Honestly, I’m glad I’m not the only one who’s noticed this imagery and found it unsettling. Don’t get me wrong, the performances are still good but I wish they didn’t play into the baby style. I feel it also infantilises the character in a way she openly rejects in her song.

isn't that the whole point of the song?

The whole point of Cabaret is to be unsettling...This isn't Mary Poppins

@@galegorgeous8857 how does it feel to be wrong

@@galegorgeous8857cabaret can be unsettling without pedophilic themes. It’s suppose to be the raunchyness that’s unsettling. Not sexualizing children.

Sally isn’t supposed to be ultra talented, she’s actually supposed to be lacking in many talent areas. You’re totally right about that

@Zeug Dings Oh hey, another Nazi, damn y'all are bold recently

@Zeug Dings Ok Nazi

She was also the original Grizabella in Cats (who sings "Memory")! But had to withdraw due to injury. I was surprised about her musicals, too, but then she's a goddess who could probably do anything. Check out her version of Send In the Clowns...

I'm confused... do people think this is an Alan Cumming number? In none of the 3 productions of Cabaret that he starred in did he do this number, it's always been a Sally number. He may have done it in other setting but not in the show.

Found out the same thing about Bela Lugosi a couple days ago. He was a young actor once tho it's like he only came into existence to play The Count.

Her voice was perfect for the role. Sally was supposed to be more of an engaging personality on stage than a talented entertainer, wasn't she?

Jean Simmons was MUCH prettier.

Sorry, Joel Grey was the BEST emcee ever! No comparison.

Yes he was. Alan Cummings played it like an irritating queen in a gay bar.@@travisgrant5608

Goddamn it, Hollywood

It was. And Mein Herr is a much, much better song. This is so prissy and schoolgirlish I can't stand it. I saw this production with Jill Haworth on Broadway and I loved it. The the film came along and revved the entire thing up a hundred notches.

The film of Cabaret is very different from the original show -- and from Christopher Isherwood's Berlin Stories, the source for John van Druten's play I Am a Camera on which Cabaret was based -- but quite brilliant in its own way. New numbers by Kander & Ebb, all excellent, include Mein Herr, Money Makes the World Go Around and Maybe This Time (not a new song, but not originally from Cabaret). All of these later found their way into stage revivals. Please note that in Isherwood, Sally is definitely NOT a particularly talented singer; Judi Dench captures perfectly the slightly amateurish, extremely blase and totally fascinating performing personality.@@SuperWolsey

"Perfectly Marvelous"

I think her mother smoked

Still is!

TheAngryReport naturally :)

She's actually not meant to be a real vamp in this production. She thinks she is, but she's not very bright. When the character of Cliff comes into it he forces her to stop the vamp act. She's totally oblivious to the rise of the Nazis' rise to power.

Film and original stage musical are two different beasts. All of the non-cabaret songs were dropped from the film, as well as the important Herr Schultz/Frl. Schneider story (originally played so memorably by Lotte Lenya and Jack Gilford). All of which is fine, because what Bob Fosse (with the uncredited help of Gwen Verdon) did with their exceptional cast and the entirely new screenplay is terrific in its own right. The one "holdover" from stage to screen, Joel Grey as the M.C., is indelible. My big complaint about subsequent stage revivals is not so much that some songs from the film have been added to the score -- they're great numbers -- as the fact that somehow the linking figure of the M.C. has become the starring role, which unbalances the piece. Finally, if what you are saying is that it's "embarrassing" to have Sally portrayed (correctly) as a not-too-talented performer, I must disagree.