The techno band Slatec makes the music for Elsa-Sophie Jach's production of "The Unheard" at Munich's Residenztheater.
Now the release of the album of the same name has been celebrated in the Marstall.
Only one woman is wearing a crown this Saturday evening (March 4, 2023) in the Marstall of the Munich Residenztheater: Here she is celebrating her farewell to being a bachelorette (and there are really lousy ideas and places for that).
But they all deserved one - the actresses of the Staatsschauspiel and the techno band Slatec around founder and trombonist Roman Sladek.
Together they set up “The Unheard” here in 2021, directed by Elsa-Sophie Jach – and gave a voice to female figures from mythology, from Hecuba to Penelope and Medusa to Cassandra.
Slatec plays an important part in the production, and the five-person troupe provides the soundtrack.
Texts and music enter into a compelling symbiosis.
So compelling that the titles of the production have now appeared.
The release of the album "The Unheard" was celebrated in the Marstall, very officially.
"Anyone expecting an evening at the theater will be severely disappointed," exclaims Roman Sladek at the beginning - and promises a "concert version" just to correct himself at the same moment: "It will be a completely normal rave." That's right.
And it's not true.
It is tempo dance theater made into sound,
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Crazy for dancing: the audience in the Marstall of the Munich Residenztheater.
© Michaela Rehle
The sound engineering manages to set up the acoustically challenging stables well (although it takes some time before the voices are mixed clearly) so that the band and actresses can heave their sound sculptures into the high room.
There's an enchanting mix of singing and spoken word with (mostly) hand-made techno that you absolutely have to dance to.
Drummer Marco Dufner, who has a complete rhythm machine in his left leg, cements powerful beats with percussionist Samuel Wootton, on which Georg Stirnweiß lets his synthesizer runs bubble, while Sladek's trombone directs the crowd and causes them to freak out.
That with singer Patricia Römer and the actresses there are people on stage who can use their voice in many ways as an instrument: it's clear anyway.
The finely tuned (back) light concept makes this festival of music and language, this so urgently needed self-empowerment of women of yesterday and today, not only a dramaturgical success, but also a visual one.
"Here we go!" they shout at some point that night - first on stage, then in the audience.
Contradiction would be silly.
But something of.
