Starred Alan Cumming (Emcee); The Kit Kat Girls: Christina Pawl (Rosie), Erin Hill (Lulu), Joyce Chittick (Frenchie), Leenya Rideout (Texas), Michele Pawk (Fritzie), Kristin Olness (Helga); The Kit Kat Boys: Michael O’Donnell (Bobby), Brian Duguay (Victor), Bill Szobody (Hans), Fred Rose (Herman); Natasha Richardson (Sally Bowles), John Benjamin Hickey (Clifford Bradshaw), Denis O’Hare (Ernst Ludwig), Fred Rose (Customs Official, Max), Mary Louise Wilson (Fraulein Schneider), Michele Pawk (Fraulein Kost), Bill Szobody (Rudy), Ron Rifkin (Herr Schultz), Joyce Chittick (Gorilla), Alex Bowen (Boy Soprano on recording); The Kit Kat Klub Band: Patrick Vaccariello (Musical Director, Piano), Fred Lassen (Keyboards), Gary Tillman (Drums), Bill Sloat (Bass), Rich Raffio (Trumpet), Christina Pawl (Trumpet), Bill Szobody (Trombone), Denis O’Hare (Clarinet), Michael O’Donnell (Clarinet), Kristin Olness (Clarinet, Tenor Sax), Brian Duguay (Alto and Tenor Sax, Flute), Joyce Chittick (Alto Sax), Erin Hill (Alto Sax, Harp), Leenya Rideout (Violin), Fred Rose (Cello), Michele Pawk (Accordion), Linda Romoff (Trumpet) and Vance Avery (Banjo, Accordion)
This production featured a number of notable replacements later in the run: Jennifer Jason Leigh, Susan Egan, Joely Fisher, Gina Gershon, Deborah Gibson, Teri Hatcher, Melina Kanakaredes, Jane Leeves, Molly Ringwald, Brooke Shields, and Lea Thompson as Sally; Michael C. Hall, Raúl Esparza, Neil Patrick Harris, Adam Pascal, Jon Secada, Norbert Leo Butz and John Stamos as the Emcee; Boyd Gaines and Michael Hayden as Cliff; Tom Bosley, Dick Latessa, Hal Linden, Laurence Luckinbill, and Tony Roberts as Herr Schultz; and Blair Brown, Polly Bergen, Mariette Hartley and Carole Shelley as Fräulein Schneider.
Associate Costume Design: Susan O’Donnell; Associate Scenic Design: Scott Pask; Assistant Costume Design: Martha Bromelmeier; Associate Lighting Design: David J. Lander; Assistant Scenic Design: Jane Epperson, Zhanna Gurvich, Akiko Kosaka, Pi-te Pan and Kris Stone
General Manager: Sydney Davolos; Company Manager: Peilin Chou; Company / House Manager: Beth Venable; Production Stage Manager: Peter Hanson; Production Manager: Michael D. Curry; Stage Manager: Jon Krause; Assistant Stage Mgr: Scott Crawford; Technical Director: Peter Barbieri; Roundabout Director of Development and Public Affairs: Julia C. Levy; Roundabout Director of Casting and Artistic Associate: Jim Carnahan; Casting: Pat McCorkle; Roundabout Director of Marketing: David B. Steffen; Online Marketing: Toby Simkin / BuyBroadway.com; Dialect Coach: Tim Monich; Press Representative: Boneau / Bryan-Brown; Dance Captain: Joyce Chittick; Advertising: Nappi / Eliran / Murphy, Ltd.; Associate Casting: Matt Schreiber
Musical Coordinator: John Monaco; Music Preparation: Donald Oliver, Evan Morris and Chelsea Music Services, Inc.; Electronic Music System Design: Andrew Barrett
This Broadway production was nominated for 10 Tony Awards, winning 4 for Cumming, Richardson and Rifkin, as well as the Tony for Best Revival of a Musical.
As Founder and CEO of Theatre.com and BuyBroadway.com. The pioneer in moving the Broadway industry onto the internet. Press branded me as “Toby is the man pushing theatre, kicking and screaming, into cyberspace.” What started in 1989 as a Broadway industry service called ShowCall via dialup BBS for members of the League of American Theatre Producers evolved onto the world wide web in 1993, and shortly after this, the vast majority of Broadway shows (starting with my production of Victor/Victoria) and theatrical organizations followed. Described by Variety Magazine as a “marketing powerhouse“, it was the single largest theatre community in the world with over 180,000 active members. From buying official Broadway tickets and souvenirs, providing detailed global show listings, interactive show study & educational guides, live streaming shows and events (including many Opening Nights), industry news from major theatre journalists, pictures and videos, games, messaging directly to Broadway cast’s backstage or even licensing a musical, theatre.com offered it all in a single, easy-to-use interface to theatregoers across North America and globally. The “Super site of Broadway” became a publicly traded company, prior to my re-branding it as Theatre.com at the Minskoff Theatre.