Like the artificial greenery in Teletubbie Land, the world looks this way. In the middle sits an ugly ostentatious palace in garish gold. Inside, a cruel King-President presides over brutal games with marching entertainers clad in Elvis- or hotdog-costumes. Baritone Georg Nigl fearlessly, with orange makeup and exaggerated grimacing, embodies this caricature of U.S. President Donald Trump.
On Sunday the political grotesque “Monster’s Paradise” had its world premiere at the Hamburg State Opera. The music is by Olga Neuwirth, who, together with Nobel laureate Elfriede Jelinek, also wrote the libretto. Tobias Kratzer, the company’s general director this season, goes all-in on the production’s stagecraft. Neon signage, a sea monster moved by ecological concerns, and heavy use of video populate the design. The director leans into hyperbolic elements of the Grand Guignol Opéra, a French horror theater from the 18th century.
Neuwirth and Jelinek as Vampire Duo
In the music theater, avatars of Neuwirth and Jelinek—each portrayed by a actress and a singer—appear as a vampire duo, Vampi (Sylvie Rohrer, Sarah Defrise) and Bampi (Ruth Rosenfeld, Kristina Stanek). Alarmed by the threats of climate change and the despotic ruler, they set out on one final warning to the world. They land at the president’s palace. There, the ruler’s wife, wearing a wide-brimmed hat, stands by a soda machine. The loyal functionaries Mickey (Andrew Watts) and Tuckey (Eric Jurenas) comply with the regime. “Whoever has billions does not need voters,” proclaims the despot, one of his simple yet dangerous truths. In the guise of Muppet-like figures, the vampires attempt to kill him, to no avail. These scenes deliver considerable visual impact.
Charlotte Rampling appears via video
On a utopian island, the King-President meets his rival, the sea monster Gorgonzilla (voiced by Anna Clementi and portrayed by Vanessa Konzok). Later, as chaos born of environmental destruction and wars continues to spread, the monster defeats him and takes his place. But the world is not saved. Vampi and Bampi, superbly sung and acted, wander through a godless world that seems to flicker toward recovery only briefly. While Gorgonzilla rests atop a toy-sized skyscraper (stage and costumes by Rainer Sellmaier), fresh greenery unexpectedly sprouts. A cloth rabbit hops by. The eminent British acting legend Charlotte Rampling continues via video as the admonishing “The Goddess.” Zombies shamelessly crawl into view.
Direct link | Trailer for the production
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In the End, the Only Way Out May Lie in Art
The revue stitches together powerful, sometimes a bit obvious, images with a lot of stage magic. The subject remains timely, though the text itself rarely delves deeply. In the demanding musical language, non-harmonic tones alternate with cinematic melodies. The orchestral palette is augmented by a drum kit and an electric guitar. The Philharmonisches Staatsorchester Hamburg is steadfastly conducted by Titus Engel. Several choirs contribute hymn-like vocal lines.
In the end, perhaps the only escape lies in art. After enormous waves—depicted on video—swallow everything, Vampi and Bampi resurface at the ocean’s surface and play a four-handed Schubert piano piece, a moment of strange beauty on a slightly out-of-tune instrument.
