This was also shown by the reactions of the audience, who on the one hand cheered the daring step forward and on the other hand acknowledged the lack of any Viennese charm with heavy boos.
Director Jan Philipp Gloger stripped the operetta about Comtesse Dubarry, the mistress of Louis XV, down to its core and transferred what little it had to contemporary historical thinking. Although the story of Dubarry’s rise can be thoroughly exploited, there was no socially critical play, which was not otherwise possible due to the conservative, albeit effectively tasteful set (stage: Christof Hetzer, costumes: Sibylle Wallum). The aim was to steer the entertainment theater of the 19th century into comedy-laden paths of our time. This was ensured by Harald Schmidt, who was officially known as Louis XV. appeared, but Harald Schmidt had to be and was allowed to be and the first encounter with Dubarry was the Late Night Show. The music was more of an underscore in second place, although Kai Tietje and the finely arranged Volksoper Orchestra brought hearty Berlin momentum to the once Viennese piece.
Annette Dasch was the ideal Dubarry, mainly because she was ready for any joke, including a Harald Schmidt Show soul striptease. That comforted the voice that had been ailing for a long time. Lucian Krasznec created the role of the painter René almost in reminiscence of past operetta tenors – but with certainty and metallic tenoral shine. And Harald Schmidt was Harald Schmidt – no more, no less. (wuss)
Source: Nachrichten
