Berlin stages re-emerging and enhancing the art form of the variety show
In the heart of Berlin, the world of theatre is undergoing a transformation, with variety theatre taking centre stage. This modern form of entertainment, characterised by its eclectic mix of musical performances, comedy acts, and dramatic monologues, is challenging the traditional narrative and asking audiences to reflect on the logic of the stories unfolding before them.
Two productions, in particular, are making waves in the city: Katharina Stoll and Isabelle Redfern's Sistas! and Lena Brasch's It's Britney, Bitch.
Sistas! draws inspiration from Anton Chekhov's Three Sisters, but with a twist. The production operates as a psychological family drama, incorporating square dancing, opera singing interludes, and a moment of escalating sword swallowing. This disruptive blend of elements creates a critical distance for reflection, as the audience is asked to work out the relationships between the various events on stage and its namechecked antecedent(s).
The production is an explicit iteration of the modern variety theatre that characterises a lot of what's on stage in this city. Variety theatre demands that the audience think, as it exists across our lives, such as in flicking through TikTok or watching YouTube. It has become a technique of estrangement on Berlin's contemporary stage, asking the audience to reflect on the narrative on stage and perhaps our lives.
Sistas! builds on themes of inheritance, Blackness, and Germanness, exploring the complexity of these concepts in a thought-provoking and engaging way.
Meanwhile, It's Britney, Bitch offers a unique take on the variety show structure. The one-woman performance by Sina Martens features broken monologues accompanied by slowed-down versions of Spears songs, offering a multitude of textures. The production includes a recreation of Spears' 'Oops!...I Did It Again' that brought the house down, featuring the iconic red jumpsuit.
The roots of variety theatre can be traced back to the late 19th century, when it was known as "vaudeville" in the US or "variety theatre", as it was called in the UK. By 1905, some rated vaudeville as the avant-garde of theatrical innovation. It captured the experience of the modern city's colliding worlds, much like contemporary shows in Berlin might do today, without resorting to its most vulgar manifestations.
The Maxim Gorki Theater in Berlin offers modern stage productions, including contemporary plays and small-scale variety performances that do not rely on large spectacle. The productions often involve intimate formats and smaller ensembles, aligning with a modern variation of variety theatre.
Ariel Efraim Ashbel and friends' production, titled Fiddler! A Musical, is another postmodern homage to a Broadway classic. This production is a deliberate departure from the original Fiddler on the Roof, exploring the "tradition" of Jewish performance, ranging from 19th-century vaudeville through Broadway spectaculars to the preoccupations of Berlin's diverse, vibrant performers today.
In conclusion, variety theatre in Berlin is pushing the boundaries of traditional storytelling, offering audiences a unique and engaging experience. Whether it's the psychological family drama of Sistas! or the pop culture-infused It's Britney, Bitch, these productions are asking audiences to think, to reflect, and to engage with the complexities of the world around them.
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