In 1993, Sam Mendes directed a new production of the show for the Donmar Warehouse in London's West End. It starred Jane Horrocks as Sally, Adam Godley as Cliff, Alan Cumming as the Emcee and Sara Kestelman as Frau Schneider. Cumming received an Olivier Award nomination for his performance and Kestelman won the Olivier for Best Supporting Performance in a Musical. Mendes' conception was a very different show from either the original production or the rather conventional first revival. The most significant change was the character of the Emcee. The role, as played by Joel Grey, in both prior incarnations, was an asexual, malevolent character in a tuxedo with rouged cheeks. Alan Cumming's portrayal was highly sexualized, wearing suspenders (i.e. braces) around his crotch and red paint on his nipples.[4] The cabaret number "Two Ladies" was staged with the Emcee, a cabaret girl, and a cabaret boy in drag and included a shadow play simulating various sexual positions.[5] The score was entirely re-orchestrated, utilizing synthesizer effects and expanding the stage band, with all the instruments now being played by the cabaret girls and boys. The brutally satiric "Sitting Pretty", with its mocking references to deprivation, despair and hunger, was eliminated entirely, as it had been in the film version, and replaced with "Money". "I Don't Care Much", which was cut from the original production, was reinstated, and "Mein Herr" and "Maybe This Time", from the film adaptation, were added to the score.[5] Staging details differed as well; instead of "Tomorrow Belongs To Me" being performed by a male choir, the Emcee plays a recording of a boy soprano singing it. Most dramatic of all was in the final scene in which the Emcee removes his outer clothes to reveal a striped suit of the type worn by the internees in concentration camps on which were pinned a yellow badge (identifying a Jewish prisoner) and a pink triangle (denoting a homosexual prisoner). Other changes included added references to Cliff's bisexuality, including a brief scene where he kisses one of the Cabaret boys.

一直以实力的黑人R&B音乐见称的尹美莱在继第2张专辑时隔4年之后以第3个人正专辑华丽的回归韩国乐坛.
尹美莱是一名德韩混血儿,爸爸是德国人,妈妈是韩国人,尹美莱从小在美国长大并且非常热爱音乐,在20岁的那年她返回韩国发行了她的首张专辑,专辑中充满国外正统味道的R&B、RAP及Hip-hop音乐一下子就吸引住了人们的视线,受到注目,专辑也因此大卖,02年的第二张专辑也使事业攀高点,专辑中的<礼物>至今还让人回味无穷,与韩国R&B歌手有所区别的是尹美莱的R&B来得更震撼一些...
而这次时隔4年之久才发行的3辑是由尹美莱本人亲自担任监制与作曲并在美国录制完成的专辑,作为主打的<忘记了吗...>是一首R&B加骚灵味道颇重的歌曲,轻松的旋律一遍又一遍的重复的反复会让人为之感叹尹美莱正统的R&B技巧,特有的富有魅力的中低音让尹美莱表现极具灵魂的感情....新自作曲的把尹美莱的感性情感发挥的更为流畅...<黑色幸福>刚是一首RAP+Hip-hop的歌曲,歌曲中的韩文与英文唱词也由她自已全部包揽.

In 1993, Sam Mendes directed a new production of the show for the Donmar Warehouse in London's West End. It starred Jane Horrocks as Sally, Adam Godley as Cliff, Alan Cumming as the Emcee and Sara Kestelman as Frau Schneider. Cumming received an Olivier Award nomination for his performance and Kestelman won the Olivier for Best Supporting Performance in a Musical. Mendes' conception was a very different show from either the original production or the rather conventional first revival. The most significant change was the character of the Emcee. The role, as played by Joel Grey, in both prior incarnations, was an asexual, malevolent character in a tuxedo with rouged cheeks. Alan Cumming's portrayal was highly sexualized, wearing suspenders (i.e. braces) around his crotch and red paint on his nipples.[4] The cabaret number "Two Ladies" was staged with the Emcee, a cabaret girl, and a cabaret boy in drag and included a shadow play simulating various sexual positions.[5] The score was entirely re-orchestrated, utilizing synthesizer effects and expanding the stage band, with all the instruments now being played by the cabaret girls and boys. The brutally satiric "Sitting Pretty", with its mocking references to deprivation, despair and hunger, was eliminated entirely, as it had been in the film version, and replaced with "Money". "I Don't Care Much", which was cut from the original production, was reinstated, and "Mein Herr" and "Maybe This Time", from the film adaptation, were added to the score.[5] Staging details differed as well; instead of "Tomorrow Belongs To Me" being performed by a male choir, the Emcee plays a recording of a boy soprano singing it. Most dramatic of all was in the final scene in which the Emcee removes his outer clothes to reveal a striped suit of the type worn by the internees in concentration camps on which were pinned a yellow badge (identifying a Jewish prisoner) and a pink triangle (denoting a homosexual prisoner). Other changes included added references to Cliff's bisexuality, including a brief scene where he kisses one of the Cabaret boys.