For the first time, the United Stages Of Vienna have sold an
entire in-house production in another country. Although this is
cause for celebration for theater manager
Rudi Klausnitzer, Vienna's musical fans are deeply mourning the
production's departure. After all, the sale also meant that the
vampires would be coming to an end in Vienna after only a two-year
run and in spite of the fact that expectations have been fully met.
The move from Vienna to Stuttgart was made with some trepidation.
First the successful Viennese production threatened to become
engulfed in the maelstrom of Stella's decline. Second, Stella had
never been as successful in its casting as the United Stages. But
there is nothing to be concerned about, after all. The Stuttgart
production is well cast and, thanks to the many German speaking
actors in the company, much easier to understand than previous
musicals that have been staged in Stuttgart.
Just as they have done in the Raimund Theater, the vampires
continue to frighten audiences in the large, under-cooled Musical
Hall. In fact, their sudden appearance in the theater's many
balconies is even more impressive than it was in Vienna. Some stage
scenes, however, continue to suffer from the fact that smaller
details and Roman Polanski's finely honed irony are simply lost in
the large theater. In addition to a few marginal changes (Sarah
wears a different night gown and no longer looks quite as pregnant,
and the lighting in Stuttgart, somehow, seems more disco-like),
Roman Polanski, Michael Kunze and Jim Steinman have also inserted a
new scene to replace the dream ballet with red boots in Act 1, for
which the choreography was not particularly original. In this rock
version, Sarah, after having sent Alfred into the house, sings about
her longing for change in the song "Freedom Is Outside,"
while a few vampire couples dance in the background. The scene is
then transformed into a beseeching, chorus-like prayer scene
involving the village inhabitants, including Rebecca and Alfred,
against which Sarah and Krolock sing - a little heavy on the
"Les Mis" pathos, but a strong image nonetheless. The
production benefits from this scene, as it provides Sarah, a
previously less animated character, with greater motivation and
greater definition.
This
however, could also be attributed to Barbara Kohler, who is no
longer simply the passive object of various desires. Instead, she
appears more coquettish and lively, displaying a touch of girlish
impudence that is attractive for humans and vampires alike. Although
her voice sounds a little nasal at first, her interpretation of the
role is definitely an improvement. Maaike Schuurmans is just as
convincing in the role of Magda as grown-up Thomas Mulner is playing
Herbert (although the Count's gay son could benefit from just a
trace of self-mocking effeminacy, a little drop of blood, so to
speak). In the role of Professor Abronsius, the personification of
early science, Werner Bauer is also a hit with audiences each night
when he delivers his tirade on "Truth." Nonetheless, he
prompts some vampire fans to conclude that he "is not as good
as..."
Audiences already expect quality performances from the four
actors from the original cast. In addition to Anne Welte's
audacious, sad Rebecca, James Sbano has transformed Chagal the
Innkeeper into a true audience favorite, a man with a keen sense for
dry Jewish humor and slapstick performances good enough for the
movies. Once, again, Torsten Flach plays the back breaking role of
Koukol with abandon. Aris Sas, with his excellent sense of timing,
his beautiful and tragi-comically shaking voice, gives the
timid-hearted Alfred a fine measure of irony without ever dragging
the character into the realm of the ridiculous.
Kevin Tarte, who previously played Gaston in Vienna and the Beast
in Stuttgart, plays the leading role of the Count to full
satisfaction. The only difference between his performance and that
of his predecessor [in Vienna] is that Krolock's impeccable dignity
seems studied in Tarte's case. This is evident in the dynamics that
take place during the songs, the way he tosses his cape, and
especially in his gestures. While Steve Barton was thoroughly
sovereign, it seems that Tarte is still working on his
interpretation. His Krolock is more aggressive and direct than in
the Vienna version (which, certainly, is attributable to Polanski
himself.) Although he takes a prosaic position at the center of the
action, he does not appear to be overcome with the sorrow of the
centuries gone by. Because he doesn't suffer, it is difficult to
believe that he must be "reconciled with reality."
The musical emphasis has also shifted. Keven Tarte has a strong,
gritty voice, so that trebles and long tones sound especially
impressive. He lacks, however, the pale coloration and refined
nuances that make up the Count's fascinating character - the
excursions into the voice of a rock singer, the guttural way of
singing certain words, and most important, the uncanny silliness of
certain lines. The fact that Tarte, unfortunately, is unable to sing
in a true piano voice becomes apparent in such lines as "sink
with me into the sea of the night," which sounds much too loud
in this production. But these minute details are certainly only of
interest to Krolock aficionados...
In this respect, this role is similar to that of Lloyd-Webber's
Phantom. The role is only well played if the nuances are performed
well.
Although individual dancers perform admirably in "Carpe
Noctem," the ensemble, as a whole, lacks the Vienna
production's snappiness and aggressiveness, partly because Adrian
Werum's direction is slower here than in Vienna. Nevertheless, it is
apparent that the actors are energized by the production, especially
in the final sequence, and it is certainly conceivable that this
cast will reach the standard of the Vienna production.
Ultimately, one can do nothing but express one's unreserved
admiration for this musical whenever it is produced, admiration for
the successful adaptation of the book (which represents a clear
improvement over the film version in some cases), Michael Kunze's
fluid lyrics that consistently fit the music and frequently overflow
with a wealth of ideas (such as the Professor's library aria), the
even-handed distribution of humor and seriousness among all
characters, both human and vampiresque, and the production's
references to today, in terms of both Dennis Callahan's
choreography, with its erotically charged aggressiveness and the
cool shrugging of shoulders, and Sue Blane's vampire costumes with
their allusions to leather-clad rock stars.
Some features only become apparent on close inspection, such as
Roman Polanski's obsession with detail in developing his characters
and the ease with which he distributes flurries of silliness and
slapstick across the entire evening. Aided by set designer William
Dudley, he has applied his film director's eye for imposing images
onto the screen. The concept of incorporating the auditorium into
the action is also particularly effective in the theater and, parody
or not, is effective in imbuing the audience with just a small
amount of horror.
Finally, the virtuosity with which composer Jim Steinman utilizes
a wide variety of musical theater styles, the way he lends dramatic
forces to partitives with his principal themes and how he, with the
support of the whimsical arrangements of Steve Margoshes, Michael
Reed, and Adrian Werum, allows the characters to develop from their
music; Abronsius from music inspired by the likes of Rossini or
Gilbert & Sullivan, Alfred from heroic and effusive romances,
Herbert from an ironically light-hearted waltz, the melancholy Count
from the quiet, aria-like lines of songs with their powerful
crescendos, the vampires from their modernistic-grotesque funeral
march and wild symphonic rock orgies.
It is evident that musicals "made in Vienna" certainly
have no reason to hide from their competitors on Broadway or in the
West End. In fact, quite the opposite is true. Although "Dance
Of The Vampires" was purchased for a great deal less than the
price that was paid for "Miss Saigon" or "Beauty And
The Beast," it certainly offers a higher standard.
Unfortunately, the musical's arrival in Stuttgart coincides with the
unpleasant aftermath of the Deyhle affair, which has involved such
gaffes as the state of Baden-Wurttemberg's payment of DM 50 million
to help save Stella. The topic of musicals is not particularly
popular here at this time, and the vampires have arrived in
Stuttgart at an understandably unfavorable time. One can only
fervently hope that they will contribute to a much-needed recovery
at Stella, that their new owner, Peter Schwenkow, will handle them
with care and that, in spite of the current pessimistic attitude
toward musicals, they will become as much of a success with
audiences as they were in Vienna.