Review: The Connection Between One Of The 20th Century's Most Famous Demagogues And 19th Century's Composers Is Considered In DRESDEN

Wednesday 20 June 2018, 7:30pm, KXT Theatre

In an age of megalomaniac world leaders that have the world teetering on the edge of destruction, Justin Fleming's new work, DRESDEN, contemplates the connection between Adolf Hitler and Richard Wagner. As people's grasp of the difference between fantasy and reality is getting even more tenuous with reality television stars leading nations, public image taking precedence over ethical political policy, and governments run via social media, DRESDEN delves into one of the worst cases of an individual wanting life to imitate art.

Directed by Suzanne Millar, DRESDEN shows how two worlds are woven together, connected by music, specifically the music dramas of German composer Wilhelm Richard Wagner (Jeremy Waters). It is already well known that the German dictator Adolf Hitler(Yalin Ozucelik) favoured the 19th Century composer's work, using the overture to Rienzi to open Party Rallies, but the extent to which Hitler used the piece as a blueprint for his own rise to power under the pretext that he was returning power to the people is explored in this work. Wagner's rise from poverty as an underappreciated composer to gaining success and recognition through the assistance of Giacomo Meyerbeer (Thomas Campbell) is shown through his dictation to his young wife Cosima (Renee Lim) as she writes his memoirs and scenes from his life play out including encounters with troublesome tenors (Thomas Campbell) and absurd conductors (Dorje Swallow). Similarly, Hitler's evolution from disgruntled architecture student to one of history's most hated leaders that triggered the murder of millions is shown as the awkward teen affected by a performance of Rienzi interacts with his boyhood friend August "Gustl" Kubizek (Ben Wood) who attempts to caution his fickle friend that Rienzi is grounded in love, not just the overt power Hitler grows to crave.

Patrick Howe has created a raised stage with a central 'pit' to give the work height and also ensure that characters can loom over the audience and also retreat within the central space. Black tiles that line the floor and walls deliver distorted reflections and the inclusion of basic chairs ensure the aesthetic is kept clean. Costumes are the greatest indication of era from Cosima's bustled dress and Meyerbeer's extravagant coat to Hitler and Gustl's tuxedos and later his iconic military uniform. Max Lambert has incorporated Wagner's work into the soundscape for the work with some forming a background for scene changes and bolder expressions to replicate the performances of the work.

The core quartet of characters is presented with gravity by Ozucelik, Wood, Waters and Lim whilst Campbell and Swallow cover the peripheral roles as caricatures, giving the work some comedy relief. Millar has chosen to have the work presented in the performer's natural voice, avoiding any imitation of German accents, allowing the focus to remain on Fleming's text. She employs simple imagery to express the grand concerts and the famous destruction of Dresden.

Relevant in the manner in which modern events are playing out, with a pagent owner reality television star with a questionable business empire deciding that he too can run a country, it is chilling to see how Hitler saw a piece of art as aspirational ideas that caused death and destruction. Fleming also implies that Hitler's fascination with Wagner distorted history's impression of Wagner as an Antisemetic, as the leader ignored the fact that his favourite music drama gained success with the assistance of the Jewish Meyerbeer but this may be a degree of artistic licence on Fleming's part as documentation of Wagner's views that predate Hitler exist.

An interesting and intriguing and incredibly well executed work that does raise the question of how do we ensure people understand the separation of fantasy and reality.

DRESDEN

15 - 30 June 2018

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