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aliesafenlock · 8 months

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Found a programme for the London production of Rebecca das Musical on ebay, so I got it scanned in case someone would like to see. All 30 pages are attached below. It doesn't have a lot of photos, but it has full cast and song lists which I haven't seen anywhere else. Feel free to inbox me for a PDF copy that's easier to read. Enjoy!

Ich/I - Lauren Jones

Maxim de Winter - Richard Carson

Mrs. Danvers - Kara Lane

Mrs. van Hopper - Shirley Jameson

Beatrice - Sarah Harlington

Giles - Neil Moors

Frank Crawley - Piers Bate

Clarice - Emily Apps

Frith - Nigel-Joseph Francis

Jack Favell - Alex James-Ward

Ben - David Breeds

Colonel Julyan - Nicholas Lumley

Ensemble: Melanie Bright (u/s Mrs. Danvers), Rosie Glossop, Gail Mackinnon, James Mateo-Salt, Scott McClure, Tarisha Rommick, Elliot Swann

Directed by Alejandro Bonatto

Conducted by Robert Scott

Choreography by Ron Howell

#rebecca #rebecca london #rebecca musical london #rebecca das musical #rebecca levay kunze #daphne du maurier #a manderley ház asszonya #kara lane #lauren jones #richard carson #charing cross theatre #musical theatre #european musicals

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mo0nchhild · 1 year

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when musical numbers do the two characters singing simultaneously and occasionally harmonizing while each one sings their respective lines and sometimes being able to hear one person better than the other one and even though they don't sing the same words it still fits so perfectly together UGH SO GOOD

#this post is about #mrs de winter bin ich #specifically #i've been listening to this song repeatedly for idk how long #specifically 2006 and 2022 vienna live versions #it does something to my brain #i love it so much #michael kunze and sylvester levay slayed #rebecca #musical theatre #rebecca musical #european musicals

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someoneunknownhuh · 1 year

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Streaming today:

Rebecca Das Musical, 15.04.2012

Cast: Lucy Scherer („Ich“), Thomas Borchert (Maxim de Winter), Pia Douwes (Mrs. Danvers), Hannes Staffler (Jack Favell), Mona Graw (Mrs. Van Hopper), Kerstin Ibald (Beatrice), Jörg Neubauer (Frank Crawley), Daniele Nonnis (Ben), Lena Brandt (Clarice), Udo Eikelmann (Giles/Horridge), Erwin Bruhn (Oberst Julian), Matthias Graf (Frith), Fehmi Göklü (Robert), Christina Maria Brenner, Valerie Link , Michaela Schober, Maike Switzer, Melanie Walter, Gemma West, Frederik Andersson, Christian Kerkhoff, Hendrik Schall, Carl van Wegberg

Where? European Musical theatre (discord link shared below)

When? 7pm (gmt+1) Room opens 10 min before

Feel free to share/join/reblog!

#european musicals #european musical theatre #rebecca das musical #rebecca #pia douwes #thomas borchert #lucy scherrer #michael kunze #sylvester levay #musical

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musicaltranslations · 1 year

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Rebecca (Reprise) - RUSSIAN

Show: Rebecca Authors: Michael Kunze, Sylvester Levay Original title: Rebecca (Reprise) Language: Russian Translator: ?

--- Ребекка

- Но почему? Почему вы так меня ненавидите? Что я вам сделала? - Вы хотели занять место миссис де Винтер.

Снова во тьме ночной тени вздыхают, Прячься, спасайся. Заперты двери, потерян к ним ключ навсегда. Пусть будет проклят тот, кто их потревожит. Каждый дышит печалью без нее уголок, В каждой вещи здесь память о ней.

Ребекка, где бы ты ни была Твоя душа, как море дикое бурлит Слышишь, ветер зовет, он кричит: Ребекка, вернись, Ребекка, Из страны теней обратно в Мандерли.

Каждый твой шаг и вздох ею замечен, Прячься, спасайся. И никто не посмеет ее обокрасть, Ее обидеть будет вам себе дороже. Здесь царит она одна, этот дом ее ждет. Кто любил, тот не сможет забыть.

Ребекка, где бы ты ни была Твоя душа, как море дикое бурлит Слышишь, ветер зовет, он кричит: Ребекка, вернись, Ребекка, Из страны теней обратно в Мандерли.

И ты ее не зли - О, нет! Прочь от ее вещей, только тронь и умрешь. - Нет, нет!

Ребекка, где бы ты ни была - Ее нет здесь Твоя душа, как море дикое бурлит - Того, кто умер больше нет Слышишь, ветер зовет и кричит. Ребекка, вернись, Ребекка - Увижу рассвет! Из страны теней обратно в Мандерли - Зачем так боюсь тебя? Ребекка!

#Rebecca Reprise #Rebecca #Michael Kunze #Sylvester Levay #Russian #unknown translator #Русский #Rebecca das Musical #Ребекка Мюзикл #no audio #Ребекка #Mrs Danvers Rebecca

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jon-withnoh · 1 month

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Give me the hot Elisabeth and Rebecca takes!

Sure thing! (Oh boy this turned out long.)

Elisabeth disclaimer: this is purely based on vibes. I have some knowledge of the historical background, but it’s not really my field of study.

Rebecca disclaimer: this is my field of study and I have very strong opinions on it, though I do not claim that I am always correct. I do however maintain that I could back up many of my claims if I had the time to do proper textual analysis and read secondary sources.

I genuinely think Elisabeth (the musical as it was written) is a masterpiece. The framing device, the way certain melodies mirror each other to foreshadow events or indicate character development — it’s amazing! Plus, the music is ridiculously good. 100/10. I love this musical.

Most stagings/recordings of Elisabeth since 2012 though? More than questionable. Levay/Kunze musicals in general appear to be following a pattern where the original production and a maybe one or two productions after it are full of nuance and complexity, only to have that complexity broken down and reduced over time. That is no fault of the musical itself, but a worrying trend of not trusting audience to be able to handle nuance and trying to make every element of a production more palatable and easier to handle. I hate it. Both the 1992 and the 2005 Wien productions have so much to recommend them (I can’t speak for the German productions but would humbly turn over the questions to more Elisabeth-versed mutuals like @fitzrove), but it all seems to be going downhill.

HOT TAKE: I think bringing on more and more “Broadway-sounding” performers to do both Elisabeth and Rebecca is a mistake. For me, Levay/Kunze shows have a very specific sound to them, a sound that fits into European musical theatre and makes sense for when and where they were created. Hiring almost exclusively people with a way more modern, belt-y sound is not a direction I personally like for these shows. Don’t get me wrong, this is not about any specific performers, it’s about trying to change the sound of these shows into something more akin to a big Broadway musical and that really doesn’t work for me. Both Elisabeth and Rebecca are so idiosyncratic in how they sound and how they’re written, trying to make them fit into a mould they don’t belong in does them a disservice. (Looking at you, VBW.)

Maybe not a hot take: but I love the 2005 Wien production of Elisabeth so much. It was my first exposure to the musical and remains my go-to cast album. It certainly has faults and I totally understand why people might gravitate towards different productions, but since I haven’t listened to the full 1992 Wien and 2001 Essen (?) productions yet, I can only compare it to 2012.

REBECCA HOT TAKE: Michael Kunze has stated that he views Rebecca as first and foremost a love story and I think he is WRONG. Daphne du Maurier herself would probably think he was wrong (seeing as she hated the story being described as a romance). This is a core problem with Rebecca das Musical. There are many things to love (Danny, Danny, Beatrice, and did I mention Danny?), but in my opinion, the whole “this is a great love story” angle does it a huge disservice. Let’s make it weirder! Let’s make it as bleak as it fucking is! (Probably not a crowd pleaser but let me have my fun).

Rebecca the musical could have done with some serious editing.

The Magdeburg production of Rebecca, which I am aware was not very accessible to a lot of people, might be one of the best productions of Rebecca ever. Kerstin Ibald absolutely knocked it out of the park with her Mrs Danvers and gave her all the nuance and emotion we so desperately crave. Her Danny is so broken, so lost. Patrick Stanke’s Maxim strikes the perfect balance between the haughty upperclass Englishman who takes kind of a fatherly tone with his young wive, and the haunted, jealous husband who absolutely did murder his first wife. Also in this production Maxim and Ich finally have some chemistry! This production’s Ich (Sibylle Lambrecht, I think) has such a great character arc and it is completely believable that she is into Maxim, even (or especially??) after his confession. Plus, the set design was amazing!!!

More Rebecca hot takes that I’ve definitely brought up before: I know we all like to write Ich as a repressed queer woman who ends up not being all that into Maxim, but honestly, she probably is very attracted to him. We can speculate about the why, but like, it is strongly implied that they have sex for the first time shortly after Maxim’s confession. She wants him.

I maintain and will die on this hill that making Danny sing “Ich liebte sie, doch sie hat mich verraten” is a mistake. I mean, yes please let Danny tell us she loved Rebecca, but come on. Danny doesn’t lose her faith in Rebecca. She doesn’t stop idolising Rebecca. Whatever her reasons for setting Manderley on fire may be it’s not that she thinks Rebecca betrayed her. I don’t even think Danny thinks highly enough of herself to even consider feeling betrayed by Rebecca. Rebecca is god to her.

I definitely have more, but this post is really long and I’m running out of steam… Hope you enjoyed!

#rebecca das musical #Elisabeth das musical #hot takes #really these are hot takes #these are my strong strong opinions #doesn’t mean they’re objectively correct or anything #I just strongly believe in them #thank you

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europeanmusicals · 8 months

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Based on Daphne Du Maurier’s 1938 novel, by Michael Kunze and Sylvester Levay, two of the most successful German-language musical theatre creators, ‘Rebecca’ has already captivated more than two million people worldwide in hugely successful productions in 12 countries and 10 languages. ‘Rebecca’ had its world premiere at VBW’s Raimund Theater in Vienna, Austria, in September 2006, where it went on to play to sold-out houses in three seasons, and where it is currently enjoying a hugely successful revival. Richard Carson (Maxim de Winter) has appeared in several major West End musicals including‘Les Miserable’s, ‘Joseph and the Amazing Technicolor Dreamcoat’, ‘Mamma Mia!’ and ‘Miss Saigon’. Lauren Jones (Second Mrs de Winter) recently appeared in the West End production of ‘Bonnie & Clyde’ as Trish and alternate Bonnie. Kara Lane (Mrs Danvers) was Alice in ‘The Addams Family - the Musical Comedy’, Winifred Banks in ‘Mary Poppins’, Reno Sweeney in ’Anything Goes’ at Kilworth House, ‘Mary Magdalene’ in Jesus Christ Superstar’ and Magenta in ‘The Rocky Horror Show’. The rest of the cast are: Alex James-Ward, Piers Bate, Sarah Harlington, David Breeds, Amanda Minihan, Neil Moors, Nicholas Lumley, Nigel-Joseph Francis, Elliot Swann, Scott McClure, Emily Apps, Melanie Bright, Gail MacKinnon, Tarisha Rommick, James Mateo-Salt, Rosie Glossop. Rebecca will play a strictly limited engagement from 4 September – 18 November 2023.

[Source: Charring Cross Theatre Newsletter]

#rebecca the musical #rebecca das musical #rebecca musical #west end #musicals #musical theatre

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neednottoneed · 5 months

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Kunze and Levay call you up and say "Hey, we've decided that we don't want to bother with Rebecca anymore. You can take over -- you have full rights to stage an English language production (or any other language production of your choice) and you can do whatever you want." What do you do?

Oh I wish!!

1) Change the translation. I won’t say redo the whole thing because there are parts I do like, but I’d want to change some things I’ve noticed. I’d also like to add more dialogue from the book and make it a slightly closer adaptation.

2) on that note, change the manner of Rebecca’s death back to what it was in the book and not the Hitchcock movie.

3) Transfer it to a full west end theatre with the London cast because they are amazing.

4) for fun, get my local community theatre to do it so I can play “Ich” just once 😂

#thank you!#margridarnauds #answered asks #rebecca das musical

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margridarnauds · 3 months

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Despite considering myself to be rather knowleadgeable about Marie Antoinette and her various endeavours and portrayals in media, I have to admit that i never heard of the Musical. Would you enlighten me about it and maybe advise where to watch it? 😁😁😁

Of course!

So, Marie Antoinette das Musical.

Based on a book by Shusaku Endom, premiered in Japan in 2006, as a collaboration between Michael Kunze and Szilvester Levay, known for Elisabeth das Musical, Mozart das Musical, and Rebecca das Musical, and went on to premiere in Germany in 2009. Both productions didn't do particularly well, even though they did have cast albums released. (I...still have to translate the German libretto, if only for the sake of keeping up my German skills.) There were some major structural flaws -- Marie Antoinette was too bitchy (throwing an actual temper tantrum, like a child, so that Louis would dismiss Necker; tossing champagne at a poor woman's head because she interrupted her ball and Marie thought it would be funny), her sympathetic qualities were either downplayed or erased in favor of her love affair with Fersen, which was reduced to "Good Man In Love With Bitchy Woman Who Knows She Isn't Good Enough For Him, But Don't Worry, He Loves Her Anyway", but the justifiable reasons for the Revolution were reduced to "Bitter poor people want Revenge and Go Against God", it had a bloated plot with too many characters, etc. etc. etc. It was, and I'm saying this as someone who ADORES messy musicals, one of the single biggest disasters I've ever forced myself to sit through, in the sense that it wasn't even particularly *entertaining.*

But, in 2014, an international crew got together to do the Korean production, and they essentially rewrote the whole thing. Not a shallow rewrite either, they TOTALLY REWROTE IT FROM THE GROUND UP. Songs were cut and added as needed, sometimes being given to different characters or put in different scenes, superfluous characters were removed, the plot was tightened to focus on the characters involved, Marie was rewritten into a flawed, but understandable character, not a sexist caricature. This was the version of the plot that would premiere in Hungary in 2016 and back to Japan in 2018 and 2021, becoming an international success.

The musical follows two women -- Marie Antoinette and Margrid Arnaud, two women with the same initials who lead very different lives. While Marie lives a life of oblivious privilege, Margrid lives on the streets. She was educated in a convent as a child, as the result of a mysterious benefactor (her mother having committed suicide) but was tossed out on the streets when the money ran out, and she's had to live by her wits since then. The two of them meet when Margrid interrupts a ball being held at Palais Royal to celebrate Marie's return to society. Margrid calls for the aristocrats to pay attention to the plight of the poor, who are starving, but all Marie can do is offer her a glass of champagne, which Margrid, furious at the lack of understanding, tosses in her face, swearing revenge. She joins up with the Duc d'Orléans, who is running a smear campaign in order to convince the public that he should be the rightful king, and things go downhill from there...

Some of the strongest points in the musical's favor:

Strong female characters. A term that's often thrown around casually, but, honestly, I love the musical for how it deals with the rivalry between Margrid and Marie, because neither one is fully wrong or fully right. We understand why both of them make the decisions they do and how it leads them to where they are by the end, and they go through an entire arc together. Margrid in particular is one of my characters of all time for being a woman who is brilliant, an absolute gremlin, strikingly vulnerable, and evasive. She's flawed, she's aggressive, vindictive, and spiteful, but we're also allowed to see WHY she's that way and how thoroughly fucked up she is by what's happened to her in the past. She is someone who truly doesn't believe that she's capable of being loved or of loving someone else -- platonically or romantically, because every experience she's had of love ended in betrayal, even when she desperately wants it. Meanwhile, Marie is both trapped in a life of fame and fortune while also believing, firmly, that that is her god-given right. She never believes that her position is anything other than her right by God, even when it involves spilling French military secrets to the other European powers when the Revolution goes a little crazy. She adores her family, she adores her husband, but she's also in love with Fersen (which...I don't like historical Fersen, but musical!Fersen, I tolerate.) You feel sympathetic for her by the end, but she doesn't demand sympathy.

Great villain. I love the Duc d'Orléans in this musical so much. Louis Philippe Joseph was a complicated man historically, and, depending on the actor, he's a complicated man in the musical. He's been simplified, but you can still SEE at times that he isn't a monster -- he genuinely ENJOYS working with Margrid, he's a good boss, he isn't necessarily WRONG about certain things, even when he's selfish in the way he goes about it (there's a great moment in the 2018 Japanese production where he sees Marie reject a peace offering from Cardinal de Rohan, and you can just SEE him dying inside, like "oh, God, she actually DID that." Margrid's eventual break with him isn't even that he betrayed HER or that HE changed his goals...she did. Which makes for a much more interesting dynamic than "evil man manipulates woman and then betrays her."

There's also a masquerade scene where they go undercover together. And yes, I went batshit over this and have still not recovered. (Please note that they are being used to contrast Fersen/Marie here, to make the ship bait worse.)

They're just. Like this. With one another. In one of the Korean productions, you can clearly hear her call him "Philippe" which murdered me.

I don't have any gifs of this scene without text on it, but the look on both of their faces by the end is...

Anyway, semi-canonical (depending on the production/actors) villainfucking angst, who is doing it like them?

The costumes are great (with the exception of the Hungarian, sorry Hungary.)

(The same dress from the same scene in both Japan and Korea)

It is bizarrely accurate in some ridiculously minute ways, like the Toho production actually DOING A RECREATION OF THE HISTORICAL MARIE'S BED.

Historically accurate pamphlet, shown in a projection while Orléans is singing about his strategy to turn the people against her. I legitimately had to pause the screen the first time I saw it because I couldn't believe my eyes. (Yes, I now pause it on each stream.)

Like, don't get me wrong, it still gets a LOT wrong, or changes details around to make 9 years of someone's life fit into a two hour musical, but both the Korean and the Japanese productions DO care about details in ways that higher budget films and TV series often don't.

And, of course, some killer songs. (Orléans' villain song, Marie's song, Act 1 finale -- all from the Korean, since they are slightly better at putting songs out, with the Japanese trailer.)

The Korean and Japanese bootleg environments tend to be...stricter than Broadway -- there have been proshots released for both at various times (the Toho production is actually available to buy if you have a Japanese proxy who can send it to you), to the point where I can't *say* if I have access to the Korean, but I have bought both DVDs of the two Japanese casts and have been known to stream it. If you're interested, I'm always willing to schedule something, especially since it's been ages since I've done anything like it.

#marie antoinette the musical

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the-tzimisce · 8 months

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going back through wien (!!!) for about eighteen hours to see rebecca the musical (that city is really still sucking at the kunze/levay teat like thirty years later. but i'm the one buying a ticket so I shan't say more) anyway I'm obviously not going back to the garret so I just looked for a place near wien hbf and here. is the room. they are advertising.

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conquerthenight · 11 months

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My submission for @fitzrove’s European Musical Short Story Challenge!

In honor of Pride Month, here’s another modern au of Rebecca but with even more gay.

#rebecca das musical #trans!maxim de winter #bisexual!ich #bisexual!frank #mrs de winter #maxim de winter #frank crawley #rebecca’s mentioned briefly #sorry guys #rebecca’s a TERF #fanfic #writing challenge #650 words or less

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aliesafenlock · 4 months

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Today was Rebecca's Dernière (last show) in Vienna after a 15-month run. I'm trying to cope with by posting my photos from when I finally got to see it on New Year's Eve. Since I know approximately 3 people IRL who are aware of this show, I would love to share them with you all.

#rebecca das musical #rebecca vienna #rebecca daphne du maurier #mrs danvers #musical theatre #european musicals #german musicals #sylvester levay #michael kunze #theatre photography #my photos

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andrewlloydwebber · 2 years

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positioning maxim de winter as a good character who is solely rebecca's "victim" and otherwise a morally upstanding person is just a blatant misreading of the novel's text. he's not a good husband to his second wife. the unnamed narrator is not and will never be a "girlboss", she is also a deeply fucked up individual, so traumatized by her insecurity that she's willing to do anything to be loved. and her discovering the truth about rebecca and suddenly feeling amazing and empowered is a horrifying moment and her actions over the rest of the book (covering up the murder, hoping the doctor is dead) prove just how sick and twisted she is, all because she hates herself and ties her entire self worth to maxim's love. the second chapter of the novel shows that both the narrator and maxim will never really recover from what happened at manderley and rebecca's "ghost" is still haunting them even if they can't speak it aloud. of course, it's a gothic novel so it's fun to have fucked up characters and it's not like i think every character in fiction needs to be a "good person". but despite the fact that i love some of the music and the sets and costumes are amazing, the creative team tried to make it a grand romance between ich and maxim and ends with them embracing triumphantly and includes lines like "the love that set me free" in reference to their relationship. kunze, levay, et al may have adapted the events of rebecca but not the spirit of the novel.

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gayvillainera · 2 years

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First full-length fic on the books, babes! Hope y'all like some toxic gothic vampire lesbians having some fucked-up sex.

Rebecca (du Maurier/Levay & Kunze) | Rebecca/Mrs. Danvers | E rating | Prequel to @neednottoneed's Schatten der Nacht

On a good night, Rebecca was a difficult woman to pin down; tonight, she seemed to be making a game of twisting away from my arms every time I tried to attend to her, only to draw close again, laughing like a drunk, as soon as I’d given up and turned away.

It was one of her acts; I knew she was sober, after all. She wouldn’t have a drop to drink until later tonight, after she’d coated her stomach with my blood to insulate herself against the toxins of the alcohol. A strange new bane she’d discovered two days after she’d woken back up – without blood in her veins, the pain of drinking quickly outpaced the pleasure. And so on nights like tonight, when she’d be out with friends or strangers and wanted to enjoy the plentiful alcohol men would buy her, she’d always come to me first.

I sighed at her antics – my response was part of the game, not true annoyance. But something curled under my skin as she flitted about, a feeling I didn’t like to think too much about. I was used to her drinking by now, but this feeling had started to crop up between the moment of knowing and the moment she’d begin. I couldn’t look too long at the way her eyes glazed slightly in anticipation, the distracted way she played with my hair as she stared at my skin. I wanted to dismiss it somehow, because it still unnerved me too much coming from my Rebecca.

She had told me once that she could see my pulse in my throat now – not just the soft twitch of it under my skin, but as a pooling, pulsing knot of energy, an irresistible glow drawing her in like a moth to a flame. From the way she’d laughed after, I wasn’t sure if she was serious, but I remembered those words in moments like this, when she had that new look in her eye.

“Danny…” she purred, then trailed off. She came closer and dipped her head. I braced myself, gripping the edge of the vanity, but she merely laughed again, the cool air of the sound tickling my skin, and darted her tongue out as though marking the spot for later.