Picture: Iko Freese
Picture: Iko Freese/drama-berlin.de
Picture: Iko Freese/drama-berlin.de
Picture: Iko Freese/drama-berlin.de
Picture: Iko Freese/drama-berlin.de
Picture: Iko Freese/drama-berlin.de
Picture: Iko Freese/drama-berlin.de
Picture: Iko Freese/drama-berlin.de
Nico Dostal

Clivia

Operetta in three acts (1933)
Libretto by Charles F. Ambert and Maregg 
Musical arrangement by Kai Tietje
Sep '14
Sa
Su
Oct '14
Su
Th
Su
Nov '14
Sa
Jan '15
Tu
Feb '15
Mo
The musical cabaret artists Geschwister Pfister perform an operetta driven in highly enjoyable fashion by all manner of clichés – from the star of the silver screen in Greta Garbo mode to the intense revolution à la Che Guevara. A wild blend of characters, including an unlikely romantic couple, a dubious film producer, a reporter driven wild by love, dancing revolutionary Amazons and an eccentric Berlin inventor. 

Big chorus numbers, smouldering duets for lovers, foot-tapping songs with jazz rhythms and fast-paced, humorous ensembles with a flavour of South American flair – all this reveals the entire spectrum of Dostal’s musical abilities.

Foxtrot Berlin-style - and Viva la revolución!
Seeing his economic interests in the Latin American country of Boliguay jeopardized by the new revolutionary government there, the US industrialist E. W. Potterton uses a movie financed by himself as a pretext for traveling to Latin America with his entire film crew. Neither the crew nor the star of his new flick, Clivia Gray, have any idea about his true intentions. Always on the lookout for a »fantastic reportage«, the muckraking journalist for the Chicago Times, Lelio Down, has also followed the film team. Gustav Kasulke from faraway Berlin turns up, too: the droll inventor wants to sell Potterton his sleep machine »Snoozewell«. Unfortunately, the film team is denied a work permit in Boliguay. But a solution is quickly found: A sham marriage between Clivia Gray and the Boliguayan gaucho Juan Damigo makes Miss Gray a Boliguayan citizen. Thus, nothing stands in the way of the work permit, and the entire film team can cross the border to Boliguay – followed by Lelio Down, who is more than fond of Juan Damigo’s resolute cousin Yola, leader of the Boliguayan army of amazons.

While on the face of it Potterton celebrates their arrival in Boliguay with a festive ball, he is orchestrating the overthrow of the new government in the background. Meanwhile, the sham marriage between Clivia and Juan has long since turned into a flaming passion. Lelio Down and Yola in turn grow rather playfully closer to each other, while Gustav Kasulke continues to wait in vain for an encounter with Potterton. The attempted coup financially supported by Potterton fails miserably. When on top of all this it turns out that Juan Damigo is none other than the revolutionary leader Juan Olivero himself, the young, passionate love between the mundane film diva and the idealistic revolutionary is once again put to the test. How much did Clivia know of Potterton’s plans to stage a coup? And does the affair between the people’s president of Boliguay and the glamorous star from Hollywood even have a future? ...

Crew

Musical direction
Staging
Choreograph
Danny Costello
Stage design
Stephan Prattes
Costumes
Heike Seidler
Dramaturgy
Light

Cast

E. W. Potterton, Finanzmann aus Chicago
Clivia Gray, Filmschauspielerin
Juan Damigo
Jola, seine Cousine
Lelio Down, Reporter der Chicagoer Times
Gustav Kasulke
Caudillo / Valdivio
Max Gertsch, Max Gertsch
Diaz / Regisseur
1. Herr / Regieassistent
Jan Proporowitz
2. Herr / Aufnahmeleiter
Volker Herden
3. Herr / Rodrigo
Sascha Borris
Erster Gaucho
Máté Gál, Johannes Dunz
Zweiter Gaucho
Nikola Ivanov
Dritter Gaucho
Matthias Spenke
Dolores
Josefine Eberlein
Dancer
Meri Ahmaniemi, Alessandra Bizzarri, Martina Borroni, Sarah Bowden, Laura Fernandez, Cora Roloff, Jane-Lynn Steinbrunn, Lada Wongpeng, Paul Gerritsen, Silvano Marraffa, Daniel Orellana, Daniel Therrien

Hollywood, South American passion and a dash of quirky Berlin humour are the ingredients of this wild farce, driven in highly enjoyable fashion by all manner of clichés – from the star of the silver screen in Greta Garbo mode to the intense revolution à la Che Guevara.
Don Juan, the epitome of the seducer, inspired Mozart to one of his most influential operas. Frivolous, witty and profound all at once. The perfect opportunity for Herbert Fritsch, the master of theatrical folly, whose highly musical style of staging is tailor-made for this "light-hearted spectacle" about fatal passions.
A weekend long succumbs to the Komische Oper Berlin, the fascination of tango: 48 sensual hours played, learned and danced …
More Komische Oper Berlin in the web:
Chatter with us on Facebook
Chitter with us on Twitter
Peep with us on flickr
Hangout with us on google +