Beautiful Day For A Side Show Premiere

Die Show Ihres Lebens (Side Show) - Theater Für Niedersachsen, Hildesheim, 11th February 2012

*Spoiler warning since I have gone into detail so if you haven't seen the show yet and do not want to get it spoilt stop reading. Warning as well as it is also a rather long post  ;-)*

“It is hard to accept being different, hard to have people avoid looking at you, and still believe in yourself.”

Patricia Briggs

All Daisy and Violet Hilton want to be is not different, be seen having individual identities, lead ordinary lives being accepted, respected, loved and love and just be what each wants to be but being Siamese twins, joined at the hips, other people's focus is very much straight away on that 'difference'.

Being carnival freaks the show starts out in a sleazy show run by a nasty abusive boss who treats "his" freaks badly the twins are freed by promoter Terry and musician Buddy who appear one day at a show and who turn them into a popular act. And when Terry and Buddy find themselves amorously involved with the twins complication ensue the twins must learn to balance two different lives with one wanting a career and fame (at least at the beginning), the other “just” a home and family, into one. Unfortunately by the end of the show Daisy and Violet have become disillusioned with a life of fame, and their dreams of love and happiness seem to be lost – the only thing that is sure: they will never (be able to) leave each other whatever they will have to face in future.

Inspired by the real lives of Siamese twins, Daisy and Violet Hilton, who were vaudeville stars during the Great Depression and also appeared in films as ‘Freaks’ and ‘Chained For Life’ “Side Show” first opened on Broadway in autumn1997 where it flopped closing after just three months despite mixed – good reviews – competition was just too tough (see Tony awards the following year with strong competitions of The Lion King etc.) and it was obviously not a story appealing to the typical Broadway visitor. Since then there have been several regional productions but the Theater für Niedersachsen MusicalCompany production is the first European one. I had only known the OBC but this very well, the various clips on youtube and some bad *cough* boots *cough* so this show was one I was extremely looking forward to this season when it was announced.

And I was not disappointed. Again the company proved what tremendous work they can do.

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Daisy Hilton - Navina Heyne
Violet Hilton - Regine Sturm
Terry Connor - Frank Brunet
Buddy Foster - Jens Plewinski
Jake - Jonas Hein
The Boss / Pharaoh - Jens Krause
Chicken-eating Geek / Pharaoh - Sebastian Strehler
Fortune Teller / Archeologist - Michaela Linck
Bearded Lady - Agnes Buliga-Contras
Reptile Man / Pharaoh - Tim Müller
6th Exhibit - Atsushi Okumura
Fakir / Pharao - Stephan Freiberger
Snake Girl - Julia Riemer
Sheik - Klaus Jüngling
Dolly Dimples - Alexandra Söchtig
Workers / Paparazzis - Thomas Pokorra, Wojciech Mastalerz, Harald Strawe, Jesper Mikkelsen
Harem Girls / Vale Sisters / Archeologists - Tanja Krauth, Annika Dickel, Magdalene Orzol

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Actually there was just one weak link for me to: the translation.

It was made by Christian Gundlach, the MusicalCompany director, and which is for me his worst work I have come across for a few years. Interesting to notice that some press said it was not done well while thatsmusical.de said it was. Even still now, over two weeks after having seen the show it still bugs me massively, having now also seen the trailer (to be seen at the bottom).

Seriously it started with the opening."…kommt und seht nur die Missgestalten – sind hier erhalten – für jedermann." This seriously made me cringe and it went on during the show. Maybe one issue for me is that am rather familiar with the original lyrics and when you have complete verses where the sense has changed just to make it apparently work? There were several songs where I thought WTF?

The young Martin G. Berger proved that it can be done (and “Anyone Can Whistle” is IMHO far more complex) the night before and then I get this from the experienced Christian Gundlach? Yes, the original script (including the song lyrics) is complex and occasionally clever with too often utter cheesy phrases but just to get it to rhyme (which iT in 99% did despite sounding rather ridiculous sometimes) and apparently melodic which it often wasn’t. I just say the birthday song. The word ‘birthday’ has two syllables, the German word for it has three and the otherwise brilliant Jonas Hein stumbled over that word. Ouch.

And why does a song title (!!) as “tunnel of love” has to be translated with “Tunnel der Nacht” – tunnel of the night. Just as there are more words that rhyme with “Nacht”? Or since it is in a tunnel it does not make any difference as it is dark in there. And darkness is an element of the night? Do not know (and not that I care) what others in the audience thought besides the mentioned press above but for me this is not what I want to hear. Yes, the scene was done well with the four protagonists sitting in a rollercoaster the twins in the middle and each of their love interest to their side, four spotlights on the rail in front of them with the one(s) directly in front of the protagonists being switched whoever sang or the focus was on (though Mr Lapp, this is NOT new, done in other productions that way before), but the translations… Oh dear. Maybe Martin G. Berger should try his luck after he impressed me utterly with his work. ;-)

The music though going with these lyrics is beautiful for the actual songs, dramatic and/or passionate/affectionate in the right parts reflecting well the characters' desires and feelings with different styles of music from Follies to gospel to what you may want to describe as "popera" (pop – opera – opera with pop elements). However the fillers are mainly rather dull for me. I seriously did not get the point why it is nearly completely sung through especially as the music sounded often so plain and stale (and I thought "Dreamgirls" was not that plainly done).

Yes, it is different to the common musical structure but at least I do not want the 100th melody reprise by the end of the second act. If you do it, do it properly (Les Miserables) and not half-hearted. Saying that the story is nevertheless is well told (directed by Craig Simmons), most of the times slick and believable (though I wished it establishes its darker side more with vigor and be less clean-cut) with the music besides the quibble about the recitative lines being well conducted by Leif Klinkhardt who keeps a tight rein on the orchestra, allowing the score to sparkle when it should (though for me sitting in the front row it was sometimes overpowering the vocalists but since I haven’t read any reviews noticing that it really might be due to where I sat – I sometimes wish they had not just a rail at the front row but a proper low wall to be not totally hit by the full orchestra) and being subtle enough to just support the fillers as bland as the score for these is..

The piece obviously lives largely of the Siamese twins part as the actual story, as slickly told, is not much different to any other where the protagonists is excluded from society (certain movies come to my mind) and the two can bear that burden.

I cannot praise Navina Heyne as Daisy enough. She just totally stole the show for me.being most touching ( I had known she is a highly talented performer but what she shows here is MOST outstanding). Besides the fact that she has such a full strong and silky voice sounding sublime totally she is commanding such a stage presence that I can hardly take my eyes off her whenever she is onstage. She is totally nailing the character of Daisy swinging easily from the comedy as in the big Vaudeville show numbers to romance to despair through her acting and singing being the cheeky half of the twins who wants to become famous but is also desperate for the love of a man and being “allowed” to love.


Leave Me Alone scene
© Andreas Hartmann

Regine Sturm as the shy ‘longing for a family and a home’ twin sister Violet was by the press received very well or as that guy from thatsmusical.de said she impressed especially as she is from the opera ensemble. Pardon, just because she is from the opera ensemble I shall be impressed? I shall consider that when I see a musical whether someone from the cast is actually “just” an actor or from the opera ensemble? You are kidding Mr Lapp, right? Shall I apply that logic to any other subsidised theatre production in future when instead of taking trained musical performers the whole show is cast with people from opera ensembles? Any miscasting (NOTsaying Regine is!) is some kind of acceptable due to the fact someone is from the opera ensemble? I do not think so.

I thought she was good, but next to “Champions League” Navina in a different one. I personally loved her emotional moments as when Jake declares his love for her and she blocks off his confession or when she argues with her sister during “Leave Me Alone” (unfortunately more as “leave me in peace” translated with the word “alone” losing its meaning a bit. I know the difference is only minimal but still makes a difference for me considering they can never be physically alone). These moments were also her best vocally with a warm clear but also fervent voice.



Stage prior show

 Also the twins’ physical connection which is a purely theatrical one with them merely touching their hips together nearly through the whole show but during “Private Conversation” when Terry dreams of them was performed incredibly by the two ladies especially during the vaudeville numbers when there is a dance choreography (by Jacqueline Dunnley-Wendt) or when they quarrel. There was just one moment when they were turning around it looked very much them instead of sticking to the position they were kinda rolling over.

What I was though not keen on was her rather breathing most of her recitative lines (why it came out that way am still wondering, especially as she is from the opera ensemble she should be used to these) and during the more emotional duets, when it is rather belted the only person I could hear was Navina, it was not even Regine supporting, no I just could not hear her. But since I will see the show again soon I will allow getting more convinced by her.

First company members have
arrived onstage prior show

What Navina is for me on the female “front” Jonas Hein is that from the guys.

I had known this guy can sing, but bloody hell. He as Jake with a make up to make a most convincing black man his acting and especially his vocal qualities totally matches that. How much passion, soul and despair there is in his total performance as e.g. in “You should be loved“ is incredibly heavenly mesmerising.
He is such a powerhouse and just spectacular to watch – and I was not the only one thinking that as it seems with the audience paying him the biggest tribute at the curtain call.



Freak show scene © Andreas Hartmann

Jens Krause is also totally in his element as the tyrannical boss of the freak show most notably in the opening number “Come Look At The Freaks” when the show actually starts after the audience is already being caught by the actions onstage prior to the official show beginning.

When you enter the auditorium there is this empty four steps element onstage (as on the picture) and the company members dressed in coats and hats appear one after the other sitting down on the steps staring blankly and/or with impassive expressions towards the audience or even beyond creating a tableau.

The twins also arrive – separately though you only notice that later when once the boss has arrived to kick off the show they all take down their coats and their what society classes as freaky appearance is apparent (again, not a new idea for any reviewers who thought this was such a great idea while it works. Read the US reviews!!) . Jens feels very much like an evil version of Cabaret’s ‘Emcee’ in the first minutes of the show until the twin can actually escape the freak show with the help of Terry and Buddy.

When they arrive at the freak show you first think they are some nice guys, especially Buddy, though throughout the show despite both falling in love with one of the twins it is obvious that one of their drivers in this chapter of life is taking advantage of the girls and their fame.

New Year's Day scene © Andreas Hartmann

Jens Plewinski as the ambitious but also slightly naive musician Buddy has the charm, the looks and the vocal and acting qualities (as in "One Plus One Equals Three" a show stopper in act 2 which deals with the fact that Buddy has his fiancée forever and also consequently has her sisterbut with him being now happy in the limelight  (yes, there is often a price to be paid) being performed so entertainingly) to make the character believable even though the script never allows him to acquire much heft. His motifs at the end stay rather unclear for me. Yes, some are mentioned in “Tunnel Of Love” but only scratch the surface for me and after when both him and Violet are facing the apparent truth that their feelings for each other are not strong enough but this turn is so quick that you must wonder whether all was a game from the beginning. But maybe that is wanted so the audience can make up their own mind whether he is a nice guy, a twit, a victim of society or…. I still haven’t decided for myself.

Frank Brunet as Errol Flynn lookalike Terry, the ambitious promoter/business manager who cannot manage to come to terms with his feelings for Daisy and not accepting the package deal of the twins which is his major issue what becomes clear during “Private Conversation” which was from the show numbers my absolute favourite as it just focuses on the two with a most perfect stage setting and performed just perfectly by Navina and Frank with both showing off their powerful emotional vocal skills.

We Share Everything © Andreas Hartmann

The rest of the cast - freaks and normal people - ranges from adequate to excellent in a series of supporting roles. Again the typical subsidised phenomenon: people from the opera choir/ensemble killing their lines for me when you have trained musical performers next to them. Ouch, ouch, ouch. Luckily these moments are only small. Nevertheless it is a shame to see talent as the wonderful Tanja Krauth and Sebastian Strehler being rather wasted.

The set (set and also customes, which were adequate for the various scenes, just some of the outfit materials and colour designs are so not 20s/30s, by Manfred Breitenfellner) is most of the times rather simple, “just” the vaudeville numbers as “We Share Everything” as placed in Egyptian Pharaoh times or “Rare Songbirds On Display” are very bright, sumptuous and flamboyant supporting these scenes very well without taking the focus of the twins with the already mentioned stairs element being utilised a lot. I would not say budget has been blown as other shows seen at the TfN were larger endowed but still nice on the eye.

Rare Songbirds On Display scene © Andreas Hartmann

What is though impressive in the simple set scenes is the detailed scenic and lighting design as during “Private Conversation” when you have a(n) (nearly) empty stage but it still feeling enriched by the two performers onstage and the perfect lighting and the created atmosphere. Or the effects created during the vaudeville numbers supporting the sets perfectly.
I am actually already wondering how the whole set will settle into the oversized Hanover theatre and its stage where it will be on in a few days. Well I will see in a few days.

The choreography by Jacqueline Dunnley-Wendt while nice to watch lacks a bit of wit for me just as similar musicals based in the same decade. Yes, the girls are most probably limited and their choreography looked good but I just expected a bit more around them as being BIG Vaudeville numbers but maybe that would have taken the focus of the twins.

While the show has some flaws script wise it is an extraordinarily moving theatrical experience telling a touching story of two ordinary young ladies trapped in an extraordinary bondage. Both the concept and performance well deserve their turns in the spotlight but please with a different translations for any future German productions.