The swaying mummy! The air saw! The-Kniefall! The "The Band" is just a few minutes old, then recognizes the -Fan the first hour with painfully suppressed Quieken already the first moves from the original choreography of "Pray", the band's first number one hit in 1993.
Even if the musical is not about the British pop band, not even vaguely telling their story – this must urgently precede as a disclaimer – trickle some of such Nostalgieschnipsel through the following two hours. Of course, the biggest hits are sung, from both career phases of the band, also their logo with the two reversed, tetrishaft stacked Ts emblazoned big on the stage.
Fortunately, the best thing about the British musical "The Band", which celebrated its German premiere on Thursday evening at the Berlin Theater of the West, is not the Disneyfication of a band that is still working really well. Instead, their songs are sung by a young, smooth boy band, especially staffage for a story about female friendship, adulthood, and the gorgeous hysteria of pot life immovable from any ironic distance.
"Do the guys have a song that fits?"
This story is told along five girls, the beginning of theespecially to share their obsession with this nameless band. They play their music videos, for example, "on the beach, where they pray and kneel so," a more succinct description for the accompanying film to "Pray" you really can not imagine, and steal secretly to a concert, as " The band "actually plays in the neighborhood.
One death and life finally tear them apart until they meet again 25 years later to visit their favorite group at their reunion concert in Prague. The female, consistently very fiddle and pleasantly dosed even in extreme moments of excitement plays thus in a double version: once as a teen edition, once as a current around-the-forties.
"The Band" was written by Tim Firth, who is actually very close to Take That Music Braingrew up and wrote with him already "The Girls", the musical adaptation of "Calendar Girls". "The Band" is co-produced by the remaining Take-That members, and they gave their friendly greetings to the public relations team last week.
But you do not necessarily have to be a fan of them to be quickly pulled into the story: How a band is woven into the daily life of a fan, sometimes tumbling out of the locker, sometimes overpowers the parents' dispute with a loud ballad blared, any understand that roughly remembers their youth. Pop can stick, comfort, save, so the message quickly conveyed – but music is not almighty: As the girlfriends swear eternal companionship on the forbidden concert excursion, they are looking for a song from the repertoire of the band, which they festive for this occasion could. "Do the guys have a song that fits?" – "Nope."
Clash with the younger self
While the story of the girls, then women is told, the specially composed boy band (occupied among others with "Germany seeks the superstar" winner Prince Damien) remains surprisingly shadowy – even the classic boy band division of powers is not recognizable, there is no sweetie, no sensitive, no silly, the band remains smooth surface – the character diversification take over the girl figures.
Relieved that the band does not flirt with the naturally unattainable original, even if they seriously try to choreograph their choreographies while creating some special images, such as when their silhouettes emulate the evolution album cover of "Progress" for a few seconds. They are helped by the clever, extremely variable set design, which can start airplanes and shed fountain fountains without a major battle of material.
The strongest is "The Band" but when a real reinterpretation, a gentle takeover of the well-known songs takes place. And they are not sung by the band, but by the adult female figures with all their dents, whose stories are just so clichéd that they can still stand them – of course, life filled them in the time they passed without each other, not all Wishes and dreams.
In the best number of the musical, the great "Back for Good" becomes a yearning, regretful shoulder to shoulder with the younger self, with its own years gone by: The women's cast sings it together with its girls' versions in the night bus, with every "want you back "The two variants of the same life nestle closer together. That's because it's so palpable, and this site also offers more than the comforting nostalgia that carries much of the musical.
Moppel Joke target
"The Band" is not a shrieking celebration of female shame, but indeed a play in which women determine the dramaturgy. Unfortunately, their readings sometimes remain clichéd, the flame of empowerment licking a bit weak, pain is hinted rather than really deep drilling: the happy ending is not just needed the newly knit friendship band, but also a wedding.
And as nice as it is to see that the female figures were not only occupied with slim-bodied musical bodies, so annoying is that they are presented in the end but again as in need of correction: Claire, the thickened over the years, formerly so graceful spearhead announced At the end, she is proud of how many pounds she has already lost, and thanks her for her motivating support, while she continues to serve the other as a Moppelwitz target.
In the end, one thing we can not do, even great pop, can not free us from all social hardships – never forget,
"The Band" runs until autumn in the Berlin Theater of the West, then in Munich.