Top 33 Cabaret Quotes

I played piano for cabaret stars and stuff and then eventually moved from my hometown of Perth in Western Australia to Melbourne, and somewhere in there, I decided to book myself a room and do a cabaret show of my own material.

‘Cabaret’ was the most commercial success that I’ve been involved in.

Cabaret presents different challenges, as it is all on me. I love having the freedom to say anything you want – do anything you want. It is a lot of responsibility, and if it works, you get all the kudos, and if not – all the blame.

I didn’t think I was right for ‘Cabaret’.

I am inspired by show girls and Vegas. I was a cabaret performer, so that’s where all that influence comes from.

To me I grew up watching ‘All That Jazz’ and ‘Cabaret,’ and when I was younger ‘Mary Poppins’,’ The Sound Of Music,’ and ‘Singin’ In The Rain.’

I spent thousands of thousands of hours playing the piano, and by thousands of hours, I mean playing in cover bands or wedding bands or disco bands or original bands or playing cabaret for Todd McKenney.

You realise that people do things differently to each other and, more and more, I realise that there’s no right or wrong. You can be a pop star and singing cabaret, and the entertainment of it is your flamboyance, it is your attitude.

In the early days of the Libertines, we used to put on Arcadian cabaret nights. There’d be some girl climbing out of an egg; we’d try and get a couple of mates to tell a few jokes, performance poets, and then we’d play in the middle of it all. More people were on stage than in the crowd.

Don’t know about a cabaret act right now, would actually prefer a role in a broadway musical.

In Hindi cinema, the cabaret dancers were eased out when the heroines imbibed their mannerisms. This could happen in Malayalam cinema too.

I want to do good films. It is not that I have any problem doing commercial roles, with all the glitter. I am doing ‘Cabaret.’ It is very glamourous.

I don’t know how to explain how, probably to my detriment, unselfpromoting I am. I used to have a cabaret act and I didn’t even like to tell me people about that. I really hate selling myself.

A cabaret song has got to be written – for the middle voice, ideally – because you’ve got to hear the wit of the words. And a cabaret song gives the singer room to act, more even than an opera singer.

I have an amazing 1930s dress I picked up in Toronto at Cabaret on Queen West. It’s a red knee-length tea dress, and it’s absolutely beautiful. It makes me happy every time I put it on.

Satisfying as that ‘Cabaret’ role was, it is not the only thing I do. But Hollywood is somewhat limited in its perspective about what it is you do or don’t do.

Over-the-knee socks remind me of the 1920s, silent films, and the stars of the era who wore the rolled-down stockings. They sort of referenced that in ‘Cabaret,’ when Liza Minnelli was singing ‘Mein Herr,’ and I love the way she looks in that scene.

‘Cabaret’ was one of the first pieces of musical theater I saw that showed the possibilities of what musical theater can do.

In ‘Mr Shrimati,’ I had a long role as a woman. A cabaret number was also picturised on me. I really worked hard in that film and feel that to date, no man has matched my level when playing a woman.

After university, I was working as a stylist in the Paris theatres when I had a flash of inspiration. I made necklaces from the bikinis designed for the cabaret performers of Folies Bergeres. I was so happy with them that it was only then that I sought out formal training in jewelry.

If I could live in a cabaret, I would. If I could live in ‘Moulin Rouge,’ I would.

The most rewarding thing is being on Broadway. I went into Cabaret as a replacement and was really challenged beyond anything I could have imagined.

Manchester was a fantastic place to go out in. There were 10 clubs with world-class cabaret and comedians. You’d go in and Tom Jones might be singing, or Shirley Bassey or Engelbert Humperdinck.

I’ve never done a musical, and I don’t think I could do one, but I would love to play Sally Bowles in ‘Cabaret.’

I used to do cabaret as a kid and always wanted to pick it up again.

That was something we were trying to figure out: Are we allowed to do a jazz song? Are we allowed to do cabaret? Just from hearing the Beatles, it was like, ‘Well, they did it. It’s okay to write something other than a standard rock song.’

I just love to dance and ‘Cabaret’ seemed like an opportunity where I could explore that. I wanted to take a chance and see if people will accept me in this kind of role, if what is expected of other women is expected of me. Or maybe it’s for shock value.

Usually I like playing other people. I like finding myself through other characters. But when you do cabaret, you are yourself. I think it’s the most fun, and I tell you, if somebody had told me that, I would have done it fifteen years earlier than I did.

I was born with ‘Aashiqui.’ I am reborn on my birthday with ‘Cabaret.’

The satellite and digital space is where the audience for ‘Cabaret’ lies: a discerning lot who don’t rush to the cinema hall on the first day, first show, and prefer instead to consume their entertainment at their time and comfort.

It’s so easy in these cabaret venues to get earnest.

I don’t think I was considered to be a cabaret singer because I didn’t have patter that was written.

I love deep cleavage on the foot. It reminds me of Berlin in 1930s, ‘Cabaret.’