I asked Michael about his experience working with someone as eccentric as the great Polish director…

Rebecca – The Story By Daphne Du Maurier

First, 2 years work on the libretto, then 2 more years on Sylvester Levay’s compositions, and a dream team began to form around sensational production plans. American director Francesca Zambelli and British set designer Peter Davison took the reigns of the creative crew. And on September 28, 2006…

Rebecca – The Musical! World Premiere At The Raimund Theater In Vienna

Breaking news! The Broadway premiere of REBECCA will be on April 22, 2012!

Rebecca The Musical

Rebecca - Mrs. Danvers

All images by Alexander Christopher Wulz.

I went on to become a successful rock musician with even more successful self-destructive tendencies. Poor me. (But nobody had forced me to create!) Poorer Amadeus! His upbringing was much more dramatic and Michael Kunze tells us all about it in his Hit Drama Musical Mozart!

On this page, I’d like to take a closer look at the historical version of Mozart’s life story. We might not hear too much about the real person but rather find a description of the legend as his contemporaries wanted to see him. But this will give us a good basis for the upcoming post on Michael’s work – a deeply emotional interpretation of Mozart’s life in the context of the artistic spirit’s timeless struggles.

Wolfgang Amadeus Mozart

Timeline Of Wolfgang Amadeus Mozart

What Instruments Did Mozart Play?

Clavier (pianoforte), harpsichord, organ, violin and viola.

The Music

The Operas

Mozart Comedy by Victor Borge

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1. The penetration of the “fourth wall”
Similar to the engaging solo performance of a theater darling, the musical author must create scenes when the actors can penetrate the “fourth wall” between stage and seating area and connect intimately with their audience.

2. Dance
Right from the start of the story selection process, the author should consider the potential of adding a couple of exhilarating dance scenes to his work.

3. Multiple locations
Music transcends space and time. Musical theater allows for the creation of dream scenes, unreal settings and simultaneous action in different location. The theme of a Drama Musical should utilize the strength of this special element to its fullest potential.

When the main character strives for a certain goal, and everything in his path presents growing resistance, we have a classical conflict situation. And drama means conflict!

In the Drama Musical “Marie Antoinette”, the confrontation of the spoiled, rich and superficial Queen of France with a freedom-hungry beggar girl yielded a host of conflict situations without which the otherwise boringly passive life of Marie Antoinette would have been unsuitable for a passionate story development.

Continue with Part 4 – Special Elements

First – where do these ideas come from? A book or a magazine article, an episode of one’s personal everyday life experience, a story we’ve heard somewhere – all these are possible origins for a strong musical concept. However, there must be a necessary role for the music, or as Michael expresses it -

“Music can open the doors to a secret garden and show us another reality behind the obvious reality.”

Continue with Part 3 – Conflict Potential

One of the most powerful women in the world – “Sissy” was proud and unapproachable. She had it all, but all she wanted was to be free. Her obsession with recognition and independence drove the Empress to ruthlessness and cruelty toward her closest allies. She felt misunderstood and depressed – even suicidal…

Only one could fulfill her yearnings – death himself.

Elisabeth

Michael Kunze and Sylvester Levay created a timeless memorial for this extraordinary woman – a thrilling Drama Musical experience for generations to come.

Act I sets the stage for a review of Elisabeth’s life. Her assassin claims to have done her a favor by uniting the Empress with her ultimate lover – death. We learn about the marriage of the 15-year-old Sisi to Austrian Emperor Franz Joseph, on August 24th, 1853. Soon, the strict protocol at the Viennese Court, combined with constant criticism by her mother-in-law and the anxiety over delivering a male follower to the throne, drive Elisabeth into deep depression and suicidal thoughts. After finally giving birth to her son, she begins to fight for her independence and personal freedom. Under pressure, the Emperor concedes – against the will of his mother. Elisabeth is euphoric…

Act II finds the Austrian “Kaiserin” deeply involved in the pleasures and luxuries of her privileged existence. Against the tumultuous historical back ground of Hungary’s annexation to the Austrian empire, Sissi lives only the ‘high life’ while neglecting the needs of her people. But death has a plan…

Haunted by political intrigues, the Crown Prince takes his own life. Elisabeth is devastated and once again longs for the nearness of death. Her deepest desires find fulfillment in the events from September 10th, 1898…

Here are two video clips with the hit songs “Wenn ich tanzen will” and “Ich gehor nur mir”. Enclosed is also a link to buy the Elisabeth Musical DVD from Amazon.com.

• Is my idea suitable for a musical?
• Am I thrilled by this idea?
• Am I still excited about my concept – 1, 2, 3 years later?
• Am I willing to support this idea in the face of negative criticism and all kinds of other difficulties?

“Nobody should attempt to create a trendy musical. Fads and trends will pass. Don’t try to be clever or speculative, or even a copycat of current successes – listen to your inner voice only!”

“Ask yourself – would I personally love to see this idea on stage?”

Michael is in the process of creating English-language lessons for this DM Masterclass Workshop. For the time being, here is the original German version…

Continue with Part 2 – Idea Analysis

Based on the Daphne du Maurier novel, Michael Kunze’s German-language production played first in Vienna in 2006, with subsequent sold-out performances in Tokyo, Moscow, and many European cities.

Multiple Tony Award (Les Liaisons Dangereuses, Sunset Boulevard) and Oscar winner (Dangerous Liaisons) Christopher Hampton signed on to work with Michael on the English-language adaption of ‘Rebecca’.

Produced by Ben Sprecher and Louise Forlenza, this world-famous story of soul-searching healing and love at Estate Manderley will be directed by Francesca Zambello.

The video shows the title song by Susan Rigvava-Dumas, portraying housekeeper Mrs. Danvers’ grieving tribute to her late mistress. Observe how the creative use of all theatrical elements evokes Mrs. Danvers’ hostility toward the new wife, while inner agony over unfulfilled obsession dominates her most tender memories of Rebecca.