Program for the eighth annual RISD Cabaret held in Cellar at the top of the Waterman Building. Publicity, posters, cartoons and program designed by Yoon Cho, Yu-Kyung Chung,Arther Jones, Scott King, Richard Lloyd and Polly Spencer.https://digitalcommons.risd.edu/liberalarts_cabaret_programs/1007/thumbnail.jp

Bojko, Szymon

Cannon, Marc

Cho, Yoon

Chung, Yu-Kyung

Emerson, Denise

Gist-Yochum, Aurora

Hart, Alex

Henson, Heather

Jones, Arthur

Khorramian, Laleh

Kim, Doug

King, Scott

Koto, Maki

Kreiger, Sarah

Lloyd, Ricahrd

Mallozzi, Luciana

Markus, Tara

McKenna, Michael

Medina, David

Newton, Pilar

Sawyer, Heidi

Spencer, Polly

Taborska, Agnieszka

Watson, Hugh

Winkler, Jasmine

Yoo, Sue

English

Rhode Island School of Design

Rhode Island School of DesignDigitalCommons@RISDPrograms RISD Cabaret 1987-2000Winter 2-24-1995Here Comes GroszAgnieszka TaborskaRhode Island School of Design, atabor@risd.eduSzymon BojkoRhode Island School of DesignMarc CannonRhode Island School of DesignDenise EmersonRhode Island School of DesignAurora Gist-YochumRhode Island School of DesignSee next page for additional authorsFollow this and additional works at: https://digitalcommons.risd.edu/liberalarts_cabaret_programsPart of the Acting Commons, Art Education Commons, Dance Commons, Fashion DesignCommons, Fine Arts Commons, French Linguistics Commons, German Language and LiteratureCommons, History Commons, Modern Literature Commons, Music Commons, Other Arts andHumanities Commons, Other French and Francophone Language and Literature Commons, OtherLanguages, Societies, and Cultures Commons, Other Theatre and Performance Studies Commons,Performance Studies Commons, Playwriting Commons, Russian Literature Commons, and theTheatre History CommonsThis Book is brought to you for free and open access by the RISD Cabaret 1987-2000 at DigitalCommons@RISD. It has been accepted for inclusion inPrograms by an authorized administrator of DigitalCommons@RISD. For more information, please contact mpompeli@risd.edu.Recommended CitationTaborska, Agnieszka; Bojko, Szymon; Cannon, Marc; Emerson, Denise; Gist-Yochum, Aurora; Hart, Alex; Jones, Arthur; Khorramian,Laleh; King, Scott; Koto, Maki; Kreiger, Sarah; Lloyd, Ricahrd; Mallozzi, Luciana; McKenna, Michael; Newton, Pilar; Sawyer, Heidi;Winkler, Jasmine; Yoo, Sue; Henson, Heather; Medina, David; Kim, Doug; Markus, Tara; Watson, Hugh; Cho, Yoon; Chung, Yu-Kyung; Jones, Arthur; and Spencer, Polly, "Here Comes Grosz" (1995). Programs. 8.https://digitalcommons.risd.edu/liberalarts_cabaret_programs/8AuthorsAgnieszka Taborska, Szymon Bojko, Marc Cannon, Denise Emerson, Aurora Gist-Yochum, Alex Hart, ArthurJones, Laleh Khorramian, Scott King, Maki Koto, Sarah Kreiger, Ricahrd Lloyd, Luciana Mallozzi, MichaelMcKenna, Pilar Newton, Heidi Sawyer, Jasmine Winkler, Sue Yoo, Heather Henson, David Medina, DougKim, Tara Markus, Hugh Watson, Yoon Cho, Yu-Kyung Chung, Arthur Jones, and Polly SpencerThis book is available at DigitalCommons@RISD: https://digitalcommons.risd.edu/liberalarts_cabaret_programs/8The Cellar At The Topof the waterman buildingpresentsov~°91/i9v»go~<’3’Q&An incredible burlesque in six sceneswith a prologue and epilogue8th annual risd cabaretfebruary 24-26, 1995The performance is dedicated to the lateToni Eichenbergwho encouraged us to investigate the legacy ofthis great German artistoppla! Here Comes Grosz...Hoppla! Hoppla!, here comes the eighth annual FilSD Cabaret. It has become a tradition for me toPrologue: Q“_fgerjin the Angry city agine a street - the street that runs like a leitmotiA Line at a Bakery - Winter 1918 through the work of George Grosz (and across ourwrite some explanatory notes, but I think it is better to recount past successes and congratulate . ,.-rhe Dry Bread song" stage)’ oonneotrno the hves of a wheie 5Q<;iaty_this and future experiments. The cabaret idea springs from a 1987 proposal by James O. Barnhill- - .~MU$'¢- Harts Elsler l-YRl¢$- Waller Mehring Along it move the citizens and denizens, the villainsand Szymon Bojko to establish “an experimental art history and performance course which would TRANSWED AND ADAPTED BY Loren C. Mitchel and Victims, or Grdszrs Wor|d_ on this oubhe ther_directly involve students and immerse them in the art and culture of a particular time and place". SUNG BY Alex Ha”Since then we have benefitted each year from this fertile idea, and the hard work of their students Soldier" is' cl d d ' thThe melody of Brecht's "Legend of the Dead oughfare, each private existence finds itself subject-"‘ U 9 '“ e a”a“9‘~‘"“e'“ ed to public scrutiny, and individuals are apt to revealand Colleagues‘,. of The Dry Bread Song~ . themselves in surprising and frequently quite graphicv For Seven Days and Nights I Haven t EaA POEM BY can Zuckmayef 1917 ways to the gaze of even the most casual observer.The chronicle of past cabarets is rich: "From St. Petersburg to Khrushchev's Boot" (1987), "The READ er Antanas varnios ' rt is a rdcare marked out for homen transactions QfGolden Age of Cabaret" (1988). "The Ox on the Roof" (1988), "The Unknown and Awakenin9 the tenderest as well as the most bitter sort; often itEurope" (1991), “Tabou" (1992), "The Big Yes and the Little No” (1993), "The Life and ‘limes of Scene one: is a Site at Vroreht oohthot and armed ConfrontationJoseph Beuys" (1994). Each cabaret course brought new talents and individuals to focus on a Geor G705! f" "I5 stud"! rh an or its moods’ though, (3roe2'5 Street is a siteparticular point of view, place, time, or individual artist important to the development of our cul- B°"|'"- N"""'5°h° 5t"\$5° 4Aft where people manage however briefly, grotesquely,ture. All of them sharpened our awareness and our students‘ understanding of the relationship of f""'a"d'$' at “'3 "i9ht°|"b Opposedh, or tradmentedhh to oonneet_art to social commentary. Each year the performance has demonstrated the depth of commitment ° Nanna 5 5°99MUSIC’ Kurt Weil LYRICS‘ Bertold Brechtand the wealth of inventiveness and knowledge that make RISD students so rewarding to work rRAN$rArED BY Kurt H_ Kawarke The corraborattve connection that We have eetao_with. Each year also, the intensity and necessarily extraordinary level of involvement has caused ADAPTED av Steven L. Jobethe director, the choreographer, the sponsoring faculty, the students, individually or in concert to SUN“ BY Ma“ K°‘°lished in order to create this year's cabaret marks theeighth coming-together of RISD students with facultysay "NEVER AGAlN", but each year they come back. Or they let one year pass and then they are Music $6|9C’Ii0n$I tram R|SD and Brown As it hes been tradjtjgnally,back. Over the past few years, Szymon and Agnieszka Taborska have directed in alternate years 1- "GlYe 3 I-("'6' Whistle"oorekstep our intention toward you, the audience, is to educatewhile James’ presence is always felt. Starting in 1991 Bill Newkirk and Foundation became more Muster Hartrrre and Washington as We ehtertard our oedaoooro intent_ however, isinvolved by giving us a home on the third floor of the Waterman building and backing the studio PERFORMED av Ensemble to offer a compelling experience of the collaborativeportion of the course. This year Bill is also serving as producer, Szymon is guiding the research 2- r%?tJ&;r:£v~;$J<Virsn_e process rt re ah exoenenoe which We beheva to be. . .. , | |and scripting, while we have a guest director from Brown s theater arts department Mark Cohen Crocodrres" 5 W '5 P Y Be invaluable in the education or young artrste and ore-and a new choreographer, Nola Rocco. It is a continuing adventure. PEFORMED av Denise Emerson, Laleh Khorramian, oia| to an understanding of the utility Qf the arts inH . .lThe educational goals of the Cabaret are not unique, but somehow the experience is. This is not 3' “O"e' T‘”°-~~em Sawyernand Sue You American culture.Tango SOURCE‘ Berlin Radio of the 20'sa normal RISD course, certainly not a normal Liberal Arts course. Each year about thirty students r ' '-- ' ' -participate in the study and recreation of a moment in history, and by performing original text,PERFORMED BY Alex Hart and Laleh Klrorramrarr The combined efforts of students from diverse artis4- Blaml" tic disciplines working with faculty from sister institu-translated versions, or hypothetical scenes they become a part of the historic milieu. The Gnawa D'um$-- ~ - |PERFORMED BY Lareh Khorramrarr Herd, Saw er tions of higher education toward a common goa con-Russian, German, Austrian, French and Italian avant-garde of the early decades of this century and Sue Yea ' Y strtutes a paradigm of ertretro eoooeratioh whichhave all come alive at RISD in a way that could not happen passively in the classroom. lt is the l amplifies a very particular and most important mes-direct involvement of students, either as actors, designers, or audience, that gives life and mean- 1 seen; two; Sage tor the eommonity at |eroe and the young artisting to the cabaret material as it is selected, edited and performed. lf it goes well, we are all A Street in Berlin1swept into another place or time as participant observers, enriched and open to the culture of theday or the folly of the moment.This year's cabaret is about a true age of folly, that insane Dada time and space in Berlin betweenin particular. As the playwright David Mamet haswritten in his book Writing in Restaurants, we can' “I Have Murdered Dear AWE Alice" help to change the habit of coercive and frightenedMUSIC AND LYRICSI Frank Wedekind_ . . h h b.t rt I Serr_ADAPTED av Richard Lloyd and Steven L. Jobe action and substitute for itt e a i 0 rus ,SW19 bv Richard l-l0Yd reliance and cooperation...by showing how it works.Grosz Looks at the Germansthe two World Wars, that is explored through the x-ray and x-rated eyes and art of George Grosz.. ¢ "l am up to my neck in visions" |n aotion_"Here we see the artist as social critic in a society heading toward disaster. The clear vision and “'°"‘ G'°5Z'5 '°"°' T° O"° 5°hma'hau$°"- June 1. . . . . . . .. . J h W dprescience, satire and the biting wit displayed in his cartoons of the German bourgeoisie, the READ BY OS 0° We are hvrno throooh e period of Cu|tura| upheaval,growing bureaucracy and increasing militarism were found so offensive that he was tried for blas- Scene three: and the arts are being submitted to governmentalphemy, obscenity and insulting the German military. How current and relevant this Grosz Hoppla Berri“, winter 1918/19 interrogation as they had been in GrQsZ'5 pre-Naziseems to be — his political difficulties clearly anticipating the situation of contemporary social ‘ The pays ot the November Revojution Germahy_ Orthr the r-nobmzaon of the best that ouractivist artists in our own country, the debate about the NEA, and the Establishment's fear of the it The “‘$partacists" and the “Free Corps" oomhtneo ertietie Communities has to offer to thetelling image. It is a lesson for all of us.1 The Funeral ProcessionBut success and depth of the cabaret learning experience is not just demonstrated by the intensi-ty and content of the material and the performance. It depends as well on the research,education of our students, to the work we undertake.° “Der ReV°|“ZZe'” and to each other is sufficient if we, as artists, areMusic AND Lvnics: Erich Muehsam, 1917- -- - -AoAr,rED Br Steven L_ Jobe truly to maintain into the future our right to consideraO The Me|ody of "The Emperor Hymn" tion as important contributors to the culture of ourrehearsal, and development of an esprit de corps as the public presentation approaches. By this by F_ Jr Haydn SOcrety_point the texts and staging, the music and acting, choreography and content, have been edited $UNG av THE ENSEMBLEand fought over, justified and criticized with an intensity far beyond that expected in most Liberal 0 "The Red Melody" Mark S_ CohenArts classes. Still, it is precisely because of the public nature of the performance, the re |ace- MUS” Friedch H°"ae"d°' LY"'°5i Ku" T“°h°'5'“’p TRANSLATED BY j-jerojd |_ poor Guest Director, Brown Universityment of the lecture hall by the music hall and the desire to successfully communicate to a larger ADAp‘|'ED BY Steven L_ Jooeaudience, that the performers, researchers, and technicians can reach this special level of commit- SUNG BY $arh Kreiser and the Ensemblement. In this way, and with thanks to them, we can all share in the best and most personal man- ° "Casino Song of the Free Corps"her Lrberar Arts at RrSD_ A SONG WRITTEN BY Walter MehringEdward Dwyer A historical testimonialDean of Liberal Arts‘ READ BY J°$h W°°dIlREAD BY Antanas Vainiuse "No pardon given"0 "A Melody Sprang Up"A POEM WRITTEN av Fritz RuckREAD BY Polly SpennerPrologue:B |- h - Scene four:Aeii:‘rLtateaA;:;':Zrsity'vinter Germany‘ Germany The Cabaret staff and crew gratefully acknowledge"The Dry Bread Song” Th; Ruiing 9|”; the assistance of individuals and cultural institutions,Music; Hehe Eieie, Lymee. Waite, Mehhhg 0 Fanfare, piocessioi-iai from a Waiiz Whose museums, libraries, music andfilmarchives, theatreTHANSLATED AND ADAPTED BY Loren c. Mitchel composer is unknown, taped from a Beriin directors and composers, art historians and gallerysumo BY Alex Hart’\\$O'37'9»Acknowledgements' " '' .' th‘ hlth' b't'The meiody of Brechhs ,,Legend of the Dead Radio station in the 20 s directors Withou t eir generous e p is am l iousSoIdier" is included in the arrangement ° PO|k8 based on the previous waltz project comdnlt be acme‘/ed'of "The Dry Bread Song" .‘ “The p|ayfu| Son"Q "For Seven Days and Nights l Haven't Eaten" A traditional Bavarian polka Julia Dech _ BerlinA POEM BY Carl Zuckmayer, 1917 PERFORMED BY Makl Koto, Luciana Mallozzi,-READ BY Antanas Vainius Michael McKenna and Sue Yoo Jurgen Hoffman ' BemnSlogans taken from texts written in Berlin during the 20's Berthold Leimbach - Giiittingen, Germanyscene one; Akademie der Kiinste, Grosz Archives - BerlinGeorge Grosz in his Studio Scene ve. Deutsches Musicarchiv, Karin Bitter - BerlinBerlin, Nassauische Strasse 4 Grosz in court Kunstbibliothek, Dr. Malke - BerlinA@'W¢"d$- it the "l9ht¢|llb The Enemy of the state Florian Karsch, Galerie Nierendorf - Berlin~ "Nanna's Song" NAHRATOR; Ahiehes Vainius Eva & Adele - Berlin234Music: Kurt Weil i_YRics: Bertold BrechtTRANSLATED BY Kurt H. Kowalke visiTOR: Josh WoodVOICE OF THE JUDGE’ Alex HartPeter Jochimski - BerlinADAPTED BY Steven L. JobeI Ludwig Rogozlnski ' CologneSUNG BY Makl KOIO. Lothar Fisher - BerlinScene six:Music selections: Sodom and Gomorrah RM Associates, FilmNideo - London1" “GM3 a Lime Whise" Berlin, You Are Dancing with Death andQuickstep.Music: Harline and Washington ' "H86" Walter Gramming ' Benin’PERFORMED BY Ensemble Music AND waits: Frank Wedekind for his extraordinaryADAPTED BY Steven L Jobe. Jerzy Satanowski. " . $uppQrt and generosityMusic for Janusz Wisniewski's play “The Street of SUNG BY '-“mane Manon‘Crocodiles" v "My Legs Are Gently Swaying"PEFORMED BY Denise Emerson, Laleh Khorramian, Music: Friedrich Hollaender LYRICSI Klabund In the USA;Heidi Sawyer and Sue Yoo. "One, Two..."TRANSLATED BY Dorothea Gotlurtsuns BY Pilar Newton I Peter Grosz, Princeton, N.Y.Tango. SOURCEI Berlin Radio of the 20's ° "Petronella" Toni Eichenbergi P93C9da|e- R-LPERFORMED By Alex Han and Laieh Khorrarnian Music: Friedrich Hollaender LYRICSI Kurt Tucholsky Marilyn Ruegchemeyerl Rl$D. BraminGnawa DrumsADAPTED BY Steven L Jobesum; BY Alex Hart Dorothy Pieniadz, Providence, R.l.PERFORMED BY Laleh Khorramian, Heidi Sawyer ° Music by Jerzy Satanowski for Janusz Ehasz Schwartl Prwidencer R1and Sue Yoo Wisniewski's piay "Danie" Leonard Konopelski, Los AngelesA textual montage created from poetry and Alexander Tabenkin, Providence, Fl.l.5139719 tW°1 prose of the Weimar artists such as: Kastner, J0hi'i R. Lucas, Providence, R.|.A Street in Berlin Klabund and Zech spoken by Antanas Vainius,Grosz Looks at the Germans J°5h W°°d am P°"Y 5pe"‘"e'"l Have Murdered Dear Auntie Alice" Special thanks for their assistance:Music AND LYRICSI Frank Wedekind Epilogue: Margaret Lewis and Mary Kenna/'ADAPTED BY Flichard Lloyd and Steven L. Jobe The advent of Nazism RISD, Division of Liberal ArtsSW19 by Ri¢h@id Llovd From the "Golden" Twenties to Something Else Diane Blair,' “l am up to my neck in visions"~~ i ~r- --fr G , ‘en on S h Ih J 1917 ' The Swastikers Song FllSD, Freshman Foundation DivisionOm “J52? W 9' ‘° ° C ma auger“ ‘me A some WRITTEN BY Walter MehringREAD BY os oodREAD BY Antanas Vainius and Josh Wood' Theme from Lohengrin Special thanks for permission to use the musicScene three: by Richard Wagher composed by Jerzy Satanowski (Warsaw)Berlin. Winter 1918/19 “Horst Wesse| Lied” for Janusz Wisniewski's theatre plays "Da2zle"The D3Y5 07 "19 N°Vemb°" R°V°|"ti°" The ehiherh ei the Nazi hem, and "The Street of Crocodiles" (Warsaw)The “Spartacists” and the "Free Corps”,The Funeral Processionv "Der Revoluzzer"Music AND LYRICSI Erich Muehsam, 1917ADAPTED BY Steven L. JobeThe Melody of "The Emperor Hymn"by F.J. HaydnSUNG BY THE ENSEMBLE0 "The Red Melody"Music: Friedrich Hollaender i_YRics: Kurt TucholskyTRANSLATED BY Harold L. PoorADAPTED BY Steven L. Jobesuwo BY Sarah Kreiger and the Ensemble~ “Casino Son of the Free Cor s"9 DA SONG WRITTEN BY Walter MehringREAD BY Antanas Vainius“No pardon given"A historical testimonialREAD BY Josh Wood0 "A Melody Sprang Up"A POEM wRiTrEi~i BY Fritz FiiickREAD BY Polly Spennerv Refrain of "Nana s Song"REPRISE We express our gratitude for the support ofProfessor Edward Dwyer and the Divisionof Liberal Arts.Don't miss "The Hotel Baltimore"performed by RISD studentsFebruary 23, 24, 25, and 26 at 8 pm at the AuditoriumHOPPLA!O6?‘0' ect 9Mark s.'Eoh§§ est?’C.»Concept Q8’sicSzymon BojkoScenarioSzymon Bojko and Mark S. Cohen Puppetswith the assistance of Nola Rocco Aurora Gist-YochumHeather HensonChoreography Maki Koto (coordinator)Nola Rocco Luciana MallozziDavid MedinaMusical Transcriptions and Arrangements Sue YooSteven L. JobeLoren C. Mitchel MannequinsHeather HensonProducer Doug KimBill Newkirk Maki Koto (coordinator)Tara MarkusProduction Stage Manager Hugh WaltonDoug Kim Jasmine WinklerTranslations CostumesDorothy Pieniadz Michelle CourtoisLudwig Rogozinski Maya HartmannMarilyn Rueschemeyer Laleh KhorramianElias Schwartz Tara MarkusAchim Wieland Pilar NewtonPolly SpennerOrchestra Jasmine Winkler (coordinator)Steven L. Jobe — Musical Direction, guitar, bassoon Maryanne WongRob Bethel — celloLaura Gulley — violin Props and SceneryJerry Heroux — trumpet, French horn James BewleyAdam Hurst — cello Josh BreslinClara Lieu — oboe Denise EmersonLoren C. Mitchel — keyboard Alex HartJasmine Winkler — bassoon Michael McKenna (coordinator)Polly SpennerThe Ensemble Heidi SawyerMarc Cannon Hugh WaltonDenise Emerson Maryanne WongAurora Gist-YochumAlex Hart Publicity, Posters, Cartoons, Program, etcArthur Jones Yoon ChoLaleh Khorramian Yu-Kyung ChungScott King Arthur JonesMaki Koto Scott KingSarah Kreiger Richard LloydRichard Lloyd Polly SpennerLuciana MallozziMichael McKenna Lighting and AcousticsPilar Newton Josh BreslinHeidi Sawyer Eddie DavisJasmine Winkler Alex Hart (coordinator)Sue Yoo Adam HurstDoug Kimand James Bewley as George Grosz Pilar NewtonCameo Performers Lobby Exhibition and Slide ProjectionMichelle Courtois Yoon Cho‘Ilse Ehrenfeld Alex LauMaya Hartmann Polly SpennerHeather HensonTara Markus VideoPolly Spenner Winifred LambrechtMaryanne Wong

Here Comes Grosz

https://digitalcommons.risd.edu/cgi/viewcontent.cgi?article=1007&context=liberalarts_cabaret_programs

Here Comes Grosz

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Rhode Island School of Design