A musician celebrates his comeback after being »cancelled« and wants to save his lover from a greedy producer. A promising newcomer starts her well-deserved solo career and accuses her ex-partner of manipulating and exploiting her. An uncompromising editor selflessly fights for the rights of the oppressed with her feminist newspaper. And a young journalist fearlessly brings the truth to light and puts the bad guys behind bars.
Everything seems to be clear-cut: They are the good guys who already have the success they deserve or who, having been wronged, are bringing perpetrators to justice and fighting their way out of victimhood and (back) to the top. But is it really that simple? After all, a PR expert also pops up, and he’s supposed to stage and sell the narrative of an innocent person persecuted unjustly...
So who used whom in this story, was it really about love and the search for the truth or just about fame and power? What was emancipatory appropriation, what was exploitative expropriation and where exactly is the line between the two? Who profits the most from which narrative - und whose narrative prevails in the end?
In Slippery Slope director Yael Ronen, composer Shlomi Shaban and the ensemble relish investigating the desire for simple truths and the manipulative power of a good narrative strategy. A scathing musical revue about art and power in a post-factual society.
In English with German surtitles
Note: The production uses stroboscopic lighting effects, fast and flickering sequences of images, which may have negative effects on light-sensitive viewers.
Invited to the 59. Theatertreffen 2022
Photo: Esra Rotthoff
Stage photos: Ute Langkafel
»The five [Emre Aksızoğlu, Anastasia Gubareva, Riah Knight, Lindy Larsson, Vidina Popov] can all really belt out an excellent song, which they do, one timely and versatile Shlomi Shaban hit after another moving the action forward, to much applause, and ultimately even a standing ovation after the earworm finale. It's a hell of a lot of fun.«