In 1998, African-American actor Nathan Lee Graham was called in as a possible replacement for Alan Cumming, who played the part of the Emcee in the Broadway Revival of Cabaret. The Kander and Ebb musical had long been a favorite of Graham’s, from the first time he saw Joel Grey play the Emcee back in 1972, and he was thrilled with the opportunity before him. “But they weren’t ready,” Graham said during an interview. “They just weren’t ready.”
Graham took this news in stride and moved on with his career. The St. Louis actor has been seen on Broadway (Priscilla Queen of the Desert), Off-Broadway (Hit the Wall), on television (The Comeback, Scrubs, Law & Order: SVU) and in several movies (Zoolander, Sweet Home Alabama and Hitch). He has spent years away from family, immersing himself in the fabulous chaos that is New York City, getting invaluable acting experience, and it has all led up to where he is now.
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Fifteen years ago, we “weren’t ready” for an African-American Emcee, but with the opening of Cabaret at The Repertory Theatre this week, it is clear: we are finally ready.
“I’m not nervous about playing this role, even though I am the first African-American to play it,” Graham says. “I think it’s significant, but I think it only adds to the rich history, the rich layering of what this role is about.”
The Master of Ceremonies is a central role in the musical, which is set in 1931 Berlin during the German-Jewish conflict leading up to WWII. The Emcee breaks the fourth wall by personally guiding the audience through the story, commenting on young cabaret performer Sally Bowles (played by Liz Pearce) and her unlikely relationship with the American writer, Cliff Bradshaw (Hunter Ryan Herdlicka). The Emcee brings comedy and satire to relieve the tension inherent in the setting, but Graham does it with his own unique flair.
A strong believer in building character backstories, Graham spins a story explaining how his character wound up at the Kit Kat Klub. During the period of the Weimar Republic, before the Nazis took power, black performers were actually quite common in Germany, Graham says. Americans who were tired of suffering through Jim Crow laws, who wanted the freedom to perform without having to enter through the back of the theatre, banded together and traveled to Europe.
“I fashioned my Emcee on being an expatriate, coming from St. Louis as a matter of fact,” Graham says. “That’s how we justify being part of this particular production, because it’s all valid. It’s all true. I’m not nervous about it, but I’m positively anxious about always doing a good job.”
With his experience, the talents of his castmates and the show’s director, Marcia Milgrom Dodge, the genius behind the scenes, the show is sure to be wonderful. Graham is especially grateful for the opportunity to do Cabaret at the Rep. It seems like a full circle moment, he says.
Graham grew up in St. Louis, attending Hazelwood Central High School. He actually moved to California and attended San Francisco State for a semester, but with the sudden death of his grandfather, he returned to St. Louis and transferred to Webster University, so he is no stranger to the stage at the Rep. After graduating from the Conservatory of Theatre Arts, Graham moved to New York City, and only returned to St. Louis for Christmas, often flying in Christmas morning and leaving that night. Since his grandmother’s death in 2011, he had not returned to St. Louis. Until Cabaret, that is. The show brought him home to his family, and to his alma mater.
“When I got back, the most wonderful thing happened. I realized it wasn’t a full circle moment in a way that ended a chapter. I feel like it’s a reset, like I get to do everything all over again with the knowledge of what I’ve already been through,” Graham says.
Though he loves living in New York, he is appreciative of his midwestern roots. “It’s a very cultural city,” he says. “It’s always a pleasure to come back here. I’m very proud to be from this school, and I’m really excited to be a part of this production. We’re doing some very provocative things with Cabaret. It’s just such a wonderful musical because it has what you want in life: balance. There is so much entertainment value to it, so many wonderful musical numbers, but at the same time, there’s this wonderful pathos and emotional journey within the story itself.”
Cabaret runs at The Repertory from September 11 through October 6. To view performance times and purchase tickets, visit https://www.repstl.org/season/show/cabaret/ or call 314-968-4925.
