Cabaret (musical) seedy Kit Kat Klub; the second, a story set in the society of the club. After seeing one of the last rehearsals before the company headed to Boston for the pre-Broadway run, Jerome Robbins suggested the musical sequences outside the cabaret be eliminated. Prince ignored his advice. In Boston, Jill Haworth struggled with her characterization of cabaret performer Sally Bowles; critics thought the blonde dressed in a white dress suggested senior prom more than tawdry nightclub so Sally was changed to brunette before the show opened on Broadway. Prince's staging was unusual for the time. As the audience filled the
Cabaret du Néant were performed in which patrons appeared to dissolve into skeletons and ghosts would enter the rooms of the cabaret. It was a place that provided entertainment for the patrons, while at the same time, the mock-gothic theme could also cause worry and distress. The "Cabaret du Néant" is credited with producing "one of the most original adaptations" of Pepper's ghost. "Scientific American" called the New York performance of the Cabaret "[A] most interesting performance based upon the principles of the well known 'Pepper's ghost'". The following are illustrations by W. C. Morrow in his 1899 book "Bohemian Paris of To-day".