-
ly grown in prominence in politics, normalizing
anti-immigrant and nationalist ideologies. Cabaret
shows that by the time people recognize harmful
patterns, it may be far too late. For a better under-
standing, it is extremely helpful to complete indi-
vidual research and viewing; there is a full version
of the show that can be found freely on YouTube,
featuring Alan Cummings as the Emcee.
Though the political agitation in America
is not yet close to the violence of Nazism, certain
growing themes of extremism are difficult to deny.
