What is broken will be mended

THE MERRY WIDOW is Lehár's most famous operetta. How do you stage a piece like this and find a new approach at the same time? How do you approach the production?
Our WIDOW is set in Paris in the late 1940s. A destroyed city where there is a hunger for life, a city in the process of rebirth, but where the legacy of the past is still palpable, emotional and financial wounds that have not healed; added to this is the impending collapse of the fictional state of Pontevedro. And yet people are looking forward instead of backward. This can be seen in the costumes, some of which already lean towards the 1950s, especially those worn by Hanna Glawari, the “merry widow” herself. Hanna's costumes already hint at Christian Dior's New Look, which contrasts with the older fashions of the other characters. But also in the stage design: we are working on the ground of destroyed Paris, but something beautiful is being built again. In stark contrast to this is a huge, romantic chandelier that wanders through all three acts in different constellations, symbolizing hope and romance – perhaps also the old operetta bliss?

What is the most exciting thing about this operetta for you?
THE MERRY WIDOW has rightly conquered the world. First of all, there is the music: a score full of popular tunes, in which one moment of happiness follows another, accompanied by a lively and witty libretto. Music and text complement each other perfectly, full of irony and depth. It is a brilliantly written comedy with great dialogue. With Hanna and Danilo, the central lovers, Franz Lehár, Victor Léon, and Leo Stein have created theatrical characters who feel as fresh and contemporary as they did on the first day. They are the perfect couple. Both find the generally accepted social rules silly and know how to play with them skillfully; even more than that, they openly mock this society. The two are made for each other, but have a justified fear of reopening old wounds. It's about pride, hurt, fears, and desires for revenge – and how difficult it can be to overcome one's own inhibitions. Opposite them is a couple, Zeta and Valencienne, whose marriage has degenerated into a mere pretense – as well as Valencienne's lover Camille de Rosillon, whose dreams and romantic fantasies are shattered by reality. 

Operetta is often considered outdated and old-fashioned. What is your opinion on this?
Léon and Stein's dialogues are full of subtle situational comedy and, for the most part, no less exciting than Lehár's score. Only occasionally do they seem outdated. I have great respect for this piece, but it is 120 years old, and this is evident in some of the corny jokes and old men's humor. Despite its strong central female character, the piece was written by men, and this becomes very obvious in some places. I have thought a lot about how to defuse this without upsetting the balance of this comedy, which is so successful in other respects. Some things can be left out, of course; some things can be rewritten; some things can be tried to be put in a new light. The goal should be to ensure that the battle of the sexes in the play can really be fought on equal terms. I carefully dusted off the scenes for the Baden production, added a few new ideas, and sharpened the punchlines.

Is there an example?
For example, in the so-called “Weibermarsch” (women's march), in which seven men vent their frustrations about the mystery of women, reinforcing the historically popular cliché of the inevitably unfaithful “woman.” The word “Weib” used to be a neutral term, but today it is considered derogatory. Duden calls the term “discriminatory,” Wikipedia “a swear word.” Language changes, whether everyone likes it or not. I replaced ‘Weib’ with “Frau” (woman), which led to other changes, and added an encore for seven women in which they respond to the previous septet with male clichés. But the fact remains: these are clichés and generalizations. It is also a fact that the number is a hit. You can't and don't want to delete it – but you can try to cushion the problematic content. 

Thank you very much for the interview!