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Miley Cyrus‘ anticipated visual album, Something Beautiful, will get its world premiere at the 2025 Tribeca Festival. The wide-ranging event that will take place in New York from June 4-15 will feature the first look at the film co-directed and co-written by Cyrus, Jacob Bixenman, Brendan Walter and produced by Tribeca alum Panos Cosmatos (Beyond the Black Rainbow).
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The “one-of-a-kind pop opera” features 13 original songs from Cyrus’ upcoming album of the same name.
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In addition to the premiere, Cyrus will sit down afterwards for a conversation at the event, which will kick off with the previously announced world premiere of the doc Billy Joel: So It Goes, directed by Emmy Award winners Susan Lacy and Jessica Levin. The doc is described as a “sweeping portrait of a true New York icon, this definitive documentary captures the grit, genius, and soul of William Martin Joel — from his Long Island roots to sold-out stadiums. With rare archival footage and revealing new interviews, the film charts the rise of one of America’s greatest singer-songwriters, whose music became the heartbeat of a city and the soundtrack of a generation.”
This year’s stacked music doc lineup will also spotlight films about the Counting Crows (Counting Crows: Have You Seen Me Lately?) and Culture Club (Culture Club), as well as exclusive performances from Billy Idol (Billy Idol Should Be Dead), Becky G (Rebecca (AKA Becky G) and Pearl Jam singer Eddie Vedder (Matter of Time) following the world premieres of their films.
In addition, members of Metallica (Metallica Saved My Life), Depeche Mode (Depeche Mode: M) and rappers WizKid (Wizkid: Long Live Lagos) and Ty Dolla $ign (Still Free TC) will sit for post-premiere conversations. Among the other musicians slated to appear in the Tribeca lineup are Demi Lovato, who co-stars alongside Rose Byrne and Oscar-winner Octavia Spencer in the movie Tow and the Wu-Tang Clan’s RZA, who wrote, produced and directed the drama One Spoon of Chocolate, starring Shameik Moore, Paris Jackson, Jason Isbell, Blair Underwood and RJ Cyler.
The queer roots of house music will also be chronicled in the doc Move Ya Body: The Birth of House, which will be followed by a house music dance party with Celeste Alexander, Lori Branch and Lady D. Other standouts include The Rose: Come Back to Me, a documentary about the bond between the members of South Korean indie band The Rose and The Sixth Borough, which charts Long Island’s impact on the evolution of hip-hop, with a special after-screening performance by De La Soul and Rakim.
“Tribeca has always been more than a festival—it’s a home for artists navigating an ever-changing industry and an ever-changing world,” said Tribeca Festival co-founder and Tribeca Enterprises CEO Jane Rosenthal in a statement. “For over two decades, we’ve championed emerging voices, celebrated established storytellers, and built a creative community where artists can grow, connect, and thrive. We’re proud of the ecosystem we’ve cultivated and can’t wait to share it with the world this June.”
Attendees can also check out the world premiere of I Was Born This Way, which tells the story of Archbishop Carl Bean’s 1977 disco hit “I Was Born This Way,” the world’s first gay anthem, featuring interviews with Lady Gaga, Billy Porter, Questlove and Dionne Warwick.
The festival will also feature the U.S. premiere of K-Pops!, a musical comedy directed by and starring Anderson .Paak as a “down-on-his-luck journeyman musician who takes a gig in Seoul with the house band of a K-pop competition show only to discover one of the show’s aspiring superstars is his long-lost son.” Rapper Logic will also premiere his film Paradise Records — which he wrote, directed and produced — which follows the crew of rag-tag employees at the record store of the same name.
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How was your Record Store Day? This year I spent about an hour and a half and $150 picking up some great vinyl at two stores in Berlin, where I live. (Shout-outs to Soultrade and Dussman.) Every year seems to bring more music fans into stores, along with more releases in more genres. I personally picked up reissues of the Passengers album and Emmylou Harris’ Spyboy, plus archival live releases from Ry Cooder and Talking Heads, and a split 7” single from Goat and Graveyard. While I was at Soultrade, I also found a used album I’ve wanted forever – a 1973 copy of This Is Amon Düül, which is hard to find and even harder to wrap your head around.
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That record was in great shape for 1973, but it needed to be cleaned — as do many old records. These days, some new ones do, too: A combination of falling quality control and a tendency to use paper sleeves means that many new records come with some grit in the grooves. So, in the Record Store Day spirit, I wanted to share some tips on the various ways to clean records and keep them free from dirt and scratches — and sounding great for as long as possible. There’s some science to this, but it’s pretty easy. You’ll need to buy accessories, and I’ve shared my favorites here, but like everything in audio, the equipment costs as much as you want it to. My advice, as always: Start with the basics and work your way up.
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The first thing any vinyl fan needs is an anti-static brush. It’s the easiest to use — you just hold it perpendicular to the record as it spins, and it lifts out dust and eliminates static electricity that causes snaps, crackles and pops. Serious vinyl nerds call this “dry cleaning.” As opposed to wet cleaning that eliminates serious dirt, this just targets basic dust. It couldn’t be easier, though. Just press down very gently as the record rotates, and you’re good. I have an Audio-Technica AT6011a Anti-Static Record Brush, which has served me well for years, but the Boundless Record Cleaner Brush is just as good. Both are about $15, and buying one of them, or something similar, is a no-brainer. There’s no way to get a bigger boost in quality for less money.
Audio-Technica AT6011a Anti-Static Record Brush
Boundless Audio Record Cleaner Brush
$14.95
$18.99
21% off
The other inexpensive way to improve sound quality is to make sure your turntable stylus is clean. This is also inexpensive, but it’s a bit trickier! The styli on good turntables are delicate and expensive, so you need to be careful. Start with the right tool for the job — a small carbon-fiber brush. Then follow the instructions carefully — brush very gently back to front, only when necessary. For about $14, the Boundless Stylus Cleaner Brush is solid. You can also buy a record brush and a stylus brush together — this $20 package from Fluance is great.
Boundless Audio Stylus Cleaner Brush
$13.95
$17.99
22% off
Fluance Vinyl Record & Stylus Cleaning Kit
The next thing you’ll want is plastic sleeves — “inners,” as collectors call them, because they protect vinyl in an album, as opposed to “outers” that protect the sleeve itself. These don’t need to be fancy — the only goal here is to avoid the paper sleeves that can cause minor scratches over time. It’s hard to go wrong here, but for years I used Collector Protector sleeves (50 for $24). Recently I switched to Big Fudge sleeves (50 for $25), which look a bit nicer, although I haven’t noticed any real difference. The kind of people who buy $200 records have a preference, but it probably just makes sense to buy whatever’s cheapest. Right now, that looks like Hudson sleeves (100 for $29) or the round-bottomed Invest in Vinyl sleeves (50 for $14). I haven’t tried either of them, but only the most serious collectors can tell the difference.
Collector Protector Sleeves for Vinyl Record Storage
Big Fudge 50x Premium Vinyl Record Inner Sleeves
Hudson Hi-Fi 3 Layers HDPE Anti-Static 100 Vinyl Record Inner Sleeves
50 LP Inner Sleeves Anti Static Round Bottom 33 RPM 12″ Vinyl Record Sleeves
If you have valuable records, you’ll also want outer sleeves. This doesn’t touch the vinyl itself — it just protects the album. In some cases, with valuable albums or gimmick covers, that’s great to have. In a decade and a half of seriously collecting vinyl, I haven’t noticed so much difference between different brands, but some are sturdier. Big Fudge is solid and reliably good (50 for $20) and Invest in Vinyl (100 for $23) is currently a better buy.
BIG FUDGE 50x Vinyl Record Sleeves 12″ LP
If you have a good system, you’ll want to get more serious about cleaning. That means “wet cleaning” records, which means buying some special supplies. Under no circumstances should you attempt to clean records with stuff you have lying around the house. It’s no fun and it can damage records. Vinyl is delicate, so it demands its own routine. To start, it’s easiest to buy a cleaning kit with a microfiber cloth, some specialized vinyl cleaner and perhaps a brush. Big Fudge sells a $23 Vinyl Record Cleaning Kit that comes with a stylus brush and a styling storage pouch. Boundless has a $60 package that has all of that, plus a record brush and a nicer case, and Amazon now offers it with a $5 coupon discount. Eveo has one for $20 that’s not so different. The real difference comes in what you do with them — and you should use only specialized cleaning fluid, distilled water and either special brushes or microfiber cloths.
Big Fudge Vinyl Record Cleaning Kit
Boundless Audio Vinyl Record Cleaning Kit
$59.95
$74.99
20% off
EVEO Vinyl Record Cleaning Kit
$19.97
$26.97
26% off
That will get you started. Remember, though, the idea isn’t to clean the surface of the vinyl — it’s to get the dirt out of the grooves. At some point, though, you might want a machine that will really get into the grooves. For between $50 and $100, you can get a spin-cleaner, a kind of hand-powered car wash for vinyl that rotates records against brushes and in and out of a bath of water and cleaning solution. One of the best is the $80 Spin-Clean Record Washer Kit. You fill a small tub with water and a cleaning solution, then turn the records against brushes, in and out of it — then dry them. This is easier than it sounds, and it’s far more effective than doing it by hand. The Spin-Clean Deluxe Kit, for $125, includes more fluid and drying cloths, although you can buy those separately, too. There are a bunch of machines built on this basic model: The $63 Big Fudge model gets positive reviews, and at $50 the Studebaker is the bargain of the bunch.
Spin-Clean Record Washer Kit
Big Fudge Vinyl Record Cleaner Kit
Studebaker Vinyl Record Cleaning System
If you are really, truly serious about great sound, you might also want to consider an ultrasonic record cleaning machine. Right now, the machine of choice is the German-made HumminGuru Ultrasonic Vinyl Record Cleaner, a fully automatic machine that attacks dirt with sound, then dries records after cleaning them. It’s $600 but, if you’re tempted, Amazon is now selling it with a coupon that’s good for $100 off. Think of all the money you’ll save.
Ultrasonic Vinyl Record Cleaner
With Pride Month just around the corner and a multitude of queer-focused music festivals kicking off in June, the folks over at LadyLand are here to give you one more headline-making event to consider for your Pride celebrations. On Wednesday (April 16), LadyLand announced that Cardi B and FKA Twigs are the headliners for its […]
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. In celebration of their recent collaborative album, Selena Gomez and Benny Blanco are dropping exclusive album merch on Amazon. The album, […]
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Houston rap legend Slim Thug is feeling confident these days, and he’s got his sights set on none other than Megan Thee Stallion.
After the Hot Girl Coach was seen dancing to two of his classic tracks, “Thug from Around the Way” and the iconic “Still Tippin,” Slim Thug took it as more than just a tribute. “Aye, if that ain’t a ‘Daddy, I want you’ call then what is,” he said. “She danced to two of my songs? I say I’m in there.” The rapper believes it’s only a matter of time before Megan makes the first move. “I’m just waiting on my day she comes to Houston and hits me up,” he added with a smirk.
The two H-Town artists go way back, with Slim Thug showing love to Megan early in her career. Their paths have crossed at several Houston events, but fans are skeptical about his recent crush claims. Many online are calling Thug delusional, saying Megan was simply showing respect to another Houston icon, not flirting. “That’s not her shooting her shot, she’s just reppin’ the city,” one fan commented.
Megan Thee Stallion with Bun B, Slim Thug & Lil’ Keke at her Houston show 🤘🏽🚀 pic.twitter.com/JGUTtzfUmq
— Wave Check🌊 (@thewavecheckk) June 15, 2024
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Still, Slim Thug isn’t backing down. In his mind, the dance videos are enough proof that Megan might be feeling the OG Playa. Whether it’s a romantic spark or just mutual admiration, one thing’s for sure, Houston stays winning with legends new and old.
SZA is launching her Not Beauty makeup line exclusively at pop-up shops across the U.S. during her and Kendrick Lamar‘s Grand National Tour starting this week. She’ll debut the first product from her one-of-a-kind lip collection, lip glosses in three signature shades priced at $23: In The Flesh, Strawberry Jelly and Quartz. Not Beauty’s full […]
Did ya miss me? For those of us old enough to remember Martin (or caught up through reruns), that phrase is etched into our pop culture vocabulary. During a memorable two-episode run called “Hollywood Swingin’,” in the popular Fox show’s second season, In Living Color alum Tommy Davidson starred as talk-show host Varnell Hill who […]
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On Friday, April 11, a jury found Tay-K guilty of murder in connection to the 2017 killing of Mark Saldivar, according to XXL.
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The trial went down in Bexar County, Texas, and after two weeks of back-and-forth and a day of deliberation, the jury decided Tay-K, real name Taymor McIntyre, was guilty of murder, but not capital murder, which would’ve automatically landed him life without parole.
Back in April 2017, Saldivar got robbed and shot in a San Antonio Chick-fil-A parking lot. Tay-K was on the run at the time, already wanted for the 2016 murder of Ethan Walker. While ducking the law, he famously dropped “The Race,” a track that blew up and went viral but also ended up being used as evidence against him in court.
The capital murder charge would’ve been the worst-case scenario, but the jury hit him with the lesser murder charge instead. Still, it’s not light. Tay-K is already doing 55 years for the Walker case, and now with this second murder conviction, his chances of seeing the outside any time soon are slim to none. Tay-K’s rise and fall has been wild, going from viral for his song “The Race” to a cautionary tale in just a few years.
His story’s been at the center of debates about how the streets and music mix, especially when real-life crimes end up getting glorified in songs. Now, with another body on his record, the rap game might be hearing less and less from Tay-K as the years go on.
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Ahead of the NBA Playoffs, the pro basketball league tips off the NBA Play-In Tournament to determine which teams will take the last spots in the Eastern and Western Conferences. Since there are eight teams battling for four spots, it’s going to be one thrilling and exciting tournament when it starts on Tuesday (April 15).
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Keep reading to learn the other streaming options to watch the NBA Play-In Tournament online without cable.
When Does NBA Play-In Tournament 2025 Start?
The NBA Play-In Tournament games broadcast live on ESPN and TNT, with tipoff starting on Tuesday (April 15) with the Atlanta Hawks vs. Orlando Magic at 7:30 p.m. ET/4:30 p.m. PT. The NBA post-season games are available to livestream on Sling TV.
Who Is In the NBA Play-In Tournament 2025?
The NBA Play-In Tournament pits the eight lowest seeded teams in contention against each other to see which teams will make the final four spots in the NBA Playoffs. There are six single-elimination games spread over three nights of hoops action.
Tuesday, April 15
Orlando Magic vs. Atlanta Hawks, 7:30 p.m. ET/4:30 p.m. PT — TNT
Golden State Warriors vs. Memphis Grizzlies, 10 p.m. ET/7 p.m. PT — TNT
Wednesday, April 16
Chicago Bulls vs. Miami Heat, 7:30 p.m. ET/4:30 p.m. PT — ESPN
Sacramento Kings vs. Dallas Mavericks, 10 p.m. ET/7 p.m. PT — ESPN
Friday, April 18
East Magic/Hawks loser vs. East Bulls/Heat winner, Time TBD — TNT
West Warriors/Grizzlies loser vs. West Kings/Mavericks winner, Time TBD — ESPN
How to Watch NBA Play-In Tournament 2025 With Sling TV
To watch the NBA Play-In Tournament on ESPN and TNT, Sling TV Orange + Blue starts at $33 for the first month, $65.99 per month afterward (the streamer’s current deal), with more than 45 channels that are streamable on smart TVs, smartphones, tablets and on web browsers.
The service even gets you live access to broadcast and cable networks such as Disney Channel, ESPN2, NBC, Fox, TBS, Bravo, Discovery Channel, Fox News, MSNBC, National Geographic, USA Network, Fox Sports and more. Please note that channel availability and price depends on your local TV market. Learn more about Sling TV here.
How to Watch NBA Play-In Tournament 2025 With Hulu + Live TV
The NBA Play-In Tournament games on ESPN and TNT are available to watch with Hulu + Live TV too. Prices for the cable alternative start at $82.99 per month, while each plan comes with Hulu, Disney+ and ESPN+ at no additional cost.
Hulu + Live TV might be best for those who want all of these streaming services together in one bundle. It also features many other networks, including ABC, Hallmark Channel, BET, CMT, Disney Channel, NBC, Fox Sports and more.
How to Watch NBA Play-In Tournament 2025 With DirecTV
A subscription to DirecTV’s new My Sports package — which comes with ESPN and TNT for NBA Play-In Tournament — gets you access to live TV, local and cable channels, starting at $69.99 per month. The service even offers a five-day free trial to watch for free if you sign up now.
You can watch local networks such as NBC, ABC and Fox, while you can also watch many cable networks, including FS1, MLB Network, NBA TV, NFL Network and others.
Which Celebrities Are Making Appearances During NBA Play-In Tournament?
It’s likely there will be a number of celebrities and famous recording artists in attendance during the NBA Play-In Tournament, such as Warriors fans E-40, Jessica Alba and Carlos Santana; Hawks fans T.I., Ludacris and 2 Chainz; Bulls fans Chance the Rapper, Common and Bill Murray; and others. Tune in to the games to find out who’s sitting courtsideon celebrity row.
How to Buy NBA Play-In Tournament 2025 Tickets Online
Want to attend the NBA Play-In Tournament games in person? There are still last-minute tickets available via Vivid Seats (get $20 off purchases of $200 and over with code BB30), SeatGeek (your first purchases can get $10 off ticket order $250 and with code BILLBOARD10), StubHub and GameTime (score $20 off ticket orders of $150 and over with code SAVE20). Prices vary depending on the city and seats available.
Moreover, you can save $150 off when you spend $500 with promo code BILLBOARD150, or $300 off when you spend $1,000 with promo code BILLBOARD300 at TicketNetwork.com.
Starting on Tuesday (April 15) at 7:30 p.m. ET/4:30 p.m. PT, the NBA Play-In Tournament 2025 broadcasts on ESPN and TNT. Post-season games are also available to livestream on Sling TV.
Want more? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.
During a pivotal moment of Cabaret at the Kit Kat Club on Broadway, country virtuoso Orville Peck makes a bold choice. And no, it has nothing to do with his mask.
It has to do with “If You Could See Her,” a critical song for his impish, unreliable narrator, the Emcee. After an entire act of vaudevillian, entertaining antics from Peck’s host-with-the-most, “If You Could See Her” seems like another such farce at the start of Act II; after all, he’s dressed as a clown and singing a love song to a gorilla. They dance, he taunts the ape with a banana, and he asks the audience why the world cannot seem to “leben und leben lassen” — live and let live — when it comes to his relationship. “If you could see her through my eyes,” he sings, before twisting the knife, “she wouldn’t look Jewish at all.”
In other iterations of this production, the Emcee sings this line almost as a pitying lament, or as a whisper, like he’s letting the audience in on a secret. But Peck holds nothing back in his version. There is no softened sentiment in his voice, only vitriol; he practically spits out the word “Jewish” as though it were a slur. As he skips around the stage to the song’s jaunty outro, he mimes a handgun with his fingers, and on the song’s final musical sting, fires it into the gorilla’s head.
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“My job is to win the audience over for most of the first act, and to make them feel like this is a comedy and it’s light and to have a laugh,” Peck tells Billboard. “It’s also then my job to betray you.”
Peck takes that job very seriously throughout his performance in Cabaret, and manages to wring incredible pathos out of the iconic character. Balancing the Emcee’s whimsical exterior with a malevolent darkness lurking underneath throughout the show, Peck utterly transforms from his well-established stage persona into something entirely new.
In order to properly assist that transformation, Peck knew from the get-go that he wouldn’t wear his signature mask during the production. After years of obscuring his face, Peck instead greets the audience face-to-face in Cabaret. “Whether I would wear the mask or not was never a question,” he admits. “The real trepidation came when the offer came in, and I knew I had the opportunity to say ‘yes’ or ‘no’ to doing this. I definitely had a lot of thinking to do. I asked the people in my life if this was the right thing to do, and the right moment for it. But it became an easy ‘yes.’”
The reason that “yes” was so easy is because Peck cites Cabaret as “one of my favorite musicals,” and the Emcee as “the role I’ve wanted to play since I can remember.” For the uninitiated, the show — which made its original Broadway debut all the way back in 1966 and was adapted into the 1972 film of the same name — follows the stories of multiple characters living at the end of Weimar Germany, embracing the hedonistic, impoverished lifestyles of Berlin while ignoring the Nazi party’s rise to power.
Orville Peck in Cabaret
Gina Manning
Where other roles in the show — like the vivacious cabaret star Sally Bowles (played in this production by Tony nominee Eva Nobelezada) — interact primarily with one another, the Emcee is most interested in speaking directly to the audience. Most of his time on the stage is spent encouraging those watching to “leave your troubles outside” while slowly luring you in to the lurid lifestyles of his seedy nightclub. Eventually, he holds a mirror up to your complicity; while you were having fun at the Kit Kat Club, the Nazis took over.
“It’s a role that’s not necessarily fleshed out in the script; there’s very little dialogue, it’s a very open-ended character,” Peck explains. “You kind of have to color outside the lines and make decisions for yourself.”
When it came time for Peck to find his version of the Emcee, he was well equipped for the task — a graduate of the London Academy of Music & Dramatic Art (LAMDA), Peck dove headfirst into building an iteration of the character that made the most sense coming from him. “My Emcee has a sort of grit, and an almost punk attitude to him that I think is probably from that part of my life,” he explains, referencing his early career as a drummer in a punk band. “I draw on a lot of themes of what it’s like to be queer, or to grow up with internalized issues, with fears, with questions of feeling empowered in society.”
While the acting aspect of the role wasn’t an adjustment for Peck, the Broadway schedule has been — performing in eight shows every week, the singer says it took two weeks for him to properly adjust to the reality of this style of performance. “It’s a different thing being 37 and coming back into this medium and working with these incredible performers who’ve devoted their lives to this type of performance,” he says with a laugh. “It’s sort of like running a marathon with people who have been training for years and years, and I’m trying to compete at the same level.”
What he found, though, is that his career as a headlining country performer actually provided benefits of its own for his new gig. Where other Broadway newcomers might blanch at the sheer amount of stage time the Emcee has (he performs in half of the show’s songs and remains on stage even longer), Peck is used to the toll of live performance. “In my regular live show, I am kind of carrying and leading the show for sometimes two hours straight, so that experience actually came in handy for this,” he says.
The other main challenge for his Broadway debut came from his voice — Peck garnered a reputation for his smooth baritone as a country star, with a rich chest voice that has drawn comparisons to the likes of Merle Haggard and Johnny Cash. Yet the character of the Emcee is a bright tenor with an airy falsetto, who very rarely dips into the low-end of his range, presenting a challenge for Peck.
“It took a lot of work. But I wanted to do it, because I really wanted to disappear into this role,” he says. “I didn’t want people to come, and as soon as I started singing, be like, ‘Oh, well, there’s Orville Peck crooning as usual.’ So I worked really hard with a vocal coach [Chris York] at the characterization of different placement for where I sing and how I sing.”
With a new look, a honed voice and a character built from the ground up, Peck joined the cast on March 31 to rave reviews from audiences. His interpretation of the role brings a far more sinister energy than the more sexually charged version of the part by his predecessor Adam Lambert, or the almost-alien portrayal by Eddie Redmayne. And that was the point: “I wanted to build this character my own way, very differently from Eddie and Adam,” he says. “I’m having the best time of my life.”
Part of why Peck felt so strongly about being a part of this production has to do with the timing. With the show telling a cautionary tale about the perils of ignorance in the face of fascism, Peck cannot help but draw a direct parallel to our current political situation. As Donald Trump and his administration continue to push the limits of presidential power, Cabaret at the Kit Kat Club feels more relevant than ever.
“Yeah, it’s frightening, and it’s very much the elephant in the room for us,” Peck says. “It’s depressing, of course, but I also think I’m really grateful that this show is running during a time like this — if even one person leaves that theater with a light bulb having gone off, or feeling any more compassion or empathy for what is going on for people right now, then that is all I can ask for.”
Which brings us back to “If You Could See Her” — while audiences are currently stunned into silence after Peck’s hostile performance, just a few months ago, they were having a very different reaction: laughter. Lambert recounted a story from his run during an appearance on The View, saying he confronted an audience member who laughed when he sang his line about the gorilla being Jewish. “No, this isn’t comedy,” Lambert told the audience member. “Pay attention.”
Joel Grey, who originated the role in 1966 and in the 1972 film, even wrote an op-ed for the New York Times, urging audiences to heed the show’s warning. “History is giving us another chance to confront the forces that Cabaret warned us about,” he wrote. “The question is: Will we listen this time, or will we keep laughing until the music stops?
Peck has yet to experience laughter during his “If You Could See Her,” but says he’s had a few surprising moments in the part. In one recent show, during his rendition of “Tomorrow Belongs to Me” — a fake German folk song that quickly devolves into a Nazi anthem — he noticed a few members of the audience “cheering” as he raised his arm into a Nazi salute. “I think may have just been very big fans of mine who were excited that I was singing a really big note,” he says.
But even if those audience members weren’t just fans of his, Peck says he wants to create space for people to experience the feeling of discomfort that Cabaret is designed to create. “I don’t know what drives that laughter or that cheering, necessarily, but I do know that I have been in situations in my life where I have laughed at something that I shouldn’t have because I was uncomfortable,” he says. “The impact of these moments within the show are supposed to make people uncomfortable, they are supposed to pull the rug out from under you.”
He pauses for a moment, considering his next words carefully. “The idea is, shortly after that, they might go, ‘Oh, s–t. We probably shouldn’t have been cheering,’” he says. “The hope is we’re also enlightening, and confronting, and providing something more than just a musical.”