#NPR interview

[eddie-redmayne-italian-blog]

'Cabaret' comes back to Broadway starring Eddie Redmayne and Gayle Rankin

APRIL 20, 20248:00 AM ET

HEARD ON WEEKEND EDITION SATURDAY

NPR's Scott Simon speaks to Eddie Redmayne and Gayle Rankin, who star in the new Broadway revival of "Cabaret."

SCOTT SIMON, HOST: You probably recognize the music from the first notes. (SOUNDBITE OF SONG, "WILLKOMMEN") EDDIE REDMAYNE: (As Emcee, singing) Willkommen, bienvenue, welcome. Fremde, etranger, stranger. SIMON: "Cabaret," the 1966 Broadway musical by Joe Masteroff, John Kander and Fred Ebb. It's drawn from Christopher Isherwood's memoir of high times and hot jazz and is set in a fictional Berlin nightspot called the Kit Kat Club. (SOUNDBITE OF SONG, "WILLKOMMEN") REDMAYNE: (As Emcee, singing) Im Cabaret, au Cabaret, to Cabaret. SIMON: At a time when sequins, high-stepping flappers and forbidden love gives way to goose-stepping and beating Jews on the street. A new revival of "Cabaret" has opened on Broadway after winning seven Olivier Awards in London. Eddie Redmayne plays the Emcee, and he joins us from New York. May I say willkommen to you? REDMAYNE: You may indeed. Hi.

SIMON: And Gayle Rankin the British chanteuse who comes to Berlin. I get to say fraulein Sally Bowles. (LAUGHTER) GAYLE RANKIN: Hello, darling (laughter). I had to (laughter). SIMON: Oh, my gosh. Wait. Sorry. Let me just catch my heart for a moment. Thanks so much. (LAUGHTER) SIMON: Eddie Redmayne, you've played the Emcee before. I was about to say early in your career, but really, before you started your career. REDMAYNE: That's absolutely true. Yes, I was a kid. I was at high school when I - we did a little school production. I think I was about 14, 15 years old. It was one of those moments in my life where I would say really I fell in love with theater. It thrilled me, and it made me think, and it moved me. And so I always sort of credit it weirdly as being the thing that that got me into acting full and proper. SIMON: What does the Emcee do for the audience?

REDMAYNE: I think one of the reasons the Emcee is such a iconic role and one that so many actors lean into is he's so enigmatic. He was conjured by Hal Prince and Joel Grey as a way of connecting the Sally Bowles story, and so he almost lives in an abstract place. And so for an actor, that is joyous because there are sort of no limitations on the one hand, and it's also quite daunting. He sort of starts as a puppeteer almost, the kind of the Shakespearian fool, perhaps... (SOUNDBITE OF SONG, "TWO LADIES") REDMAYNE: (As Emcee) Come on, my little ones. UNIDENTIFIED ACTOR #1: (As character, singing) Beedle dee, deedle dee, dee. UNIDENTIFIED ACTORS: (As characters, singing) Beedle dee, deedle dee, dee. REDMAYNE: (As Emcee, singing) Beedle dee, deedle dee, beedle dee, deedle dee. UNIDENTIFIED ACTOR #2: (As character, singing) Beedle dee, deedle dee, dee. REDMAYNE: (Singing) Two ladies. UNIDENTIFIED ACTOR #2: (As characters, singing) Beedle dee, dee dee dee.

REDMAYNE: ...Who then, over the course of the piece, rises to the all-knowing king or the sort of from puppeteer to conductor, and he becomes rather than the victim, he's almost the perpetrator. And so this person that's hopefully pulled you in at the beginning of the evening and seduced you and made you laugh, you realize is actually conducting the entire piece. (SOUNDBITE OF SONG, "IF YOU COULD SEE HER") REDMAYNE: (As Emcee, singing) If could see her through my eyes, she wouldn't look Jewish at all. SIMON: And Gayle Rankin, you have played other roles in "Cabaret" before Sally Bowles, haven't you? RANKIN: I have. I made my Broadway debut, actually, playing Fraulein Kost in the Sam Mendes revival 10 years ago with Alan and Michelle and Emma Stone. Eddie and I were just talking about it just the other day, and he was like, is this so weird? Is it so weird? And I was like, you know what? It's not weird. It's not weird. And it doesn't - I feel like a new person and in a new world 'cause that's - you know, "Cabaret," it comes back, and the world is new a decade later. It's new, and it's also the same.

SIMON: Help us look inside of Sally's mind and heart. What brings her to Berlin in the early '30s? RANKIN: You know, there's not a lot that's given to us, you know, about Sally. (SOUNDBITE OF SONG, "MEIN HERR")

RANKIN: (As Sally Bowles, singing) But I do what I can, inch by inch, step by step, mile by mile. For me, it was very important for me to kind of figure out Sally's relationship to artistry and creativity and why she ended up at the club. And there's a huge, you know, kind of cultural discussion about whether Sally has talent or whether she does not have talent. And that's a really fascinating thing, I think, to me. And I think it's amazing how people think they can decide or that they know that she's not - quote-unquote, "not talented" or is talented. It's just wild to me. SIMON: I have to ask. There are so many famous names who have played the two parts into which you two step now - Dame Judi Dench, Natasha Richardson, Michelle Williams. Alan Cumming, Joel Grey have played the Emcee. I didn't even mention the film with Liza Minnelli and Joel Grey, now, did I? So do previous productions inspire you, or do you just have to, you know, leave them in the fridge? REDMAYNE: I've been such a passionate fan of "Cabaret" since I was a kid that I've seen everything in the sense that I've - you can see some of Sam's production on YouTube. I saw Sam's production with Emma and Alan. I've watched the film. I even saw a random Spanish version when I was... RANKIN: Oh.

REDMAYNE: ...Younger. And they've been so brilliant, the productions before, that I hope we come sort of standing on their shoulders and with great respect for them, but also trying to do something new and fresh. And one of the things that was important for me was that idea - one of the Emcee's first lines is leave your troubles outside, and that for audience members coming to see this in New York, you enter via a sort of back alley. You get taken down into the underbelly of the theater, where there is an entire cast of performers playing in these really beautiful spaces, and you get a bit discombobulated. It's labyrinthine, and you get sort of lost, so that by the time you are taken actually into the theater itself, which sits in the round, hopefully, you have genuinely left all memory of 52nd Street outside. SIMON: I got to say, your production reached through to me with something I hadn't quite realized before. Things are terrible and getting worse on the streets. They're beating Jews and putting them into ghettos. There's a refuge in the club. There's also a refuge in Fraulein Schneider's boardinghouse, where she, for the first time in her life, really has a relationship with a man who happens to be a fruit seller and a Jewish man. Both your characters have that refuge in the club, and they have their characters in the boardinghouse. But, you know, refuges - well, real life can bring them down, can't they?

REDMAYNE: Absolutely. And I feel like the play, in its essence, is a warning in some ways. It serves as a warning about when hate can take over humanity and when humanity is lost to hate. And that feels so relevant at this moment. There are so many examples of that throughout the world today, but I hope that the brilliance of what Kander, Ebb and Masteroff created was that it seduces you in and in a way that feels really sort of magnificent but then begins to touch on these - this repetition of history that resounds and serves as a warning. RANKIN: And it kind of - what's so scary about it is how the refuge is created, and then you slowly realize that actually, there's a poison inside of your refuge. SIMON: What do you take in from the audience every night? REDMAYNE: Well, I mean, one of the joys for me as a performer is the intimacy of the space. So there's not really a sort of a bad seat in the house at the August Wilson, and the other character in the room with the Emcee is the audience. And what I have loved about our experience in New York is people because it's an event almost, the evening, from the second you pass the threshold. The theater's been redesigned and reconfigured in a way. People are getting dressed up. So you have people in black tie next to people in fetish gear next to people in jeans and a T-shirt, and you get all sorts of characters.

RANKIN: And to have a relationship with the audience, you know, and to enjoy how fun... REDMAYNE: Yeah. RANKIN: ...This is and can be throughout the show till the very end - what is written in this piece, there's - we're still laughing through tears at a certain point toward - for the very end of the show, and that's what's so kind of timeless and important about this space, that there's something that doesn't die inside of our club. SIMON: Gayle Rankin and Eddie Redmayne star in the new production of "Cabaret" on Broadway. Thank you both so much for being with us. REDMAYNE: Thanks for having us. RANKIN: Thank you so much. (SOUNDBITE OF SONG, "TOMORROW BELONGS TO ME") REDMAYNE: (As Emcee, singing) The sun on the meadow is summery warm. The stag in the forest runs free.

https://www.npr.org/2024/04/20/1246083026/cabaret-comes-back-to-broadway-starring-eddie-redmayne-and-gayle-rankin

[sunburnacoustic]

“It's a song for the unheard, I guess. It's a song for all the people that feel like their point of view can never get heard, that their frustrations can never be addressed. And then, there's these [viral social media personalities] with millions and millions of followers who are just dominating the airwaves, dominating the news stories. The song is almost fantasising about a fictional post-revolution period where democracy is a bit more accessible, we've reconfigured how to keep power in check.”

—Matt Bellamy on Liberation

'Will Of The People' is Muse's call for revolution: NPR interview

[tasianicolebooks1984]

Pidgeon Pagonis discovered they were intersex after years of secrets and lies. : NPR

Pidgeon Pagonis NPR Interview.

[alaskassweetdump]

NPR wrote this cool feature on Genesis and his new album, STRUGGLER!

I knew he had to be a cool dude in order to be an opener for Paramore, and this highlights exactly how cool he is. The article also talks about his inspiration behind STRUGGLER, which is a concept album about the tragedy of a cockroach’s life. Something I wouldn’t have picked up on my own, honestly.

The article has also attached the album and has an audio version as well.

Genesis Owusu has amazing energy live. I found him to be the absolute best and perfectly matched opening act for Paramore this June.

[andthetreesbreathed]

"I think grief treats us well when these parts of people that we've gotten to enjoy greet us warmly. That's the real gift, to say I am not just one person, I am multiple versions of a person and some of those versions of myself have been loved immensely by people who were so incredible.

Through their loving of me I have a richer texture, and that texture that allows me to navigate the world in ways that I am not equipped to do so on my own. And that means that on my best days I get through the world, through the challenges of living, navigated by a whole host of people who have created a generous blueprint through which I have learned to maneuver this life well."

-Hanif Abdurraqib

[meteorologistaustenlonek]

"What the autocrats — whether they're in American politics or in Russian politics or in Chinese politics — what they want is for you to be disengaged. They want you to drop out," she says. "I want people to be convinced that ideas matter, that we're going to have to defend and protect our political system if we want to keep it."

"Constant lies also create this kind of cynicism and apathy. It's a way of keeping people out of politics and preventing civic engagement. I mean, a lot of these authoritarian states know that … [the] biggest threat to their power is their own people. And so their goal is to prevent people from ever organizing, from ever being engaged, from ever caring at all. And one of the ways they do that is through this constant stream of lies that make people feel like they're simply unable to know anymore what's true and what's not." - NPR

[filosofablogger]

One Man's Quest To Conquer Hate ... One Person At A Time

This is a post I originally wrote and published in August 2017, and it is one that I think bears repeating every so often.  Today, the many faces of bigotry are on display nearly everywhere we look.  The conflict between Israel and Hamas has only heightened both anti-Semitic and Islamaphobic outbreaks around the world, and the U.S. is no exception.  That’s why I think it’s important to be…

[dyingtobehim]

[lunarhobbits]

i feel like you can really tell that josh groban is a fan of george hearn's sweeney just by observing some of the acting choices the two make. like yeah sure anyone could choose to do this and its just two pictures that could have no correlation but like here they run their hands over their faces in grief in a similar way after Poor Thing

[wardsutton]

I was very honored to be interviewed by Scott Simon from NPR about my creation of Stan Kelly and the exhibition at Subliminal Projects in LA. You can read the piece here: https://view.nl.npr.org/?vawpToken=TYCBM7RK3S2E5CG6BJ3ORF6RCM.60238&utm_source=npr_newsletter&utm_medium=email&utm_content=20241024&utm_term=9785705&utm_campaign=scotts-thoughts&utm_id=2972220&orgid=430&utm_att1=

[writing-with-olive]

Back in November, NPR put out a 3-part podcast as part of their embedded series called All The Only Ones that looked at the history of trans youth in America over the past hundred years and connect it back to stories of trans teens today to show not only the depth of experience but also how it's not new or "just a trend," and it is SPECTACULAR. It's genuinely really well put together and handled amazingly. Seriously if you can, go listen to it

(links go to both audio and transcript)

Series Intro: https://www.npr.org/transcripts/1208317459 Episode 1: https://www.npr.org/transcripts/1200150159 Episode 2: https://www.npr.org/transcripts/1200150161 Episode 3: https://www.npr.org/transcripts/1200150163

[sunburnacoustic]

Seeing the crowd jumping up and down, and cheering, and for us to be in the crowd watching a great concert or being on stage and seeing all the crowd having a great time, you know - to me, I'd say that's euphoria.

—Matt Bellamy on the feeling Muse shows give the band

Will of the People' is Muse's call for revolution: NPR interview, August 2022

[jgroffdaily]

Stephen Sondheim's 1981 flop is now a Broadway hit. This revival of Merrily We Roll Along is nominated for seven Tony Awards. Two of those nominees, actor Jonathan Groff and director Maria Friedman, talk with Terry Gross about the show.

[capricorn-0mnikorn]

"An artist that I spent time with encouraged me to, in front of an artwork, challenge yourself to notice five things. And those five things don't have to be grandiose, like: 'This is a commentary on masculinity in the Internet age.' It could just be, you know, like this yellow makes me want to touch it." [...] "I think being around art ultimately helps us widen and expand our definition of what beauty is. And I think beauty … is that moment when our mind jumps the curb. It can feel uncomfortable, but it also is something that draws us to it. … It's something that all of us need more of in our life. And art can be the gateway to finding more of it. It doesn't have to happen with the traditionally beautiful artwork."

Bianca Bosker, in an interview with Elizabeth Blair. Morning Edition, from NPR. 7 February, 2024.