As of: February 16, 2024, 6:45 p.m
By: Katrin Hager
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Rehearsals are underway: The ensemble of the Free State Theater of Bavaria around (front from 3rd from left) director Julia Dippel and artistic director Rudolf Maier-Kleeblatt.
In the new musical production “Das Wirtshaus im Spessart” the choir slips into tree costumes, as always from the workshop of costume designer Anne Hebbeker.
© Thomas Plettenberg
Franz Grothe was one of the most popular composers of the 20th century.
The Free State Theater is now bringing his musical “The Wirtshaus im Spessart” to the stage.
In the interview, director Rudolf Maier-Kleeblatt reveals what connects him with Grothe and why the piece is ideal for this time.
Miesbach
– Franz Grothe, one of the most popular composers of the 20th century, lived at Tegernsee for over 30 years.
He was one of the most popular composers of the 20th century with hits and film music that caught the ear and stayed in the head, founded legendary concert evenings and a foundation to support young composers and musicians in Bad Wiessee.
Now Grothe's musical “The Wirtshaus im Spessart” is coming to the stage in his former adopted home district: The Bavarian Free State Theater is celebrating its premiere on March 9th in the Waitzinger Keller in Miesbach.
In an interview, artistic director and musical director Rudolf Maier-Kleeblatt reveals what experiences connect him with Grothe, what fascinates him so much about his music and why the choir dances trees.
Mr. Maier-Kleeblatt, you have been toying with bringing something by Franz Grothe to the stage for a long time, right?
Rudolf Maier-Kleeblatt: “Yes, indeed.
I've already made a few attempts, but with another musical by him.
That didn't seem so suitable to me, which also has to do with the cast.
I didn't focus on the “tavern” for a long time until I studied the material more closely.
I thought: It fits, it has to be.
The “Wirtshaus im Spessart” is a super title.
That makes a big difference: if the audience already knows the title, everything is much easier.
Plus, it's really a very humorous comedy.
Just the thing for our difficult times, when you want good, high-quality entertainment and don't want to get caught up in the theater dramas that you see on TV every day anyway.
Encounters with the composer with a world career
Again about Grothe: He lived in Bad Wiessee for decades until his death in 1982.
Did you know him personally?
Maier-Kleeblatt: “That’s how it is.
As a high school student, I studied violin at the same time at the Munich Conservatory.
As soon as I had a driving license, I was able to help out with the spa orchestra in Bad Wiessee.
Back then, there was the Franz Grothe evening every autumn. It was the social highlight of the year, the entire high society was there.
Franz Grothe was a brilliant pianist and played the solo piano part himself.
Of course we met in the dressing room and at rehearsals.”
How was he to deal with?
Maier-Kleeblatt: “He was uncomplicated.
For me, of course, he was an untouchable celebrity, he had made a world career - an unattainable league for me as a schoolboy and later as a student.
He chose Wiessee as his adopted home because he liked the mountains and the lake and the good air.
I found it very remarkable that he gave these evenings with the spa orchestra, he didn’t have to do that.”
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“A high art of entertainment”
Did this encounter have an impact on you?
Maier-Kleeblatt: “Yes.
In this way I gained good access to popular music, to the so-called light symphonic music and the pop world that he served - “Midnight Blues” and the “Song of the Nightingale” are very famous pieces by Grothe.
I like this music.
Since I started playing the accordion at the age of seven, I come from folk and light music, so to speak; classical music only came into my life later.
This actually benefits me greatly as a theater conductor.
You need a certain sensibility and an affinity for operettas and musicals so that you don't fall into the attitude that it's second-rate music, so to speak - it isn't at all.
It is a very high art of entertainment.
I produced “Lola Montez” by Peter Kreuder for the Deutsches Theater in 2004, and our guest performance in Salzburg was a great success back then.
Grothe's “Wirtshaus im Spessart” doesn't need to shy away from comparison.
I really like the music, some of which also appears in the film.”
Also interesting: Prominent support for the Free State Theater of Bavaria
What is special about the music in this musical?
Maier-Kleeblatt: “It’s a very German way of making music.
It draws on the breadth and depth of the European cultural tradition.
I find it more interesting than the American pop musicals, which are too tasty for me (laughs).
Grothe has a wide variety of forms - tango, marching song, love duet, ballad, foxtrot and swaying waltz, but also symphonic and choirs.
There really is something on offer.
Now we had the first rehearsals in the orchestra.
Everyone is very impressed and tortures themselves with the catchy tunes at night – that’s a good sign (laughs).”
And the choir?
Maier-Kleeblatt: “The choir is very challenged because they play the gang of robbers in the Spessart, some of them the military, but at the beginning they also play trees.”
“The choir has special tasks”
Now that almost sounds a bit like Waldorf school.
Maier-Kleeblatt: “No, no!
(laughs) Without the forest you can't do it in the Spessart.
The choir has many specific roles in the play, from the tavern brawl to the trees swaying in the wind or shaking in fear.
Just standing there and singing is not possible with a theater choir.
You have to play at least as well.”
How many soloists are there?
Maier-Kleeblatt: “More than I would like (laughs).
They all have to be financed.
There are 16, more than in the “Magic Flute”.
This is really complex.
What’s particularly appealing is that the female lead, a countess, has to assert herself as a bandit in the story.”
A very flirtatious role.
Maier-Kleeblatt: “Exactly.
Lilo Pulver shone with this decades ago.
We have a great actress, Caro Ritter, who has been in our ensemble for years.
She plays all the trouser roles in the mezzo-soprano department, for example as Hansel in “Hansel and Gretel” and Orlowsky in “Fledermaus”.
She is predestined for this.”
An elaborate piece
And the robber captain?
Maier-Kleeblatt: “Our tenor Harald Wurmsdobler gives it.
He comes from Austria and also directs two festivals himself.
He has already done a lot with us, playing Higgins in “My Fair Lady” and Leopold in “Weißes Rössl”.
He can handle the entertaining genre very well.
You have to be able to move here, dance and speak dialogue.”
Costumes and props are also available?
Maier-Kleeblatt: “Yes, of course everything is already there.
Only the modifications still need to be practiced.
There are two large floats that can be rotated on the stage with the actors on them.
This is choreographed so that it happens very quickly.”
Sounds like an elaborate piece.
Maier-Kleeblatt: “Absolutely.
Eleven scenes were originally planned.
We have reduced them a bit and can create many different stage constellations with the existing stage elements.
The composer composed some very nice conversion music for the scene changes.
In my experience, the public really likes being able to watch the open conversions.”
Then we're in the final stages of preparation?
Maier-Kleeblatt: “The premiere can come.”
Performances in the main building in Miesbach
“The Wirtshaus im Spessart” by the Freie Landestheater Bayern can be seen on Saturday, March 9, 2024 (premiere) and on Sunday, March 10, 2024 (inclusion performance), both at 7 p.m. and on Sunday, May 12, 2024 6 p.m. in the FLTB headquarters, the Waitzinger Keller in Miesbach.
Tickets (regular 27.50 to 49.50 euros, reduced 16.50 to 44 euros, up to 18 years 11 to 27.50 euros) are available in advance from Waitzinger Keller (0 80 25 / 7 00 00, ticket(at)waitzinger -keller.de) as well as via Eventim and München Ticket.
Age recommendation: from ten years.