Ok.I admit that I got away from this particular play and there is no nudity,ect.To get to the pt.The play is to depict a homosexual relationship.Is it really necessary to kiss on the mouth to get the point across.Why not just hold each other or press the faces together or look as though the may be kissing.?Im sure the audience would get the pt.that they were homosexual partners.All Im saying is that by acting out explicitly in detail whether to show that the characters are homosexual,or nudity to show that a couple is having an affair is not trying to convey a message but is to try to ellicit an immoral desire in the audience.People enjoy watching the actual sin play out,It gets them aroused.Producers know this and they also know that they draw larger audiences.Now Im sure that you’re of the opinion that says it doesn’t turn me on or influence me in any way.That I on the otherhand have some old fashioned way of looking at homosexuality and are scared that my purity will be compromised.The fact is that loosening sexual standards do lead to a corrupt society.We gradually end up thinking that nothing is sinful and homosexuality is a normal,perfectly moral way to act.Which is how much America views homosexuality today.Bellieve me if people would have obeyed the Church’s teaching on contraception we would never have this abortion business going on today.And it obeyed the rules on divorce and remarriage we would not have this issue of homosexual marriage taking place.
I agree with you that it is not necessary for the (male) characters in * Cabaret* to kiss on the mouth . In fact, I don’t believe I’ve seen that in the productions I’ve watched.
It’s all up to the director. It sounds, from what the OP said, that this particular director is bound and determined to make his/her production of
Cabaret as raunchy as possible. That’s his/her artistic vision. Time will tell if this results in a great production that is hailed by critics and audiences as “the best *Cabaret *ever!” or whether it will result in a stinkeroo that the critics blast as “worthless soft porn, don’t waste your time, stay home and watch the movie.”
I personally don’t think it would be necessary to make
Cabaret “raunchy” or “R-rated” in order to be true to the playwright’s intent. If I were directing the play, I would suggest, through some kind of choreography, the perverted sexualities without actually showing them graphically. But I’m not the director of this particular production.
The problem is, an actor may not know the director’s artistic vision until AFTER they’ve signed the contract. Then if they try to leave the play (and break the contract), they are blacklisted and there will be no more parts for them, and their career is ended.
So it is really important for actors to try to learn what the director’s artistic vision is for a show before signing the contract. One way for an actor to do this without actually taking up the director’s time and possibly getting themselves on the director’s poo list is to speak with the stage manager.
The stage manager is the director’s eyes, ears, hands, and feet. The stage manager is responsible for making the director’s artistic vision happen.
The stage manager has met with the director many times before auditions, and should have a very good idea of where the director is taking the play. So if the actor can meet with the stage manager and talk things over, he/she will have a better idea about whether he/she should audition for the show or whether they should take a pass and look for a show that is in sync with their comfort level.
Since this is a college play, there will not be a “contract” and “salary.” However, the actor could still speak with the stage manager and try to get a better idea of what the director’s vision is for the show. Then if it sounds just a little far-out and sleazy, the actor could politely let the director know that he is unable to audition. He probably shouldn’t tell the director why. That is none of the director’s business. Just say that it won’t work out this time, but that he hopes to work with the director in the future. Also wish the director well on his/her production.
This would be a good way for the actor to stay in the director’s good graces, but not be involved in a play that violates a comfort level.
I hope this advice is helpful to the actor and to other actors. My daughter is a stage manager, and when I told her about this thread, her first reply was, “Tell the actor to email me!” Well, I don’t think it would be a good idea to pass out her email address on an open forum! But you get the idea–the stage manager is the mediator between actors and directors. Go to the stage manager for help.