Love’s Concordia Bar was a whirlwind of emotion. It was expressed not only through its compelling script but also through the dynamic dancing. The original songs left the audience captivated.
The performers were nothing short of mesmerizing, embodying their roles with a passion that resonated throughout the venue. Their acting prowess was matched by their physicality. They performed dance routines that were both intricate and expressive. These routines told stories within the story. The original songs were a breath of fresh air, weaving melodies and lyrics that perfectly complemented the narrative.
It’s worth noting that the cast was attractive, adding a layer of allure to the already steamy performance. The show was undeniably sexy, with a palpable chemistry between the actors that was impossible to ignore.
However, no show is without room for improvement. In my view, the script, while engaging, could benefit from being more concise. They should aim for a runtime of 50 minutes to an hour. It would tighten the narrative and keep the audience on the edge of their seats. The excitement will last from start to finish.
The venue, while intimate and fitting for the performance, could do with better ventilation. Comfort is key in keeping the audience focused on the performance, and this small change could make a significant difference.
The theme of the show delved into the darker aspects of love. It explored how love can sometimes feel like a trap. While thought-provoking, a character who embodies hope could offer a more balanced perspective. This character could also show the possibility of love’s liberation.
The narrator was a standout element of the show. They guided the audience through the narrative with a presence that was commanding. Developing this role further could enhance the connection between the performer and the audience. Perhaps more direct speech to the audience could make the experience even more immersive.
In general, increasing audience interaction could be a valuable addition to the show. Engaging with the audience can break the fourth wall. It can bring a unique energy to the performance. This creates moments that are both memorable and personal.
Love’s Concordia Bar is a bold and evocative production. It captures the complexities of love with grace and intensity. With a few tweaks, it has the potential to be not just a good show, but a great one. It’s a must-see for those who appreciate the art of theatre and the power of a well-told love story.
Fabulett 1933 is an extraordinary one-person musical that brilliantly brings to life a pivotal era in history through the eyes of the charismatic MC, Felix, masterfully portrayed by Michael Trauffer. Set against the backdrop of Berlin in 1933, a city teetering on the precipice of change, the show immerses its audience in the vibrant world of cabaret, a unique form of entertainment that effortlessly blends music, satire, comedy, and political commentary.
Michael Trauffer is compelling as Felix
At the heart of Fabulett 1933 is Felix, the magnetic MC of a gay cabaret club. As the story unfolds, we witness Felix’s struggle against the encroaching closure of his cherished venue and the ominous rise of fascism. The show deftly weaves together historical accuracy with original songs and performances that once fell under the Nazis’ label of “degenerate.” Trauffer’s performance captures the essence of the era, embodying the resilience and defiance that characterized those who dared to speak out.
Cabaret, a genre that reached its zenith in Berlin during the Weimar Republic (1919-1933), finds a poignant representation in Fabulett 1933. This unique form of artistic expression emerged as a powerful platform for social critique and artistic experimentation, flourishing within the vibrant heart of the city. It introduced audiences to a fusion of music, comedy, and political commentary, challenging societal norms and inciting thought-provoking discussions. Renowned figures such as Marlene Dietrich, Kurt Weill, Bertolt Brecht, and Max Reinhardt breathed life into this genre, pushing the boundaries of creative expression.
However, the looming shadow of the Nazi regime cast a sinister pall over this artistic revolution. With their oppressive tactics, the Nazis stifled cabaret, banning and censoring its performers and venues, effectively quashing a beacon of intellectual and artistic freedom.
Fabulett 1933 resonates powerfully through its masterful depiction of the Weimar Republic’s cabaret scene. Trauffer’s portrayal of Felix captures the essence of a complex character who confronts not only the closure of his club but also his own battle against intolerance. The show garnered well-deserved acclaim during its runs at London’s Canal Café Theatre and the Edinburgh Festival Fringe, receiving multiple 4-star reviews.
Critics have been effusive in their praise for Fabulett 1933, with descriptions such as “a captivating and moving performance that blends history, humor, and heartbreak” underscoring the show’s emotional depth. Another review aptly hails it as “an elegant slice of cabaret that transports us to the final days of one of Germany’s most vibrant eras,” invoking the nostalgia and vibrancy of the time. Perhaps most significantly, the show is heralded as “a powerful reminder of the importance of visibility and resistance in the face of oppression,” encapsulating the poignant message of Fabulett 1933.
One cannot discuss the show without acknowledging the rich historical context that serves as its backdrop. The Weimar Republic, a brief yet remarkable period of relative tolerance and cultural expression for gays, is illuminated through the lens of Felix’s experiences. This vibrant subculture emerged in Berlin, characterized by a proliferation of bars, clubs, magazines, organizations, and artists catering to the gay community. The influence of figures like Magnus Hirschfeld, founder of the Institute for Sexual Science, is palpable. Hirschfeld’s dedication to scientific and legal reforms, including the repeal of the infamous Paragraph 175, was a defining moment in the fight for LGBTQ+ rights.
Fabulett 1933 gracefully navigates the delicate balance between its serious subject matter and moments of levity. Humor surfaces through the witty banter exchanged between Felix and his pianist Hans, creating a dynamic that lightens the mood without diluting the show’s emotional impact.
Central to the performance are the songs that encapsulate the era’s spirit. Trauffer’s adept translation of iconic pieces like “Das Lila Lied” (The Lavender Song) and “Maskulinum-Femininum” showcases his talent in preserving the essence of the original lyrics. Additionally, Trauffer’s original compositions, notably “Your Cabaret Needs You” and “Invisible,” enhance the show’s emotional resonance, serving as a powerful testament to the enduring spirit of resistance.
In a world that often grapples with issues of freedom, identity, and acceptance, Fabulett 1933 stands as a poignant reminder of the struggles faced by those who dared to be different. Through Felix’s journey, the audience is urged to recognize the invaluable importance of diversity and resist the encroachment of oppression. This evocative and thought-provoking musical serves as a cautionary tale, encouraging us to remain vigilant against red flags and warning signs that threaten the very essence of human rights and freedom.
Fabulett 1933 is more than a show; it’s an immersive experience that transports us to a time when artistic expression and personal authenticity clashed with a world descending into darkness. Michael Trauffer’s remarkable performance, combined with the rich tapestry of historical nuances and unforgettable melodies, leaves an indelible mark on the hearts and minds of its audience.
Peter Groom is outstanding as Marlene Dietrich in this one (wo)man show. When Peter first appeared on the stage as Dietrich the audience applauded. The appearance, dress, make-up and figure were immediately convincing and captured Dietrich so well. Everyone sensed from the start that this was going to be good.
The material he has to work with is fascinating. It starts with her discovery and starring role in ‘The Blue Angel’ (1930) through roles in the US to the start of the conflict with Germany. It shows how Dietrich took the Allied side in the Second World War. She even held the rank of Captain and travelled to the front-line to entertain the troops and raise morale. Cue bawdy humour about being “long at the front” etc! A word of warning, if you sit at the front of the audience you might get roped in. It was a bit discomforting when I was included but also good fun.
Groom presents an image of Dietrich as a disciplined performer who worked hard to craft her presentation in whatever she did. The focus of the show are her songs and her relationship with Germany. This isn’t a show about her many love affairs (with both men and women). If it was an hour might not be enough!
Although a one (wo)man show there are voice only interruptions from a subtly threatening and yet entreating Goebbels and an insistent media interviewer. The dialogue hints at a hard side to Marlene, even a cruel one. It is not explored, perhaps because the focus is on the performer more than the woman.
Peter has a great voice and captures the spirit of Dietrich with a wry humour and passion. I must admit that whilst familiar with many of the songs I hadn’t realised that Dietrich had performed Pete Seegers “Where have all the flowers gone”. For me the delivery of that song on the futility of war was the most powerful in a show filled with emotionally charged songs.
