Kurt Weill's jazzy opera tells the story of a trap town where pleasure counts as the only law. What seems like paradise quickly turns into hell.
Socially relevant musical theatre for one's own time – this was Kurt Weill's aim when he composed Aufstieg und Fall der Stadt Mahagonny. Out of the blue, three criminals on the run establish a new city, Mahagonny, a 'trap of a city' that thoroughly exploits humanity's vices and lust for pleasure, accumulating a fortune in the process. Gradually this paradise of consumption turns into a hell in which pleasure and lust form the only moral law and where everything is permitted as long as you pay. For Ivo van Hove, director of a new production of Mahagonny, the jazzy opera by Kurt Weill and Bertolt Brecht is more urgently relevant than ever. In a clean visual style, which focuses on the unclear boundary between the real and the virtual, he traces a link between the social crisis of the late 1920s and today. Van Hove: "We live in a time when divisions have never been so great. We are witnessing a new class struggle."
ca. 3h incl. interval
with Dutch surtitles