Hip-hop meets drama in the Munich Volkstheater: this is where Tobias Frühauf's trap opera “cloud * s * cape” premiered.
Our premiere review:
The future is a construction site.
The painter's foil and scaffolding that Denise Heschl and Jakob Brossmann brought to Stage 2 of the new Munich Volkstheater are a reminder of this.
And “cloud * s * cape”, Tobias Frühauf's trap opera, which premiered on Friday, revolves around nothing other than the future, ours and that of the planet.
Münchner Volkstheater: "cloud * s * cape" combines hip-hop and acting
Trap is a form of hip-hop, a pretty fat, driving sound.
A music that you absolutely have to bob along with - the drum computer won't get along anyway.
The style takes its name from the streets of the USA.
“Trap” means the place where the drug deals take place.
That too fits like the great beat in these 90 minutes, because in "cloud * s * cape" the continuation of the earth is dealt with.
In his horrific vision of a possibly near future, Frühauf traces the lines of conflict that are already known today: Since the old, full generation, for whom the future minister Dr.
Kassler stands.
He wants to get out what is possible.
Thoughts of youth, of creation?
What!
“The consequences are the consequences for those who follow,” he says - and he doesn't care at all.
Then a glass of melt water from the polar ice caps.
Münchner Volkstheater: The template is the “Fridays for Future” protests
On the other hand: The young climate protection movement “Unworld!”, Which is faced with the question of how far activism can and must go in order for something to change.
Especially in the sight of passing time and stubborn adults.
"We make the protests - the laws," it once said.
So: Always more radical, even if there are dead?
Or is it more useful to march through the institutions?
"We have to get into the game to change something," says Susan with conviction.
But the movement also has another problem: Most people hang out in the virtual world, in the "cloud * s * cape" that gives the piece its name and distracts from everything that "real life" is so beautiful, but also makes it so difficult.
Fridays for celebrations is the order of the day, with best regards from the "Matrix".
With his piece, Frühauf, born in 1994, reacts to the climate debate;
after the disappointing results of the conference in Glasgow it has become even more topical.
As is so often the case in music theater, his characters are stereotypes, the depth of the characters interests the author just as little as their development.
They produce theses that show positions.
Above all, the form that he and the 1997-born director Philipp Wolpert choose is exciting: with the trap opera they are close to their generation, so nothing seems to be fake on the stage of the Volkstheater.
Here youth language is not copied, here youth language becomes the language of the stage.
It works fine.
Münchner Volkstheater: The power center of the evening is Antifuchs
The power center of the evening, however, is the music. And with Antifuchs, the duo Frühauf / Wolpert, which operates under the label “Tacheles und Tarantismus”, has one of the most exciting German rap artists currently involved in this production. The Antifuchs lyrics give the evening more depth than any dialogue. Titles such as “Antidepressants”, “Zero Hour” or the fabulous “Bubblegum Dreams” are the finest, precise word acrobatics in which every line fits. Together with the musicians Michel Schulze and Michal Strychowski, who also beams the video game aesthetic onto the screen, Antifuchs succeeds in organically integrating himself into the ensemble's play. Jonathan Müller, who has already shown in "India" that he can rap, stands out from the crowd. For safe. What the Volkstheater technology does in this production is also impressive:The mix of text and music, beats, sound, dialogues and lyrics is crystal clear. Stage 2 in the new building is acoustically simply a wonderful place for concerts.
Yes, the future is a building site.
However, it has not been decided whether the painter's foil and scaffolding stand for construction or demolition on this evening.
Not yet.
Loud applause, occasional standing ovations.
Read our review of "Edward II.", The first premiere in the new Munich Volkstheater.