Halbwelt Kultur, the
latest piece from PK Productions, was originally devised as pre-show entertainment
to Rufus Norris’s production of Cabaret in
2012. As a companion piece the
influences are clear, but now the show stands alone as a work in progress –
part cabaret show, part musical. It is
an ode to the cabaret stars of the Weimar Republic: seven key figures chosen to
represent the strength of womankind in a male dominated time of war and
strife. “Men are the problem with humanity”,
they sing in the opening number – but are women the solution?
What Halbwelt Kultur does
so well is replicating the mood of the period.
The scene is set up in pre-show by the cast, whilst an on-stage band
provide musical accompaniment and instrumental interludes between scenes. The musical pieces are well chosen and much
of the script is quoted verbatim - it’s clear that much research and thought
has gone into the production as a whole.
Structurally, the show is a cabaret in itself, divided into seven
distinct vignettes to allow each performer their moment in the spotlight. These range from celebrated cabaret artist
Blandine Ebinger and cross-dressing Claire Waldoff, to the expressionist
performance artist Valeska Gert and the Marilyn Monroe of Germany, Marlene
Dietrich. These vignettes present merely
a snapshot of each of these women’s lives and, at present, feel a little
disparate. What’s perhaps needed is a
stronger thematic link between each scene, beyond simply female cabaret
performers of the Weimar Republic, or a clearer narrative thread to drive the
audience’s investment. As it stands,
these are seven interesting, but separate, scenes that don’t quite hang
together.
Alyssa Noble’s sexually alluring yet cheeky choreography was
well performed by a mostly strong cast. The
vignettes of the second act were more successful owing to more distinct
characterisation – the vampy Noble as Valeska Gert; the provocative yet self-destructive
Anita Berber played by Samantha Clark; and some solid singing from Kathleen McNamara
as Gabriele Tergit. Director Padraig
Kennedy has sought to present the real women behind the cabaret personas,
creating an almost cinematic quality between natural and performance
modes. Yet these women are well known
for their debauched and daring performances that pushed the boundaries of
acceptability, whereas the performances in Halbwelt
Kultur lack that same dynamic. Certainly
the show subverts our expectations, but it could afford to be braver in its
eroticism.
With such a rich history to draw upon, there is much that
could be incorporated into the show to expand upon the context of each vignette
and the individual characteristics of these inspiring women. Halbwelt
Kultur is undeniably an exciting prospect, with further development planned. As it stands, the show is a tantalizing tease
of its full potential.
3/5
Watch: Halbwelt Kultur
runs until Saturday 20th April at the New Wimbledon Theatre.
