The recent Broadway revival of *Cabaret* has sparked controversy, with audience members laughing at an antisemitic lyric in one of the show’s songs. 

The line in question comes from the tune “If You Could See Her,” performed by Adam Lambert’s character, the Emcee. 

In this number, the Emcee, who is the show’s provocateur, sings a love song to a gorilla, concluding with the line, “If you could see her through my eyes she wouldn’t look Jewish at all.” 

This statement, which is rooted in prejudice, has drawn unsettling reactions from some theatergoers, including giggles at its offensive nature.

During a recent performance, Lambert, without breaking character, took action to address the situation. 

An audience member giggled at the line, prompting the lead actor to turn toward the patron and sternly remark, “No. This is not comedy. Pay attention.” 

The moment was captured by podcaster David Rigano, who was in the audience. Rigano shared his thoughts on Instagram, commenting that the laughter was not nervous or uncomfortable, but rather “people who found the surprise that it was a Jewish gorilla legitimately funny.”

This incident has since sparked a variety of reactions from others who were present at the performance. Many have praised Lambert for his response to the inappropriate laughter. One attendee expressed relief, writing, “I was so beyond glad [Lambert] said what he said. It was horrific that he had paused and the audience began to laugh harder and harder. Scary.” Another commenter shared a similar sentiment, stating, “It really was hard to hear [people] laugh for so long at that line. Adam did a great job.” One Jewish attendee expressed shock at the audience’s reaction, recalling, “Me being Jewish, I was in awe by the laughter and just said to my friend ‘that’s not funny, people shouldn’t be laughing.’ We are thankful that [Lambert] didn’t break character and expressed how it’s not a joke nor something to laugh at.”

Lambert’s stance aligns with the show’s broader themes of marginalized communities and scapegoating, which are especially poignant in today’s social climate. In a statement shared on social media, Lambert reflected on the show’s relevance, saying, “I really consider it a privilege to be working with such a gifted cast and creative team on a show that has so much to say about what is happening RIGHT NOW.” He continued, “It’s been relevant since it premiered in the late 60s, and I HOPE audiences walk away THINKING and feeling empathy towards how marginalized groups can be scapegoated as political strategy.” Lambert’s words underline the gravity of the material he’s performing, especially in the context of rising antisemitism and hate speech in the real world.

This is not the first time Lambert has had to deal with inappropriate audience reactions during *Cabaret*. Previous reports have noted that the actor has responded to inappropriate laughter with an icy stare, but this marks the first time he has verbally reprimanded someone in the audience. A source revealed that during a past performance, Lambert paused and stared down the offending audience member, giving them “the iciest death stare.” 

The incident has also drawn attention from *Cabaret*’s original cast members, including Joel Grey, who played the Emcee in the original production and the 1972 film adaptation. In an essay for the New York Times, Grey expressed concern about the shift in audience reactions to the show’s controversial themes. Grey noted that when the show first premiered, audiences recoiled in shock at the raw and offensive content, but now, some audiences seem to find the lyrics humorously shocking. He wondered whether these responses were the result of a “hollow, uneasy laugh” or “signals of acceptance” of bigotry. Grey’s essay serves as a sobering reminder of how normalized bigotry can become when society becomes exhausted or apathetic in the face of injustice.

The events at *Cabaret* highlight an ongoing cultural issue: the tendency for some individuals to find humor in hurtful or prejudiced remarks, particularly in theatrical settings where the context may be seen as “artistic” or “ironic.” This response can often lead to the normalization of harmful stereotypes and a dangerous erosion of empathy.

Adam Lambert’s intervention serves as a crucial reminder of the importance of holding people accountable, even in a theater setting, when harmful jokes or prejudiced remarks are made. His action underscores the significance of engaging with challenging material in a way that respects its message, especially when addressing issues as serious as antisemitism. With *Cabaret*’s bold exploration of societal decay and the rise of fascism, it remains vital for the audience to grasp the deeper implications of the show’s themes rather than dismiss them as comedic or outdated.

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