#Sarah - Graf chemistry overload

[someoneunknownhuh]

Totale Finsternis, Stuttgart 2023

Nein, es wär' verkehrt, den Kopf zu verlier'n...

[merinathropp]

Tanz der Vampire - Hamburg 2017: Detailed Breakdown

It’s official, folks: I have finally, finally seen Tanz der Vampire live. After 17 months of hoping, dreaming and saving - my little dream came true, and I flew to Germany to see the show. So! In loving memorial, I’ve written up a stupidly long review of my experience below. I saw the show twice, but have combined the entire experience into this one post. If anyone has a particular question about a scene or song, please just shout at me :) I’m up for any excuse to talk more about this show, being the obsessed fan that I am...

First night - from stalls left Second night - from stalls front row, right in the middle Graf von Krolock - Mathias Edenborn Alfred - Tom van der Ven Sarah - Maureen Mac Gillavry Sarah - Anja Wendzel (alternate)  Professor Abronsius - Victor Petersen Herbert - Kiryll Zolygin (alternate)  Magda - Sara Jane Checchi Chagal - Jerzy Jeszke

GENERAL

- This trip was worth every dang penny. Hands down one of the greatest musical theatre experiences of my life I encourage everyone to save up, spend the money and fly to Germany to see this musical live, at least once your lifetime. You will not regret it. 

- What blew me away the most about my entire experience was coming to the realisation that Tanz der Vampire is a legitimately spectacular musical at its core, more so than I had ever given it credit for. Everything comes together to create an entirely immersive experience that sweeps you off your feet for 3 hours, and a shaky camcorder bootleg can never, never match its true glory.

- Orchestra was full and luscious, to my ears. No idea what all the complaints are about, Hamburg has definitely pulled out all the stops in this regard. There was a killer pianist banging out some stuff I’ve never even noticed on the CD! - The lighting was pure magic. My word, this show does not get enough credit having some of the most awe-inspiring lighting I think I’ve ever seen onstage. Highlights for me were the gleaming moonlight that floods the back of the stage during Tanzaal and the eerie golden glow of sunrise in Carpe Noctem.

- The sets are unearthly and gothic and stunning; the rotating cottage blanketed in snow, the graveyard swimming in mist with its wrought-iron gates in silhouette, the cavernous ballroom with its winding staircase, the maze of bookcases draped in cobwebs and dust...gosh, there are too many to name. I’ve always leaned more towards the Kentaur Revival sets, but having seen these ones live, I’m starting to seriously reconsider my opinion.

ENSEMBLE

- Is it just me, or are the German casts always uncannily brilliant when it comes to their mirror doubles? I swear this is one thing the Russian casts never managed to pull off. Even from the front row, it still looked like Alfred’s reflection was dancing with an invisible Herbert. And the trio at the end were perfectly synced, right down to drawing breath in unison. Absolutely ingenious.

- Roten Stiefel was sublime, especially the first time I saw it. The ensemble seemed to be dancing on air, every movement just flowed and Sarah literally flew around the stage like she was on cloud nine. I don’t think I breathed for the entire sequence.

- The coordination of the choreography in Ewigkeit blew me away. You just don’t know where to look during that number, it’s such a visual spectacle! Like a literal load of rotting corpses, each trying to keep themselves in one piece long enough to feed. One guy clearly had a case of Nearly-Headless Nick, one guy kept ‘popping’ his arms back into their sockets, one lady was totally spastic - they’re all so individual and creative!

- Nightmare!Alfred and nightmare!Sarah were haunting and lovely. Every movement between them was so gentle and full of longing. The way nightmare!Alfred looked at her, guh - tender and sweet, yet oddly aloof and mysterious, he was so interesting to watch! And his snarling at the end was vicious, like a mad dog or something, really chilling stuff. 

- Nightmare Solo 1 was replaced by HERBERT HIMSELF! Yes, it was HERBERT who appeared on top of the bed and introduced Carpe Noctem, cementing his ‘puppet master’ role 100%. He was so graceful and controlling throughout the entire number, moving his hands like he was ‘guiding’ each dancer into place. And I loved that the replacement meant that Herbert was the first and last character to leave the nightmare, he remained on the bedpost gazing down at sleeping Alfred until the very end of the singing, before drifting off upstage. Ugh, so many new Carpe Noctem headcanons...

- I was disappointed with our Black Vampire. He never threw himself into his movements, there was no power or danger in anything he did, just...perfectly okay dancing, and one really odd lacklustre jump. Bit of a let down :(

KROLOCK (Mathias Edenborn)

- You know how everyone in the fandom says you never forget your first Graf? Well...shoot, turns out they’re absolutely right. Mathias was magnificent and blew all my expectations away; I’ve never thought much of him, in the videos I’ve seen, but watching him live was an incredible experience. He was electrifying from the moment he glided onstage, and commanded the attention of the whole theatre. His Krolock was refined yet animalistic, powerful yet broken, charming yet icy cold, passionate yet subtle. He could also be raw and human when he needed to be, and for the first time, actually made me FEEL for the character. And he has this massive booming powerhouse voice to boot.

- During Vor Dem Schloss, he was very intent on Alfred, standing right up close to him and wrapping his cloak around his shoulders. He also did a lovely elegant gesture where he traced the outline of Alfred’s face with his fingertips. Tom was reacting so well to him, the two just played off each other beautifully throughout the whole scene, just this constant push and pull, like there was a magnetic force between them - brilliant stuff. That chemistry, I Am Here For It. 

- When he was talking about Die Fledermaus, he went: “Genial! (deadpan sarcasm, staring straight out into the audience) ...Ich war gefangen.” Ouch :)

- During Einladung, he examined the planks of Sarah’s door and ran his fingers over them in a mocking sort of way when he sang the word ‘sicherheit’ - like he was sneering at Chagal’s efforts and how feeble/useless they were.

- During Totale Finsternis, he did something very interesting; every time he turned away from Sarah, he seemed to be secretly struggling with himself, not from thirst, but almost as though he was overwhelmed by the sin he was committing, and feeling some measure of conflict over it? He’d reach towards her, and then shake his head and pull back at the last minute, and turn away from her with this broken expression and put a hand to his heart. Finally, at the very end of the song, when he turned to face her and saw she’d bared her throat - his face went entirely blank, cold and decisive, like he’d made up his mind in that moment. Such an interesting take on the number, turning it into a moral dilemma for Krolock even as he’s drawing Sarah into his web!

- During Tanzaal, at the very beginning when he first appeared at the top of the stairs, he greeted the retinue of vampires with a German word I couldn’t catch, and then held out a hand in Herbert’s direction, and announced “Sohn!” with great solemnity and I absolutely loved it :’) all the family Krolock feels.

- He had so much adorable interaction with Herbert throughout the rest of the number, it warmed my heart. They would laugh together and Herbert tapped his shoulder when Sarah entered the room, then leant over to say something to him and they grinned together like two gothic super-villains, it was AMAZING. When Sarah came down the stairs and revealed her full dress, Krolock glanced back at Herbert and raised his eyebrows, like he was saying “See? Told you she was something.” and it was the most adorable thing I’ve ever seen a Krolock do.

- When Alfred almost collided with him at the end of the minuet, he reached out a hand and sort of flicked/stroked Alfred’s open fingertips with one of his nails. It was so creepy and menacing, like Alfred was a mouse on a cat’s claw.

ALFRED (Tom van der Ven)

- Mixed feelings on Tom’s Alfred. I found his first performance dull as dishwater, he had this odd vacant expression for about 50% of the show and it was maddening how bland he made Alfred, even though his chemistry with Sarah and Krolock was fantastic. But! Low and behold! His second performance was much better: more reactive, more expressive, more everything. He brought the character to life, at least in most scenes, and won me over against all the odds. 

- I know I’m preaching to the choir here, but oh my word, he is the absolute cutest of cute Alfreds. If him and Sergey ever starred in Tanz together, the theatre would implode from sheer cuteness overload. He’s so small and slender with these big wide innocent eyes, you just want to hug him every time he walks onstage. He also puts on an oddly plaintive high-pitched voice for Alfred, which I found ??? initially, but I do think it works with his performance. Also: my relatives said his accent was distracting, but I didn’t notice. 

- I love, love, love how truly sincere and ardent he plays Alfred, during any interaction with Sarah. Wirklich Sehr Nett was a real love-at-first-sight moment for him: he spoke so softly to Sarah, he was tentative and gentle, but so genuine. He clearly meant every single word he said, and he gazed at her like she was the sun and moon and stars. My heart, it hath feelings.

- Another Sarah-related thing that he kept up through the entire show: whenever he was singing about Sarah, thinking about Sarah, even remembering Sarah in Ein Guter Tag (“Heut oder nie finde ich zu ihr!”) or Der Gruft (“Denk an Chagal’s Tocher!”) - he got this dorky, dreamy, crooked half-smile and gazed off into the distance like he’d been momentarily transported to Heaven itself and oh my gosh that smile could melt the coldest heart I swear...

- During Tanzaal, he didn’t recognise the Professor at first and just stood awkwardly beside him for a bit...before doing a double take, like “Oh Professor, it’s only you!” which was ever so cute. Then during his little step-toe dance across the stage, he picked his feet up SUPER HIGH like he was trying extra hard to be a Fancy Vampire and it made me giggle so much.

- Any Krolock/Alfred shippers in the house must have been having a field day, because he was so FOCUSSED on Krolock during Vor Dem Schloss, I don’t think he took his eyes off him for a moment. He’d take little stumbling steps towards him like he couldn’t help being drawn in, but then he’d shrink away and sort of ‘hunch’ in on himself in defence when Krolock came close. But when Krolock came right up behind him and shadowed him with his cloak (“Ich lehr dich was es heißt zu leben”), Tom actually turned his head over his shoulder and tilted his face up to gaze at Krolock, VERY reminiscent of Totale Finsternis (paralells!!!!! my favourite thing!!!!!) which was just awesome. 

- Der Gruft was a highlight of both shows, Tom was legitimately hilarious with perfect comic timing, but still so sincere that it broke my heart. When he dropped the hammer, he gazed out at the audience in total horror for a few seconds, before squeaking “Ich kann das nicht” in this tiny high-pitched voice that made the audience laugh so much. Then he delivered “...Aber ich kan dass troztdem nicht!” even higher and squeakier and the audience laughed again and a lady near me went awwww, because it was just so pitiful and sweet.

- I also liked that he went to stake Herbert’s coffin first, out of complete instinct, before the Professor called him back. Interesting that he would consider Herbert most dangerous on a purely subconscious level, even before the events of Wenn Liebe. 

- During Draussen Ist Freiheit, when Sarah booped his nose with her finger, he blinked and raised his own hand to touch his nose in wonder, like “Oh, she nose-booped me :3” and it was just. so. freaking. adorable. 

- HE TRIED TO KISS SARAH AT THE END OF DRAUSSEN, A PROPER KISS ON THE LIPS, MY BRAVE SON...and he mirrored the gesture in the Draussen Reprise as well, right at the climax of the song, he went for a big sweeping kiss right before Sarah bit him. My heart, it hurts. #GiveAlfredHisFirstKiss2k17.

- He also had a fantastic reaction to the bite. He was choking and lolling his head, jerking from side to side and crying out but not quite screaming; he made it believable that the Professor would never hear :(

- His voice has improved, he belted out the latter half of Fuer Sarah with all the warmth and passion in the world. He had a huge grin on his face, and after the end of the song, he let out his breath and collapsed back against the bed, like The Emotion had just overwhelmed him completely <3 

- During Wenn Liebe, his delivery of “Ich zittere niiiiieeeeeee!” was hilarious, his voice was so squeaky and he drew out the last vowel like pleeease noooo.

- He spent the whole dance with Herbert going ‘oof!’ and ‘ah!’ and brought out the protective mother bear in me, because he’s such a delicate guy and needs to be Handled With Care but alas, this is not a concept Herbert understands...

- One acting choice I will never understand from Tom: his very mild, bland facial expressions during certain scenes where the focus isn’t placed chiefly on Alfred, e.g. the whole Chagal-vampire-staking sequence and Wenn Liebe. It’s almost like he doesn’t think anyone will be watching him, during these scenes? But I find it very distracting. For example, when he and the Professor discovered Chagal was missing, he looked...vaguely surprised, rather than shocked/terrified. And during Wenn Liebe, most of the time he’d just stare blankly out into the audience, even when when Kiryll mock-kissed him or declared his love. I think Alfred’s reactions are a HUGE part of what makes these scenes work, and it feels like something is missing without them.

HERBERT (Kiryll Zolygin)

- Kiryll was fine, but he wasn’t my kind of Herbert. He was cold, vain and predatory. He strutted around the stage like a peacock, smoothing his hair back and sticking his chin up and posing just like his father. Very refined, very confident, very intimidating; definitely the Graf’s son through and through. There was nothing amusing about his Herbert, he was cool and prowling and Wenn Liebe played like a sinister game of cat-and-mouse. 

- He was also hard to read at times; his expressions were oddly closed-off and there were times when I honestly didn’t know what Herbert was supposed to be thinking/feeling. When he saw Alfred for the first time, he simply looked steadily at him, his face smooth and expressionless. Even throughout Wenn Liebe, he didn’t seem very besotted with Alfred, just amused - which made his groping extra-creepy and his declaration of love seem more ironic than sincere.

- Speaking of ironic, can someone tell this guy it’s okay to cosy the heck up to Tom when they’re dancing because I swear he was keeping about 3 feet of space between their chests and idk why Herbert von Krolock would ever keep Alfred at such a chaste, safe, heterosexual distance from himself...

- He had the sweetest, most delicate, most Herberty-y giggle I have ever heard in my life, it was perfect and made me smile every time I heard it.

- During Vor Dem Schloss, he did this amazing piece of catwalk nonsense in front of Alfred, striding back and forth like “yes admire me human, behold my glory” whilst Tom stared in bewilderment. My poor son, so confused :)

- He cracked appallingly in Carpe Noctem, both nights. I physically winced. The second time I saw him, he also broke off one of his notes way too early, which was obvious to everyone because Magda held hers perfectly. Poor guy.

- During Wenn Liebe, he mocked-kissed Alfred in the middle of the dance, but Tom didn’t react at all, and I felt bad for him because that’s actually quite a daring thing to attempt, but Tom’s lack of reaction made the moment fall flat. 

- This is a bit yikes but I have to mention it: he very slowly and obviously licked his lips whilst watching Alfred run away into the audience, which definitely takes the jackpot for Creepiest Herbert Gesture Ever.

- During Tanzaal, he came down to the front of the stage and looked RIGHT DOWN AT ME THE AUDIENCE and sneered down at us like we were all Mere Peasants who were unworthy of his presence. I actually shrank back in my seat a bit, it was incredibly intimidating! 

- One VERY interesting addition: he deliberately turned around and watched Alfred dragging his Ewigkeit vampire off-stage to steal his costume. He didn’t react much, just gazed after Alfred like "Hmmm..." - but it was interesting nonetheless, I’ve never seen a Herbert do that before. 

SARAH (Anja Wendzel)

- Both my Sarahs were fantastic, but Anja truly did steal my heart. Bursting with energy and emotion, radiating chemistry with anyone she shared the stage with, and her belt was to die for (plus the sweetest, prettiest head voice too).

- She was such a SULTRY Sarah! I couldn’t believe how flirtatious and sensual she was with Alfred during Wirklich, it was almost too much to watch, and Tom’s Alfred was a complete wreck by the end of it :’) she was also very teasing during the bathtub scene in Act 2, waggling her finger and leaning in towards him when she talked about having one dance free. Poor Alfred.

- During Draussen, she also did this hilarious thing at the beginning of the song: she’s tiptoeing around outside, and suddenly Alfred starts belting “UNTER DIESEM DAAAACH” and she panics and gestures frantically like “nonono shhhhh SSSHHHH!!!!!” and it was so fresh and absolutely hilarious :)

- During Red Boots Ballet, she’d gaze off into space and move in perfect unison with her dance double, lifting her arms a bit or swaying backwards and forwards, basically play-acting the entire dance sequence going on behind her.

- During Gebet, she did something so beautiful, it moved me almost to tears. When Rebecca started singing, she froze in place and her face lit up with recognition, and she whispered “Mama!” so softly. Then she unfolded her shawl, knelt down to pray, but as she prayed, she was shaking her head and trembling and fighting back tears, and finally she couldn’t stop them any longer, and she stopped praying and started sobbing - actually, properly sobbing. It was almost like she was grieving the life/family she was leaving behind. And then as the song built and built, she stopped crying and got this new expression of strength and determination, like she’d finished her mourning, and now she was ready to make her move and start her new life, and finally by the end of the number, she was belting out the final notes with so much passion, her voice was exploding off the stage in front of us, and it was breathtaking. 

SARAH (Maureen Mac Gillavry)

- This woman had a belt that could rival any Elphaba, and her Sarah was so vivacious and likeable, I think she made the entire audience fall in love with her alongside Alfred, which is my very favourite kind of Sarah tbh. 

- She ADORED Alfred, she seemed so giggly and awww over him during their interactions together. Even during Draussen, she clearly still thought he was sweet, she bopped him on the nose and it was simultaneously super cute and a bit patronising all at once - such an effective little gesture! 

- She also made me tear up when Chagal was beating her, she full-on sobbed and cried out at the top of her voice, and then begged him with clasped hands. It was very upsetting, the most harrowing rendition of the scene that I’ve ever watched, she was so raw and desperate in that moment, you just knew you’d do anything to escape if you were in her shoes. 

PROFESSOR (Victor Peterson)

- This guy was was...argh. Not my cup of tea. A very unsympathetic Professor, he came off as plain selfish and annoying. His self-obsession was unbearable in Wahrheit, there was nothing endearing about it at all, he was so shrill and simply came across as obnoxious and over-the-top, like he wanted the whole world to worship him. And half of his jokes didn't land, I swear the audience laughed more at Tom during Der Gruft than they ever did at him.

- His relationship with Alfred was downright cruel in places. He pushed him around and hissed at him really aggressively and pinched his cheek and gosh it was just Not A Good Time. No wonder Tom struggled to show any kind of real devotion to this guy; I usually live for the Professor/Alfred dynamic because it’s so heartwarming, but this was...gosh. This made me almost (almost!) want Alfred to leave him and serve Krolock & Son instead.

- His voice was brilliant. I cannot deny this, it was brilliant. He handled the falsetto sections with absolute confidence and every note was perfect.

MAGDA (Sara Jane Checchi)

- Magda belted stunningly twice...and belted badly twice. I think perhaps she had a bit of a cold, as she seemed to be straining on some of the high notes. 

- That being said, her portrayal was wonderful in every other regard; she was so sweet, so cautious and observant, and seemed to really like Alfred. She spent the whole of Knoblauch trying to get his attention, and seemed to find his ogling very endearing and sweet. Strange, because the patrons of the inn also ogle her like crazy, and grab her skirts etc. which she clearly hated. Maybe she saw Alfred’s ogling as more involuntary and therefore more innocent? (though tbh Tom could make robbing a bank look innocent, so maybe that’s moot point)

- She also gave Chagal a few little smiles during Nie Gesehen which was very unexpected, almost like she was disapproving of his behaviour on principle, but deep down thought he was quite amusing. Interesting take on that relationship.

- During Wahrheit, she and Rebecca were signalling back and forth, across the yard; Rebecca wanted her to eaves-drop on Alfred and the Professor whispering together, but Magda couldn’t make out the words as she was too far away. I love the idea of these two characters being in ‘cahoots’ so to speak.

CHAGAL (Jerzy Jeszke)

- I want to mention that Chagal was not only hilarious, but also slightly less lecherous than other performances I’ve seen. His voice was also fantastic, a very strong full sound, which made his more honourable moments (e.g. “Ich bringt sie wieder!”) surprisingly impactful. Good job, my dude, good job.