Depersonalization, indifference, and complacency in German history portrayed through the world of a cabaret performance.

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Cabaret

Cabaret portrays a period of German history where depersonalization of national conflict fosters indifference and dangerous complacency. The world of the Kit Kat Klub acts as a commentary on the events occurring outside its doors.

Roundabout brought back this production in 2014, and it was a critical hit. Sam Mendes’ version refocuses the narrative and gives Grey’s Emcee a more central role while highlighting Cliff’s bisexuality.

It’s a form of storytelling

A cabaret performance is a form of storytelling that transcends the boundaries between audience and performers. Its simple set and stripped-down approach to performance art allow the audience to connect with the songs and stories on a personal level, laughing and even crying as they are moved by the performances.

Cabaret is a timeless musical that tells the story of an American writer Cliff Bradshaw and his relationship with English singer Sally Bowles in the tumultuous city of Berlin. Its dark, provocative and heady tale of the city’s natives and expatriates as Germany prepares to succumb to Hitler’s Nazi regime continues to have relevance in our current world.

The music of the show is divided into two kinds – “comment” songs and “book” songs. The comment songs are performed in the Kit Kat Klub and are diegetic, meaning that they are performed as if the characters were actually working in the club. The book songs are the regular kind of musical comedy numbers that occur in most traditional musicals.

It’s a form of music

As the 1920s draw to a close, a garish master of ceremonies welcomes audiences into the seedy Kit Kat Klub and promises them they will leave their troubles at the door. Behind the scenes, American writer Cliff Bradshaw falls for English cabaret performer Sally Bowles, while Fraulein Schneider tentatively begins a romance with Herr Schultz, her Jewish fruit seller.

In addition to being a powerful musical, Cabaret is also a profound political statement. It warns against the dangers of apathy and offers a terrifying glimpse into totalitarianism. The characters’ naiveté is both charming and disturbing, and their denials of the growing horror around them are both tragic and illuminating.

Morgan is excited to make her Porchlight debut in Cabaret. She grew up in Los Angeles and has a BFA from the Chicago College of Performing Arts at Roosevelt University. She is a proud member of Actors’ Equity Association and an ensemble member at the Metropolis Performing Arts Centre.

It’s a form of community

Cabaret is a daring, provocative musical that shines a spotlight on Berlin as the Nazi Party rises to power. Featuring iconic songs and electrifying dance, it’s also a smart, terrifying critique of apathy and totalitarianism.

The original Broadway production, directed by Harold Prince, used nightclub culture to mirror the political world. The characters in the Kit Kat Klub were more than second-rate performers; they were the embodiment of the decadence and hedonism that characterized much of 1920s Berlin. This is how a song like “Tomorrow Belongs to Me” could work as an affirmation of Sally Bowles’ denialism and self-delusion.

The Emcee was inspired by Hal Prince’s experience seeing a dwarf emcee at a club in Germany, and symbolized popular entertainment, metropolitan nightlife, and the newfound sexual freedom that the Nazis would exploit in their propaganda. Sally, the heroine, represents hedonistic self-gratification and a lack of interest in politics. She is a creature of the Kit Kat Klub and the world of denial it creates.

It’s a form of entertainment

Cabaret has been seen by millions of people around the world and continues to thrill audiences. It is a powerful drama that speaks to all of us about the dangers of apathy and totalitarianism. It also offers a glimpse of the future through the eyes of a small group of characters in a seamy Berlin nightclub.

This Broadway revival of Kander and Ebb’s classic musical has won rave reviews. It’s the latest from director Rebecca Frecknall, who has staged the show in London, where it won seven Olivier Awards.

Set in the sleazy Kit Kat Club on the eve of Hitler’s rise to power in Germany, the story follows writer Cliff and performer Sally Bowles as their relationships and careers collide with events outside the club.

Morgan is thrilled to be making her Porchlight debut in this production of Cabaret. She is grateful to her family, friends and teachers for their love and support. She received her BFA from the Chicago College of Performing Arts at Roosevelt University.

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Discover the Thrills and Community of 메이저놀이터: An Engaging and Secure Online Gaming Platform

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Evolution Powerball: The Thrilling Online Lottery Game with Live Broadcasting and an Engaging Community

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Understanding the Role of Casino Distributors in the Gaming Industry

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Understanding the World of 카지노총판

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An all-encompassing performance genre that challenges conventions and explores new ideas

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Cabaret

Cabaret is a musical that speaks to our confused sense of morality at times when moral corruption is on the rise. Concord Theatricals licenses three versions of the musical (Book by Joe Masteroff, based on stories by Christopher Isherwood and play by John Van Druten with music by John Kander and Fred Ebb).

The androgynous Emcee is unapologeticly subversive. Fosse’s camera delights in following him strutting his stuff.

It is an all-encompassing performance genre

Cabaret is an all-encompassing performance genre that encompasses music, dance, comedy, and theatre. It also includes burlesque, circus acts, magic and performance art. Although cabaret often takes place in intimate venues, it can also take place on massive stages. It can even be seen in television variety shows and other mainstream productions.

The first cabarets started appearing in Paris around the turn of the century. Soon, they exploded throughout Europe. They offered audiences a chance to interact with performers while they ate and drank. These establishments became famous for their erotic style and glamorous showgirls.

Cabaret evolved from underground late-night drag and music scenes and now reaches across conventional/mainstream theatrical crafts. Despite its many forms, it is still an all-encompassing performance genre that challenges conventions and explores new ideas. It can be a beautiful, heartbreaking, and uplifting experience for the audience. Moreover, it can ask important questions and explore themes that are a bit controversial.

It is a form of entertainment

Cabaret is a genre of entertainment that incorporates music, dance, comedy, and drama. It originated in France around the turn of the century and flourished in Germany before World War I. It is one of the few musical forms that can appeal to both young and old audiences, and it preserves great songs and rescues hidden gems from obscurity. It also provides an outlet for the new music of today’s lyricists and composers.

The performers in a cabaret interact with their audience and make them part of the show. There is no decorated set, and the audience sits at tables consuming food and drink while the performers work right in their midst. This erasure of barriers between audience and performer allows the audience to connect with the varied themes and emotions of each song and story.

Director Bob Fosse accentuates the seediness of the club with his androgynous Master of Ceremonies character, who is an absorbing sex magnet. He sashays across the stage in his chalky makeup and raucous drag, and the camera takes delight in following him down his path of depravity.

It is a social event

When people think of cabaret, they may envision a place where the audience sits at tables to drink and dine while performers entertain them with songs, dance, or comedy. These shows are usually introduced by a master of ceremonies or MC. They can include striptease, burlesque, or a solo vocalist with a pianist.

Cabaret first appeared in Europe around the turn of the 19th century. It quickly gained popularity, especially in Germany. The Weimar era was a time when artistic expression wasn’t restricted by government censorship, and cabarets became known for their extravagant costumes and stunning showgirls.

While Cabaret has been adapted for film and television several times, the musical remains one of the most popular and beloved of all time. Concord Theatricals currently licenses three versions of the show, all of which feature the same book and music by John Kander and Fred Ebb. Each version differs in some ways, including some songs and scenes that have changed over the years.

It is a form of theatre

Cabaret brings audience and performer together in an intimate venue, breaking the theatrical fourth wall with a synergistic energy that makes the art form so unique. It is one of the few forms that allows an 80-year-old and a teenager to enjoy the same show. It preserves great songs from the past and rescues them from obscurity, while allowing lyricists and composers to showcase their work in an original way.

It is also a genre that embraces a wide range of themes and emotions, flitting between camp and crass, comedy and tragedy with ease. It also reaches audiences by bypassing the need to suspend disbelief and instead connecting with them on a personal level.

Cabaret has had many productions since its first premiere in 1936. Concord Theatricals currently licenses three versions of the musical: the Broadway revival, the original London production and the Shaw Festival at Niagara-on-the-Lake, Ontario. All feature Clare Burt as Sally Bowles, Juan Chioran as the Emcee, Gray Powell as Cliff Bradshaw and Benedict Campbell as Herr Schultz.

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Erotic hedonism and the death of love and democracy in Cabaret’s world

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Cabaret Characters

In the world of musical theatre, few shows have had such an impact as Cabaret. Its erotic hedonism masks a much darker story: the death of love and democracy.

Sally Bowles is head-in-the-sand young, seeking nothing more than constant gratification and freedom from responsibility. She is a tragic figure, who realizes her lifestyle will lead to a terrible end.

Sally Bowles

In Isherwood’s book, van Druten’s play, and Kander and Ebb’s musical, Sally Bowles is a show-stopping character. She is quirky and flighty, and experiences moments of lightness and darkness. She’s not concerned with politics, depression, immorality or the rise of Hitler because she believes these things do not affect her.

She takes interest in British academic Brian Roberts, who is teaching at the university. He’s shy and reserved, but something about her seduces him.

Actresses and directors who portray Sally Bowles in film, stage, or television have many choices in how they interpret her pivotal song “Cabaret.” Some choose to stay close to Isherwood’s Sally — a little girl who cares too much about what other people think — while others push the limits of her character. Some actresses and directors even make Sally a tad bit manic for dramatic effect. This is all to help the audience better understand her feelings and choices. Ultimately, the audience is drawn closer to Sally’s decision to continue her wild lifestyle.

Cliff Bradshaw

In a musical, songs give the characters weight and meaning. While some critics have argued that letting Cliff sing would disrupt the unity of the score, to leave him without music detracts from his importance. The character represents the world of popular entertainment, metropolitan nightlife, and sexual freedom that the Nazis exploit in their propaganda. He embodies Berlin itself.

Sally, meanwhile, is the head-in-the-sand young person seeking constant gratification and freedom from responsibility. She is a perfect foil for the character of Cliff. She uses sex and alcohol as a way to hide from reality, much like her school chum Sybil. Sally also represents the decadence the Nazis will exploit in their rise to power, arguing that life is a cabaret and people want to think about fun things, not politics. This is the attitude that allows Hitler to win the elections.

Fraulein Schneider

Cabaret, a musical written by John Kander and Fred Ebb with book by Joe Masteroff, is set in Berlin in 1929-1930 as the Nazis rise to power. The hedonistic nightlife of the seedy Kit Kat Klub serves as a metaphor for the ominous political developments that surround it. In addition to Sally Bowles’ romance with Clifford Bradshaw, the musical also focuses on German boarding house owner Fraulein Schneider and her elderly Jewish suitor Herr Schultz.

Schneider and Schultz’s song, “Married,” reveals their doomed relationship, which is tinged with antisemitism. Although Fraulein is often played as a one-dimensional stereotype, she’s a smart and resilient woman who knows how to fend for herself.

She’s independent and fierce, but she also has a sweet side that her adoring Herr Schultz coaxes out of her. Her ability to straddle the line between being a strong and loving woman makes her a fascinating character.

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New York Cabaret Laws: A Restrictive History

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New York Cabaret Laws

It’s hard to imagine what New York City would look like without its notoriously restrictive cabaret laws. First launched in the Jazz Age to keep Harlem speakeasies in check, the law required venues with three or more patrons dancing to be licensed as cabarets. Performers had to get fingerprinted and hold a cabaret card—which could be snatched away at any time.

What is a Cabaret?

In New York City, a cabaret is any establishment that serves alcoholic beverages and allows patrons to dance. Obtaining a cabaret license is a process that begins with ensuring an establishment is in a zoning district that permits dancing and meets all building, safety and electrical regulations. Then, it must pass the Department of Consumer Affairs’ rigorous application process and face a community board that may give a favorable or unfavorable recommendation to DCA.

Enacted in 1926, the cabaret laws require any club that wants to allow dancing to obtain a cabaret license. The laws are meant to control nuisances caused by nightclubs in residential neighborhoods, and they have been reinterpreted under different administrations. For example, during his reign as mayor, Rudy Giuliani used the dancing portion of the law to crack down on rogue clubs as part of his “broken windows” theory of policing. The laws have been challenged in court, but they remain on the books.

What are the Requirements for a Cabaret License?

The law defines a cabaret as any room, place or space where dancing and live music is offered for entertainment. Applicants must also provide video surveillance and security at all times. If the establishment does not comply, it can be fined up to $1,000 per day.

In addition, anyone who performs live entertainment on the licensed premises must be completely and opaquely covered, including any DJ or karaoke operator, and any person who does dance-related activities. It is considered a violation of the law to expose any “specified anatomical areas,” such as buttock, anus and the female breasts.

While the law has been challenged and even repealed in the past, it has been revived during Mayor Giuliani’s crackdown on nightlife. Barclay and other venue owners like Rachel Nelson and John Hutchinson, who run Happyfun Hideaway and Bossa Nova Civic Club, respectively, argue that squelching legitimate spaces through Cabaret violations can drive people to less-safe underground parties.

How Do I Get a Cabaret License?

Despite the repeal of Prohibition-era Cabaret Law, which was often enforced in discriminatory ways, NYC’s zoning code still technically makes it illegal for establishments to have dancing without a cabaret license. And the city’s licensing process can be confusing for new owners.

The law requires that any room, place or space where dancing is held must have a cabaret license to operate, and if an establishment has set show times, charges a cover fee or has more than three performers on stage, a Cabaret ID card is also required. The city also requires a business to have an EIN (also known as an IRS tax ID number) and proof of liability insurance.

Owners like Rachel Nelson and John Barclay, who run Brooklyn dance venues Happyfun Hideaway and Bossa Nova Civic Club, worry that the city’s continued efforts to crack down on unauthorized dance spaces will drive dancers to more dangerous underground parties or reduce the number of legitimate NYC dance spots for marginalized communities. To help in the fight for a more reasonable law, you can contact your local councilmember through the Dance Liberation Network’s website.

What Are the Fees for a Cabaret License?

Since 1926, New York City has required clubs and restaurants with dancing to be licensed as cabarets. The process to obtain this license starts with an establishment demonstrating that its zoning district permits it to host dances, and that it meets all the other requirements of the law (such as fire and building codes). It must also face the local Community Board, which can give a favorable or unfavorable recommendation to the DCA.

The saga of the Cabaret Law has been a long one: Safety regulations were added after a string of club disasters; an amendment targeted jazz musicians (and led to a revocation of the cabaret card of Chet Baker, Charlie Parker, and Thelonious Monk); and the law was used by Mayor Giuliani to target problem or nuisance establishments with fines, padlocks, and shutdowns.

There are several types of licenses that a business can get, depending on what kind of establishment it is. For example, a Wine Store license lets the establishment sell beer and wine for on-premises consumption.

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Breaking Gender Stereotypes with Cabaret Costumes

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Cabaret Costumes Break Down Gender Stereotypes

The scantily-clad showgirls of burlesque made their mark on the world in a big way. But their sexy costumes also have the power to break down gender stereotypes.

Sally Bowles exists between two worlds – the real world of Cliff, Fraulein Schneider and Ernst, and the Kit Kat Klub. She uses sex and drink to hide from responsibility.

Theme

Theme: The show explores the complex diversity of gender in the contemporary world. It creates a ritual space where these characters with stories of hurt and misperception meet, exchange their historias, love and hate, face each other and strip their pain.

The musical’s traditional scenes and dialogue are complemented by comment songs performed by the Kit Kat Klub girls and boys and the Emcee. These songs are not only satirical and silly, but also reveal the underlying attitudes of many of the characters.

Sally Bowles is the link between the two worlds of Cabaret: the sleazy, artificial Kit Kat Klub and the real world of Cliff, Fraulein Schneider, Herr Schultz, and Ernst. She demonstrates this by choosing music that doesn’t fit in with the other club acts: “Why Should I Wake Up” and “Perfectly Marvelous” don’t sound as dissonant or minor as the German sounding numbers like “Wilkommen” and “Tomorrow Belongs to Me.” Instead they use a more conventional, 1960s Broadway sound.

Design

Costumes greatly influence the audience’s perception of characters, setting, and atmosphere in a theatrical production. They can also reflect historic gender roles and sexuality. For example, the costumes in Cabaret help to shape an audience’s understanding of the characters’ relationship with each other and with the world around them.

In the play-within-a-play of Cabaret, the Kit Kat club is a place where glitz, glamour and performance reign supreme. But outside the club, it’s a different world: one that’s riven with poverty and unemployment. And in America, the civil rights movement was on the horizon.

Shirley Pierson, the costume designer for Cygnet’s production of Cabaret at The Playhouse Theatre, is responsible for bringing both of these worlds together. She researches historical materials, designs the clothes, scourges vintage stores for just the right pieces and sews them together. Her work is nothing short of a visual feast.

Fabric

For the costumes, Pierson is using a variety of fabrics including silk and polyurethane. She is also using a lot of jersey, the smooth, stretchy fabric that’s pervasive in many dance costumes. This type of fabric allows the dancer to move in a full range of motion without discomfort. It also clings to the body and creates a sleek look.

Higher end mass-produced Turkish belly dance costumes often use a silk-like fabric with shimmery designs and have more detailed embellishment. They also tend to have better-fitting bras and skirts with a tighter, sleeker fit. Fringe is often patterned with recognizable motifs and chunky beads are used, often emphasizing the nipple area.

Accessories

One of the key accessories to a cabaret costume is the hat. These can be adorned with feathers for a flapper look, or more elaborately designed to suit the character. These can also be trimmed with beads and other decorative elements.

Full designer costumes usually include a headband and necklace, some type of arm adornment as described in the foreword, and a bra/belt/skirt set with a veil. Fabrics used may be velvet, crushed velvet, chiffons and varying types of lycra.

Costumes greatly influence an audience’s perception of characters, setting and atmosphere in a theatrical or filmatic production. In the case of Cabaret, the costumes of the Kit Kat Klub characters help establish the real world and the fantasy world that is Berlin in the Weimar period. The choice of clothes also helps to reinforce issues of historic gender and sexuality. These themes are shaped by the costumes that Sally Bowles wears in both worlds.

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Discovering the Art of Cabaret Auditions

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Making Casting Choices at Cabaret Auditions

The people making casting choices at cabaret auditions have a lot on their mind. They have to get the show up and running.

Dylan Mulvaney was recently invited to audition for the Broadway revival of Cabaret — which is expected to open this Spring at August Wilson Theater. She would play female lead British cabaret singer Sally Bowles.

1. Know the Music

Whether you’re choosing your own songs or using the provided ones, take time to make sure each one fits within your vocal range and style. You want to be able to sing each song well at the audition.

A rock-solid roster of songs will make it much easier to pay attention to the overall arc and themes of your cabaret. A good musical director can help you choose songs that work and clarify the meaning and intention of each.

Always be courteous to the accompanist, stage manager or any other creatives at your audition. It’s a small theatrical community and chances are you will meet them again somewhere down the line, or they may be on your next audition panel! It is also a very bad idea to be combative, even if you’re nervous or cranky. It will only give the impression that you’re not a team player and will have an adverse effect on the outcome of your audition.

2. Know the Story

Aside from knowing the music, you will also want to know the story and character descriptions. This can help you prepare for your audition and decide which songs will best highlight your skills. This information will also help you during your callbacks.

In the infamous Kit Kat Klub, the Emcee and Sally Bowles and their raucous ensemble tantalize the crowd nightly and invite them to “leave their troubles outside.” But as life in pre-WWII Germany grows more dangerous, will the decadent allure of the Kit Kat Klub be enough?

The Broadway revival of Cabaret includes a number of new characters, bringing the story into the 1930’s and beyond. The musical centers around young American writer Cliff Bradshaw and his relationship with English cabaret performer Sally Bowles. Set in Berlin, the seedy Kit Kat Klub and the proprietor Fraulein Schneider are a tinderbox of sexuality and political intrigue. Featuring the songs of Kander and Ebb, and adapted from the play by John Van Druten and stories by Christopher Isherwood.

3. Know Yourself

It’s very important that you know yourself! Avoid foods and beverages with caffeine, sugar, dairy and heavy foods at least 24 hours before your audition. Practice being still and quiet for short periods of time each day (meditation, yoga, breathing).

Arrive EARLY! Drink a glass of warm water with lemon and honey to calm your nerves. Avoid energy drinks, soda and candy! Be sure you are warmed up by running scales, vocalizing and doing other warm up techniques taught to you by your instructors.

Please note that Cabaret contains explicit language, including heavy antisemitism, references to abortion, domestic violence and sexually suggestive scenes. It also includes sexy and/or nude dancing. It is the responsibility of every actor to prepare for these elements before the start of rehearsals. We cannot guarantee that any actor will be cast in a role that may contain these elements. Thank you for your understanding. All roles are open to men and women.

4. Know Your Audience

In the world of musical theatre, few shows are more relevant today than Cabaret. Whether it’s political activism, the growing recognition of gay rights or Hal Prince’s quest to create a more socially responsible kind of concept musical – this is a show that speaks to our times.

Cabaret is a fascinating story of love, loss and prejudice. It sets up a traditional musical comedy love story between Cliff, the American writer, and Sally Bowles, the English cabaret performer, who lives at Fraulein Schneider’s boarding house, while tentatively dating Herr Schultz.

Sally is more pose than talent onstage, but the stories on which Cabaret is based show that she has real heart offstage as well. The same is true of the audience. They are there to see and hear performers whose connection to their audiences is intimate and personal – something that is often missing from other shows. In fact, that audience/artist connection is what cabaret is all about.

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A Night of Wine, Dance, and Illusion

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Cabaret Hours in Bushwick, Brooklyn

Cabaret is a unique form of theatrical entertainment, where audiences sit at cozy tables and consume food and drink while performers perform right in front of them. It can include anything from a solo vocalist with piano to striptease or full floorshows.

Step into 1929 Berlin’s seedy Kit Kat Club, where American writer Cliff Bradshaw finds inspiration and pleasure with nightclub performer Sally Bowles. Then, the Nazis’ rise to power threatens to splinter their decadent lifestyle.

SAVOR After Hours

An unforgettable night of wine tasting and world-class dance is in store for attendees at SAVOR After Hours, a one-of-a-kind performance featuring the best wine from Napa Valley. The first-of-its-kind wine-tasting cabaret is curated by Mark Swanhart, a choreographer, writer, director and producer for stage and television who has worked with the Chmerkovskiy brothers on Dancing With the Stars.

Each weekend the show features a series of cabaret-style performances that are paired with wines from different Napa Valley wineries. The experience is meant to immerse guests in the way wine makes them feel through a captivating blend of music, dance and illusion.

The dazzling performers featured in the show include brothers Maks and Val Chmerkovskiy, who have collectively appeared on 17 seasons of Dancing With the Stars and won the competition three times. Located at the JaM Cellars Ballroom, this show is a must-see for anyone visiting Napa Valley this summer. It’s open for only a few more weeks before closing on September 3. Get your tickets now!

Cocktail Magique

In a performance that evokes the most elite and fantastical of speakeasy bars in trendy Bushwick, Brooklyn, Cocktail Magique is an intoxicating evening of burlesque and magic. Company XIV brings together a cast of pure talent for this baroque-inspired variety show that is patently for adults only.

Ringmaster MC Sam, who can also add “quick change artist” to his resume, leads this vaudevillian of vice in a show that incorporates music, song, circus, and dance. Burlesque performers like the mesmerizing Syrena twirl and balance bottles while doing her disappearing act, and tap dancer Scott Schneider adds his flair for glitzy entertainment.

The sultry and enchanting Cocktail Magique is everything you want in a cabaret experience, with intoxicating illusions mixed with food and drink. Get tickets now on TodayTix to witness this magical phantasmagoria at the custom-designed venue in Brooklyn.

House of Yes

Part burlesque circus, dance club, and creative space, House of Yes is a cultural fabric in Brooklyn. Its eccentric, out-there events, costumes, and “disorienting weirdness” break down barriers to make it easy for people to connect and express themselves.

Located at the Jefferson L train stop in Bushwick, House of Yes is hard to miss. Its former ice warehouse has been transformed into a space that showcases dance, circus, theater, and cabaret performances.

The crowd at House of Yes is mature, diverse, and fun. Its performers range from local artists to 9-to-5ers and people in the C-suite. Some of them have been working at the venue since the beginning. The pandemic has forced some to take a step back but others have refocused their efforts and found new ways to keep doing what they love.

You can purchase tickets to House of Yes events online or at the box office. Vivid Seats can help you find the right seats for your budget and preferences.

Company XIV

Company XIV, the baroque burlesque troupe that’s earned acclaim for shows like Nutcracker Rouge and Cocktail Magique, recently reopened at Theatre XIV in Bushwick. We sat down with Austin McCormick (director/choreographer), Pretty Lame (The Devil) and LEXXE (Original Music) to find out more about their new home, training for the show, and what’s next.

The performers at Theatre XIV create high- and low-brow entertainment that’s equal parts sensual, spectacular, and mind-blowing. Founded in 2006 by classically-trained, Julliard School alum and nightlife impresario Austin McCormick, Company XIV has made Brooklyn a hub of glittering, decadent spectacles.

Give in to temptation at Seven Sins, a baroque burlesque performance inspired by Adam and Eve in the Garden of Eden. Sit in a plush VIP loveseat and savor the decadence of themed drinks and snacks for an experience you won’t forget. Tickets start at $39.50. Performances run 8:00pm-10:15pm.

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