Finally!! Wonderfully filmed Krolocchi. He also does âSie gehĂśrt nur mirâ. His eyes rolling when Sarah offers resistance xDD
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@tanzdervampire
Finally!! Wonderfully filmed Krolocchi. He also does âSie gehĂśrt nur mirâ. His eyes rolling when Sarah offers resistance xDD
I donât know what Graf von Krolock and Graf von Krolock are looking at, but it surely must be very interesting.
In addition to being a truly wonderful Alfred in his own right, Thijs has been catering for all the ships recently (all of them!) over on his Instagram :)
Tanz der Vampire - watercolour portraits, pt. 2: Herbert von Krolock
I really went overboard with the details and the glitter XD. You can see the sparkling goodness in the detail shot. I used silver Finetec Watercolors by Colori to achieve the effect. It was the first time for me mixing it with normal watercolor and the result looks awesome. The sparkle is even more blinding in direct sunlight *haha*
I hope you like it. And I hope you also donât mind that Iâm jumping on his look from the russian production.
Graf âWhy is this peasant still talking, while I am so wonderfully fabulous?â von Krolock
There was a Broadway version called Dance of the Vampires, but mentioning this is a good way to get hit in the face by fans of the European version.
tvtropes.com, on the topic of Tanz der Vampire
Tanz der vampire aesthetic I made.
Totale Finsternis: Costuming âTanz der Vampire,â Part I
EDITORâS NOTE: I pride myself on accuracy, so when thereâs an error, Iâll do my best to correct it. As such, please see my updated post here!
Welcome back, everyone! As promised, weâre going to be diverging quite a bit from the shows and costumes Iâve looked at in the past in order to try something completely different. There are a lot of costumes here, so Iâm going to structure this a little differently and try to look at a whole production in each of the two posts, rather than splitting them up by character. Thereâs a simple reason for this: the costumes are so detailed and so original, that they either need to be taken as a collective, or else each costume needs a full postâŚand I donât think I could manage that!
But what I can manage is to look at the overall Vienna production and give my thoughts on this Ăźber-eclectic production with its classic camp, gothic horror, and rock musical elements. Iâm really glad to have been turned onto this musical, because as those who follow the main blog know, one of my other hobbies is a vampire-themed RPG. I admit that I had never seen the original Roman Polanski movie upon which the musical is based, but the musical is apparently a pretty good takeâand for good reason, since Polanski himself created and directed the original production.
I linked the plot summary Sunday in the preview post, so Iâm going to just jump in to some of the amazing costumes that were conceived by Kentaur, a Hungarian costumer who has worked on a number of European productions (many the equivalent of off-Broadway, but quite a few mainstage), as well as the ever-fascinating Sue Blane. Letâs take a look!
Where to even begin with designs like these! To start with, I absolutely love that the 19th century inspirations are on full display: weâve got hoop skirts, weâve got riding cloaks, weâve got morning coats, weâve got (in the background) large and decorative hats, and on the main character (Graf von Krolok as played by Thomas Borchert) at stage left there is what appears to be a hybrid of leather and brocade on a waistcoat. In fact, letâs take a little closer look at our main character in another scene:
This entire costume is spectacular, and shows the characteristic mixing of styles that makes a Sue Blane production so utterly fascinating to analyze. The waistcoat definitely has a combination of fabric and leather, giving the Graf a hard-edged appearance that even the pale makeup and prosthetic fangs wouldnât have accomplished on their own. The pants/trousers are leather-esque (I doubt theyâre entirely leather; as Iâve mentioned before, stage costumes need to be able to breathe a little bit because of the heat of the stage lights) and give off a very masculine feel. The riding cloak (more commonly a cape, but as I recall, a cape generally doesnât have as much luxury put into it) is simple in a way, but the rich crimson satin folds and bunches to create a mixture of light and shadow that is absolutely necessary in a dark production like Tanz der Vampire.Â
I also love that the color of the capeâs interior is so dark a red; remember that this is a production about vampires first and foremost. The crimson puts one in mind of the blood the creatures are compelled to drink in order to stay alive, and thatâs a good choice in costumery; playing on what people expect to see is not always a bad thing, especially when you want your production to have an element of pastiche, that is to say, an element of mix-and-match that you do not necessarily find with traditional theatre. The color also provides a fantastic contrast to the rest of Graf von Krolockâs costume, which is done in shades of black (and black does have shadesâŚtry matching a set of black socks for proof!), deep purples, and a few hints of very deep blue on the waistcoat.
The waistcoat itself is quite different, and I like it. Rather than a simple, straightforward cloth cut, Ms Blane has added a bit of beadwork that you might not otherwise expect in a male costume. As Iâve mentioned several times, however, thatâsâŚreally not unusual for her. Everything about this costume is designed to have a bit of a wow factor; it may not be the most visually appealing costume, but it will be the most visually stunning costume on stage. In that sense, it puts me in mind of Ms Blaneâs master production work on The Rocky Horror Picture Show: the idea here is to go for over-the-top camp rather than going for a specific style, as one of Ms Blaneâs costume sketches shows:
It would be wrong, however, to say there is no overall theming and that the costumes of the Vienna production are simply a pastiche of vampire tropes. The costumes for the vampires fit that mold, but I think there is a good reason for this: in dealing with a dark subject and trying to make it a bit humorous (this is a Roman Polanski production, after all), it is important to inject that humor into the costumes as well. None of the vampires look ridiculous, as the first still shows, but they are visually different. Itâs an effort to make the macabre into the mundane, and itâs done spectacularly wellâall the while maintaining the Grafâs look as intimidating and frightening.
The work on the costumes for the human characters is no less impressive and visually appealing. Take, for example, the red dress worn by the female lead, Sarah (Marjan Shaki). Itâs a hoop skirt that flows and bends and is in a shade of crimson that is rather similar to the cape worn by her captor, the Graf. Itâs not an exact match, however, and I canât help but wonder if thatâs intentional; by making the dress a bit lighter, thereâs a slight sense of innocence granted to the character that isnât present in the vampire holding onto her. Thereâs a closeup from another perspective, this time of the dress resting on a chair, that lets us look a bit more in-depth (adapted from a still from the production company):
While the stage lighting here gives us a more rust-color, the image from earlier does show that itâs a bright, vibrant red. The dress overall is in satin, which is quite appropriate for the era in which the musical is set, and it has a flowing effect as a result. The bodice/bust is decorated with quite a bit of beadwork, though not much in the way of jewelled adornment; that doesnât surprise me, because I associate a Sue Blane production with focusing more on beading than jewels (in part because she started out with low-budget productions, and designers tend to remember those lessons their entire career). Thereâs also a bit of fringing available, which I think is Ms Blaneâs way of giving a subtle nod to the stage productions of the era Tanz is set in. Early theatreâs easiest way of making a gown look fancy was to add fringing to the external portions of the dress, and in this case we see a bit of it on the hoop skirt/bell of the dress, as well as earlier on Ms Shakiâs arms where the dress is supported. Iâll have more on the Red Dress when I do the Paris review because itâs an even more spectacular example, but I thought it important to give some attention to the Vienna original as well!
Thereâs one more group scene I want to take a look at from the Vienna production. This one showcases quite a few of the human characters and itâs interesting to look at for a couple reasons. One, there doesnât appear to be quite as much pastiche as there is in the costumes for the vampires that started out this review, and two, Ms Blane has done something to the costumes here to give them a very muted appearance:
For those who are familiar with classic 19th century-set musicals like Les MisĂŠrables, many of these may look a little bit familiar. The common tropes of underclass clothing are present here, but through her use of color and design, Ms Blane is making quite clear just how ordinary these people are. There is little to no adornment on any of the costumes, and they are presented as they come: there are wrinkles in the barmaidâs apron, the jackets on the men appear to be dusky and dusty at the same time, and everything is just so much more simple than the costumes for the vampires or the Sarah character. Thatâs by design; when you want to draw a stark contrast, you need to do that through your use of color and fabric choice. Notice I didnât say any of these costumes look cheap because they absolutely do not. Rather, they look simple by comparison, and thatâs a positive. These arenât designed to be the more memorable pieces, and indeed that helps us to remember the pieces on Sarah and the vampires. The one exception here is the Alfred character (played by Lukas Perman) in the red coat; itâs still a relatively simple, muted design, but it does stand out and ties in to the red theme we saw earlier with Sarahâs dress and the Grafâs cape.
Also, I really dig the strands of garlic that are being worn by about half the ensemble members in this shot. Itâs a nice hat-tip to the classic trope of vampires being unable to stand the smell of garlic, and while it may be a part of the book of the musical, for Ms Blane to somehow make them appear even more silly than the idea of garlic as vampire-bane itself is really an accomplishment.
Tanz der Vampire is a campy, raucous musical that has a costume designer and set of costumes to match. I like that the vampiric costumes are a pastiche of different designs, while for the most part the mortal designs are quite a bit more subdued. In some ways, it makes me long for the Austrian production reviewed here to do a national tour in the United States; the English translation of Tanz spectacularly flopped on Broadway, but that had more to do with the timing (it debuted scant months after 9/11 when the theatre was already seeing reduced sales) and the controversy surrounding the casting and design (read a bit on Michael Crawfordâs role if you want more detail).Â
But I think that the musical as costumed by Sue Blane could do quite well here if ever given the chance. I know any number of people in the theatre community who got their start doing Rocky Horror midnight showings and paying homage to Ms Blaneâs costume designs in the movie and original stage show. There is real potential for this to become a cult classic in the States if it were put on by the right people and used the right costumesâpreferably an updated version designed by Ms Blane herself.
That about wraps up my Vienna review. Later on this week, Iâll take a look at another of the successful productions of Tanz, this time the Paris production entitled Le Bal des Vampires. It got mixed reviews from the foreign press, but Paris Match certainly enjoyed it and heaped praise on the costume design, so Iâm pretty sure itâs going to be an interesting review!
Stay tuned!
THE CAST FOR TANZ DER VAMPIRE (Ronacher, 2017)
Tanz der vampire gifs
I just love this musical oh my god â¤ď¸â¤ď¸â¤ď¸â¤ď¸âĽď¸âĽď¸âĽď¸âĽď¸âĽď¸
Sarah and Alfred - a tragic âloveâ story?
I know this will get long, but please, I beg you, read the whole thing. Something that I keep seeing is people talking about how Sarah doesnât care about Alfred, never liked him and could never like him or how actresses can decide how to play the part and I feel like we need to look at the libretto a little bit closer. Or, to be more accurate, for once think of a song that people seem to forget about.
I know that DrauĂen ist Freiheit is basically the âbigâ Alfred and Sarah song. It makes sense, itâs only the two of them, itâs a beautiful song etc. A song that happens quite a bit before that, though, and that is incredibly important to the show, is Nie gesehân, and people tend to forget about that song.
Iâm not going to translate the entire song and put the lyrics in here, but letâs talk about the general meaning for a moment: Alfred and Sarah are both singing about how nice and lovely the other is, how they have never seen someone like that. âSince we met, everything I do makes senseâ. âInstead of sleeping, Iâm wondering if you can guess what I am dreamingâ. âSince we met, I only feel youâ. âIf I ever fall in love then I will surely love someone just like you, or I will never restâ.
Sounds a lot like a crush, doesnât it? The important thing here is: Sarah is all on her own. She isnât talking to anyone else, not her mother, not a friend, not Alfred directly. She is talking to herself, which means that everything she says is meant exactly the way she says it. One doesnât say things they donât mean when theyâre talking to themselves.
Iâm not saying that her crush is as strong as Alfredâs is; it is obviously possible that Sarah is so excited about someone being there that she believes her feelings are stronger than they actually are. But that doesnât change anything about the fact that she does indeed like him and that the crush is there.
That changes later in the show, obviously, and most of what we see of her is Sarah wanting to get away from Alfred. I get that since we mainly see her wanting to get away from him, people ignore these three minutes in which sheâs crushing on him, but hear me out, yes?
In Du bist wirklich sehr nett, Sarah uses Alfred to get the bathroom. She really wants that bath. She likes bathing. The thing is: Alfred just happens to be there. Except from her parents, who forbade her to use the bathroom, it could have been literally anyone. Sarah didnât know it would be Alfred using the bathroom. She only heard someone in there and decided to take a chance. It could have been Magda. Hells, it could have been Abronsius. The only reason why itâs Alfred is because we need them to actually talk to each other so Alfredâs love for her makes sense. Sarah didnât use Alfred because itâs him, but because he was the one who was there.
Then we have DrauĂen ist Freiheit. What happens here is actually incredibly important. Sarah has never felt good at home, thatâs obvious. Sheâs been locked in her room for most likely years, and now her father even hit her after using the bathroom. Thatâs abuse. Sarah is in the situation of feeling so horrible at home that she simply cannot stay there anymore, and she wants to run with the first person who offers her a place to go to because anywhere is better than home. âI canât handle it anymoreâ.âIn there, Iâd suffocateâ. She doesnât say that to be dramatic. She truly wants and needs freedom, because sheâs in a toxic home.
The problem? Alfred doesnât get that. He is nothing but kind and he means well, Iâm definitely not denying that, but he doesnât understand that Sarahâs home is such a horrible place that she needs to leave. Instead of listening to her and trying to find a better solution, he asks her to stay home.
Think of it as if it was you: Youâre telling someone you trust that your parents abuse you, that staying at home is no option at all. But instead of trying to help you, the person insists on you staying with your family. Thatâs not what you want to hear, and, more importantly, it implies that this abuse is okay. If Alfred had offered to take her away, she most likely would have agreed. Itâs not that she desperately wants to go to Dark Vampire Dudeâ˘; she wants to be free, to get away from her parents. Krolock is just the only option she has, and so she goes for it.
The next time they meet is in the bathroom in act two. At this point, Krolock has been nothing but kind to Sarah. It doesnât matter if he means that or if heâs just acting in order to get an easy meal. The point is: Sarah is being treated with respect for the first time in her entire life. She can bathe, she actually gets nice clothes etc. And then Alfred walks by and tells her to leave all of that behind.
Remember Harry Potter who was happy to stay at Hogwarts during the holidays because it meant he didnât have to see the Dursleys? Yeah. Now imagine forcing him back there during the Christmas holidays. Literally the same.
Itâs cruel to ask someone to go back to a place where they only get hurt. Sarah sends him away, not because she dislikes Alfred, but because heâs asking something of her that she could never agree to. Heâs asking her to go to a place where she will be locked in again, where her father will hit her again for running away (since Sarah doesnât know Chagal has been turned).
And those arenât interpretations, itâs all literally in the libretto. Sarah and Alfred could have worked out, in some way. The tragic thing about them is that they actually care about each other (Nie gesehân, friends. That song is a thing and yes, you can definitely take it literally because nothing else would make sense); they just donât understand each other.
straight up my favourite moment in tanz der vampire
when orlock does his teleportation trick from the top of the house
into the room where sarah is taking a bath
his grand entrance is interrupted for a second as heâs like âoH youâre nakedâ
but then he just carries on making his case
VĂMPĂROK BĂLJA 10YEAR ANNIVERSARY
So, the Hungarian Tanz der Vampire production started in 2007, and the anniversary season was/is this year from the 1st of June until the 7th :D I went on the 5th and 6th(with wildlingcorner!) as well. It was fantastic.
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 Szemenyei JĂĄnosâ Herbert von Krolock (2017.06.08) (the photos are from an older show, not mine)
OH MY GOSH. He is one of a kind, thatâs for sure xD If I had to describe this Herbert with only a couple of words it would be âcrazy, uncontrollable and animalisticâ. So I guess many would find him too harsh or too much, maybe not gay enough (he doesnât have that gay-vibe, only craziness), but he is my favourite one xDÂ
So in todayâs show in âWenn Liebe in dir istâ he was phenomenal xD Incredibly too much but phenomenal. He was very intense, was snorting like a horse and trembling with excitement, power and desire. He even jumped like a kid on sugar when he started to sing about inviting Alfred to the ball and describing the event xD He was rough, harsh, and batshit crazy. That craziness was quite palpable when he came back after biting into the book. He stood behind Alfred, kept licking between his teeth quite obscenely and looking at poor Alfred like a predator xD And when Alfred turned he said âHellĂł babĂĄmâ (Hello, baby!) and started giggling like mad xD And during the rolling on the floor part he was randomly giggling like a madman xD That was the hysterical part. Then ofc the processor came and hit him with the umbrella :âD and he was stroking his aching behind after it, and then he went to the middle of the stage, hissed at the audience and left xDÂ
(and on Tuesday he even licked Alfredâs face xD)
I donât think his is a traditional Herbert, but I love the actor, love the character xD And it was wierd meeting the actor himself for an autograph because he looked like a normal guy xD After that performance I wasnât sure what to think xD But in his other role that Iâve seen him in he was quite intense as well. So he is that kind of guy I guess :D Does the part perfectly *-*
an older video of his Wenn Liebe in dir ist, which isnât as extra as todayâs was (itâs really nothing compared to todayâs xD), but still gives an impression of his Herbert :3
Herbert (Max Meister)Â with watercolour and fineliner
Will he ever get bored with pulling strange faces? (I hope not)
VĂĄmpĂrok BĂĄlja 10 years anniversary show(s) (6th and 7th of June)
So last Tuesday (and Wednesday as well) I returned to magical fantasy world where everyone sings about their feelings and cuts vegetables to the rhythm of the music. This time in Hungarian. Yes, I went to Budapest for the anniversary show and one ânormalâ show (both with @phantasmagoricfebruaryâ which made the whole experience ten times better). It was awesome. Worth every penny (also Budapest is a really nice city, if anyone wants, I can write about my trip as well).
While I loved Russian vampires, in Budapest you can really feel that theyâve been doing this for ten years. And I mean it as a compliment. Actors are great in their roles and the whole cast seems more like a giant family rather than people connected just through work. It was great. I donât have anything more sophisticated to say other than great. Anyway, obviously Iâm not going to end it at that, I just have to write like ten pages outlining every single song. I wouldnât be me if I didnât. Like always - all the magic happens under the cut.
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