There’s something fascinating and tumultuous about the fifteen years of the Weimar Republic in Germany. Following World War 1, Berlin was a unique crucible of extreme poverty, a disproportionately high proportion of youth and fertile ground for bourgeoning political extremism of both left and right. The decade and a half saw a vehement rejection of the norms and morality of previous generations which coincided with the rise of cabaret, and indeed Kabarett, as art forms.
Such a fevered milieu has attracted the attention of many creatives over the years although the results have often taken liberties. American composers Kander and Ebb filleted Christopher Isherwood’s semi-autobiographical novel to construct their iconic musical, Cabaret. It has become totemic for Weimar cultural happenings. It looms large over every subsequent musical about the era – which is problematic in that Cabaret isn’t particularly accurate as a representation of Weimar Berlin culture. The acts on the stage and the heterogeneous audiences of the Kit Kat Klub would never have been found within one single venue in reality.
Even though Fury and Elysium never escapes the gravitational pull of the 1966 musical, it does neatly sidestep that particular issue. Drawing upon a wider canvas, its declared intention is “to pay homage to six highly influential Weimar Republic icons who put their idiosyncratic stamp on Berlin”.