It’s a cultural milestone of a sort: the
granting of an exemption from the German criminal law against
displaying the swastika or making Nazi salutes, in the case of Mel
Brooks’ transcendentally tasteless (and I mean this as a compliment)
musical. The first-preview audience with whom I saw the show evidently
knew more or less what to expect, but were nevertheless unprepared for
the full reality of it. Germans are serious about the darkest episode
of their nation’s history, and at many moments the response was a
silence of hesitation, of trying to decide whether to allow themselves
to laugh. But serious is not the same as earnest, and Brooks’
irrepressible humour wins out. Thus, for instance, even after the
ludicrous excesses of the “Springtime for Hitler” quasi-title number,
at the appearance of Adolf himself to a chorus of “Heil Hitler”, time
stops for a second or two… until he simpers camply, “Heil myself.”
This is in effect a transfer of the Viennese staging of the show, which
itself follows director/choreographer Susan Stroman’s original work.
(She is still credited for this run.) Those who have seen the piece
before will recognise and welcome moments such as the chorus of little
old ladies making their Zimmer frames tap-dance, or the stormtroopers
wheeling round the stage Busby Berkeley-style but in swastika
formation. Some of the weaknesses remain as well. Reviewing the show’s
2004 London opening on this page, Alastair Macaulay bemoaned the
primitive level of its gay humour; in Berlin, this vein is played a
little more coarsely still, and does not befit the city which has given
the world the Love Parade.
Most of all, though – and in the circumstances this is quite a
sensitive topic on which to criticise – I felt the production to be
simply too gentile. Mel Brooks’ Jewishness flows through the work as
broadly as the River Jordan; the Broadway fraudsters Bialystock and
Bloom are evidently both Jewish, as is much of the musical phrasing in
Brooks’ score. If Cornelius Obonya as Max Bialystock does not feel
comfortably Hebraic (there is even a joke about him not knowing
Yiddish), Andreas Bieber is virtually the most
goyisch Leo Bloom imaginable. One
cannot picture this pair producing shows, as the backdrop claims, such
as
Katz or
She Shtupps To Conquer . In the
end, though, Brooks’ material paradoxically proves to be in far too
much bad taste for one to be able to dislike it.
Written for the Financial
Times.