Picture: Gunnar Geller
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


Operetta in three acts (1933)
Libretto by Charles Amberg and F. Maregg
Musical arrangement by Kai Tietje
Apr '16
May '16
Jun '16
The Geschwister Pfister in an operetta which playfully subverts all manner of clichés – from the movie diva in the manner of Greta Garbo to the amateur revolutionary à la Che Guevara. A wild mix of a mismatched couple, an unsavoury film producer, a manic reporter in love, dancing revolutionary Amazonians and a surreal inventor from Berlin. »Perfect slapstick: kitsch, nonsense, fun!« [B.Z.] »The auditorium is buzzing. Berlin has a new hit operetta.« [Der Tagesspiegel] Foxtrot, a Berlin-style sandwich 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? ...


Musical direction
Danny Costello
Stage design
Stephan Prattes
Heike Seidler


E.W. Potterton, a financier from Chicago
Clivia Gray, actress
Juan Damigo
Yola, his cousin
Lelio Down, a reporter for the Chicago Times
Gustav Kasulke, an inventor
Caudillo / Valdivio
Max Gertsch, Max Gertsch
Díaz / Director
1. Herr / Regieassistent
Jan Proporowitz
2. Herr / Aufnahmeleiter
Volker Herden
3. Herr / Rodrigo
Sascha Borris
Erster Gaucho
Zweiter Gaucho
Nikola Ivanov
Dritter Gaucho
Matthias Spenke
Josefine Eberlein
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

What is the »Opera-O-mat«? A question-and-answer tool designed to facilitate selection of a successful night at the opera.
Silent film as a holistic multimedia experience! In collaboration with ZDF/arte, the Komische Oper Berlin will over the course of two evening present silent film in the same way that drew the masses into the cinemas of the 1910s and 1920s ...
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.
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