Megamusicals, Memory, and Haunted Audiences: the producers in Berlin's admiralspalast

• Autores: Katja Krebs
• Localización: Quaderns de filologia. Estudis literaris, ISSN 1135-4178, Nº 15, 2010 (Ejemplar dedicado a: La recepció del teatre contemporani), págs. 41-54
• Idioma: inglés
• Enlaces
  • Texto completo
• Resumen

  • In May 2009, Mel Brooks�s musical adaptation of his 1968 feature film The Producers was performed for two months at the Berlin Admiralspalast. Having had its German language premiere eight months earlier at the Ronacher Theater in Vienna, the performance of the stage musical The Producers in Berlin generated a plethora of articles in the national as well as international press, all of which were concerned with the question of whether Germany was �ready to laugh at Hitler�1. National (i.e. Frankfurter Allgemeine Zeitung) and British broadsheets in particular (i.e. Daily Telegraph)2 as well as political magazines (i.e. Der Spiegel, Focus), which very rarely review examples of such popular culture as the so-called megamusical, joined British-Library bloggers (Gresser, 2009), e-bay sellers, and the local Berlin press in reviewing not only the opening night but using this theatrical event, arguably, as a justification for lengthy assessments of the current state of Germany�s Vergangenheitsbewältigung.

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