BackStage: Creating a Cabaret Act

By Michael Goodrich

Cabaret is the experience of being private in public. Andrea Marcovicci defines it as “an intensely personal evening of song and stories, delivered in a simple, honest way in an intimate space that shatters the fourth wall. The audience participates in a direct, emotional conversation with the artist and leaves feeling contacted and personally touched.”

You have no character to hide behind, no sets, and, more often than not, no props. It’s just you, a piano (sometimes a guitar or a combo), and the audience, often in a venue small enough to feel like someone’s living room. It’s a chance for an audience to get to know you in a way that makes them feel as if they just made a new friend. This type of intimacy can be unnerving for even the most seasoned performer, but the results can be greatly rewarding.

Cabaret can also be a way to put yourself in business. You assemble a creative team, choose the music, find a venue, pack the house, and showcase your talent, possibly establishing a second career alongside your work as an actor. This is not to say that cabaret is a get-rich-and-famous-quick scheme. Like any part of the entertainment business, it takes talent, commitment, and dedication. The performers who have successful cabaret careers are all of the above. Learn the craft, be dedicated, and enjoy the process; the rewards can be much more than monetary.

Putting It Together

I know what you’re thinking: “I can’t do this” or “No one will come” or “I can’t afford it.” Well, first of all, if you can sing and act, you can do this. Second, your initial audience will be your warm market; however, if you’re talented and you do things right, you can build a following. And last, producing your own cabaret show doesn’t have to cost a fortune, although it will certainly require an investment. Creating promotional material on your computer can be a big savings these days, and if you use a piano accompanist, there is no need to spend a lot on charts; sheet music will suffice. Do not, however, skimp on your pianist. He or she is the backbone of your act; the support of an accomplished accompanist is invaluable. Usually your accompanist will also wear the hat of musical director. Make sure you find one with a good stage personality — someone experienced in this genre. It’s great to have a colleague to play off of during your show.

Of course, the good ones don’t come cheap, so get referrals and start negotiating. The same goes for your director. A good director will bring out the best in you, and you’ll be assured a polished and professional-looking show. Hire one with cabaret experience and be willing to make the investment. If you’re going to do this, do it right.

Most acts have a theme, a thread that ties all the songs together. The theme can be a personal idea or a tribute to a composer or lyricist, such as the songs of Johnny Mercer or Joni Mitchell. There must be an honest communication between performer and audience during which you reveal your truth through the music and patter.

The structure of a show can vary, but the length is usually about an hour. During that time you will probably have anywhere from 12 to 15 beats. A beat is a song or the patter between songs. Patter is not to be taken lightly. Too much can be annoying to an audience, and too little leaves them feeling as if they haven’t gotten to know you. It must complement the songs and be relevant to moving the act forward.

Your show needs to be balanced and have an easy, natural flow. There must be ups and downs in the energy, as well as humor and sentiment. Don’t succumb to the temptation to make it one-dimensional, either always funny or ballad-heavy. For some excellent in-depth guidance on the ins and outs of putting your act together, try The Cabaret Artist’s Handbook by Bob Harrington (published by Back Stage Books, a corporate sibling of Back Stage).

Finding Support

Open mikes abound in Los Angeles and New York, and they are a great place to try out new material, work in front of an audience, and polish your act. They are also a good place to meet other cabaret enthusiasts and build an audience. Most cabaret folks are very supportive of their colleagues.

The New York cabaret scene is very well known, but cabaret is also thriving in many cities across the country. Los Angeles and San Francisco have vibrant cabaret scenes, due largely to the efforts of Cabaret West, an organization dedicated to cabaret and its artists. There’s a monthly newsletter that will run your bio and info on your upcoming show at no charge; it also contains a calendar of events, including a complete list of open-mike and performance venues in Los Angeles and San Francisco. Plus, you’ll have access to the organization’s mailing list when you’re promoting your show. Membership is $25 per year.

On the East Coast, there is the Manhattan Association of Cabarets & Clubs, or MAC. Its members also have use of the organization’s mailing list for promotional purposes, and free or reduced-admission seminars covering art- and business-related topics are sometimes offered for members. Membership is $50 a year. Two New York City websites are Stu Hamstra’s Cabaret Hotline Online and the Cabaret Exchange, which was started by booker Scott Barbarino. Both offer calendars of what’s on and where, news, reviews, interviews, and a message board, among other things.

Dealing With Vocal Demands

The nice thing about cabaret is that it’s your show. You choose the songs, the theme, the length, and the patter. You can choose to make it as vocally challenging as you’d like, but keep in mind what you will be doing in addition to your act. If you’re currently in a musical or play, your cabaret nights will be restricted to your nights off or late shows after your curtain comes down, and the vocal demands of your job will inevitably impact your cabaret performance. If you have a 9-to-5 job where you’re required to speak most of the day, you’ll also have to deal with vocal fatigue. Still, if you’re speaking and singing correctly, your voice can take a lot of performing. As I’ve said before, the best way to avoid hurting your voice is to have a solid vocal technique.

Remember that cabaret is not about what a terrific singer you are — even though you may be a terrific singer. If you make your show about your amazing voice, you’ll lose your audience. Select songs that are consistent with what you wish to say as an artist; don’t just pick a song because you sing it well. Cabaret is not about stringing a bunch of 11 o’clock numbers together and showing off your vocal prowess. It’s about connecting with the material in an authentic way and then communicating that to your audience. Do that and you’re likely to learn a tremendous amount about yourself as a performer and a person.