So, while checking out YouTube for the dances I also came across Fritz - The Musical, otherwise known as "Friedrich: Mythos und Tragödie".
Fritz and Wilhelmine song "Wir beide gehören zusammen" (she's cheering him up after a typical Dad dressing down, evidently): Wir gehören zusammen
Voltaire's song is, suitably enough, Voltaire being sarcastic about the Philosophe de Sanssouci collecting intellectuals, including himself: Bienvenue in Sanssouci
omg this is AMAZING I need all the lyrics to this! you can tell the people who made this were really enjoying themselves, and I did too :D
Fritz and Wilhelmine song "Wir beide gehören zusammen
okay, the people who made this musical clearly are 100% with our little group in both being fascinated by Fritz/Wilhelmine and being all "welp, that was sure one orientation and two sex drives away from a huge scandal!" (I especially loved the bit where he takes her hand and she sort of... looks at it...)
Voltaire being sarcastic about the Philosophe de Sanssouci collecting intellectuals, including himself
The hilarity of this song was, I fear, overshadowed by me going "But how can Voltaire possibly be a baritone? He's clearly a tenor!" (I suppose that would have made the balance off, given that both Fritz parts and FW seem to be tenors?) This makes me realize I totally think of Voltaire as Basilio in Nozze :P (Now watch real-life Voltaire have been a baritone, just to spite me!)
Die Schande Preußens (FW vs young Fritz) vs Ebenbild (aka Frederick the Great realises he's become just like Dad)
<3 also I thought FW having the beer mug in his hand was hilarious
Finale (featuring Katte's ghost bring at last peace to Old Fritz)
<333333 that bit where young!Fritz and Katte and Wilhelmine <33333 and they're all singing "Sanssouci," and my heart just melted <33333
It does look like fun. Mind you: it was evidently written for the big Fritz centennary in 2012 and hasn't been performed since 2014, which doesn't augur well for its staying power as a musical. I checked out a review, and as I guessed from the songs available on YouTube, and the cast list, it's two thirds Crown Prince Fritz, one third King Fritz (racing through Silesia 1&2, Voltaire implosion and 7 Years War. Fritz dies immediately post having won the 7 Years War, at the height of his fame. Also, presumably someone felt there needed more heterosexuality, so in addition to Fritz getting deflowered by the Countess Orzelska - who exists in the musical, as opposed to Heinrich and AW, who do not - , Queen SD gets to have an affair as well, with, wait for it...Grumbkow. When the reviewer mentioned that, my jaw dropped. I mean. What even?
Never mind, though, musical treatments of history were never famous for their accuracy, as Verdi was the first one to admit, and I can see why the librettists mostly wanted to do the crown prince tragedy with some addendum re: what that did to Fritz' psyche in the long term.
okay, the people who made this musical clearly are 100% with our little group in both being fascinated by Fritz/Wilhelmine and being all "welp, that was sure one orientation and two sex drives away from a huge scandal!
Between the lyrics including "we were born for each other", "one soul shared in two bodies" and "we against the world", I'm getting that impression, yes.
But how can Voltaire possibly be a baritone? He's clearly a tenor!
LOL. I've always imagined him as a baritone myself for some reason - Rossini's Figaro from Il Barbiere rather than Mozart's came to mind - but a tenor works for me, too.
Re: what he actually was, one of us will have to read a Voltaire biography one of these days, maybe they're quoting someone's description which could tell us whether he had a high or low voice at least. I don't think the Duc de Croy, who met him and Émilie in Versailles, ever mentions that part in his diaries. And while Voltaire occasionally acted in courtly drama performances - like the one in Potsdam for Fritz where he was Cicero and Heinrich was Catiline in his own play Rome Sauvée - no one on the Prussian side of things ever mentions him trying to sing, which would indicate he didn't. Thus depriving us from a chance of ever knowing for sure. :)
Queen SD gets to have an affair as well, with, wait for it...Grumbkow.
*blinks* *blinks again*
no one on the Prussian side of things ever mentions him trying to sing, which would indicate he didn't.
I am almost sure that the Émilie bio says that Émilie used to sing in Cirey productions, but now that you mention it I am not sure that it said Voltaire did. I am also totally with the headcanon of Voltaire not being able to carry a tune, I would find that utterly hilarious, actually :D
Okay, I've now found a summary of the musical, and the SD/Grumbkow affair isn't the only attempt at more het. There's also Wilhelmine/Katte, which is presumably why the Fritz tumblr fandom has issues with this one.
The framing narration is old Fritz the hermit, at Sanssouci, dictating his memoirs, when ghostly Katte shows up. Old Fritz sends the writer home and talks with ghostly Katte about his life, as ghostly Katte reminds him who he used to be. Cue flashback to his youth; FW is FW, Fritz and Wilhelmine sing their song, then it's off to Dresden, with Wilhelmine and Katte. Fritz gets deflowered by Orzelska, Wilhelmine and Katte fall in love, which Fritz isn't happy about. (Summary doesn't say which of them he's jealous of.) FW nearly beats Fritz to death, Fritz and Katte decides to flee, which is the Act 1 cliffhanger ending.
After the break, we catch up with Katte and Wilhelmine arguing about the escape plan. Fritz gets caught and incarcarated. Grumbkow uncovers that Katte was part of the plan. FW gives the execution in front of Fritz order. At which point Old Fritz interrupts the goings on, and it's clear he can't bear to remember the exeution and that this is the central trauma of his life. He takes over the narration and skips to his first year of Kingship, MT ascending and him using the chance to invade Silesia and becoming Frederick the Great.
Next, the musical skips forward to Voltaire's song and Fritz trying to live the artistic life at Sanssouci. Disaster ensues. Then Wilhelmine visits and is shocked about how he's changed. He gets an FW style temper outburst when she says so, and the ensuing 7 Years War is also a way to numb his unhealed grief, not that it works. He has the self realising song "Ebenbild" and finishes the war outwardly victorious but as a broken and now completly lonely man.
At which point the tale has caught up with the beginning. Ghostly Katte helps him to face the anbearable memory he's been running from all his life and then Fritz finally is able to let go, find peace and die in the final song, reuniting with Katte and Wilhelmine in the finale.
On the one hand, it's a bit Freud for dummies - i.e. peace comes when he's finally able to confront the most traumatic memory, his seaking military glory is solely because of Dad (I'm more with Mildred - Dad influenced how he sought it, but even if FW had been treating him like AW, he'd have become and expansionist monarch) - and of course the SD/Grumbkow (I assume this is how Grumbkow finds out about Katte?) and Wilhelmine/Katte affairs are gratituous heterosexualisation, bot otoh if I understand the summary correctly Old Fritz is on stage with Katte's ghost the entire time, arguing about his life, and as far as narrative ideas for a 2 hours stage version go, that's not a bad one.
Thanks for the summary! I had seen gifsets and screenshots and reviews (complaining about the gratuitous het) and such, but not a breakdown that lays out the plot structure so clearly.
Wilhelmine and Katte fall in love, which Fritz isn't happy about. (Summary doesn't say which of them he's jealous of.)
Let's be real. If Wilhelmine fell for Katte and let it be known, the three of them would have jumped all over a ménage à trois. Not saying jealousy would never have reared its ugly head, not with two of them deeply psychologically scarred and the third still a product of the 18th century, but if W and K were getting along, Fritz might well have seen this as an opportunity rather than something to complain about. ;)
FW, on the other hand...
Old Fritz is on stage with Katte's ghost the entire time, arguing about his life
I can't decide whether my reaction is <3 or </3, but either way, it hurts so good. Much like someone arguing with a certain best enemy ghost in 1780 and wondering where all his other ghosts are. :-(
Aw, thanks. <3. Note that back when all my fictional speculating started, with the scenario for Fritz: The TV Show for five seasons, I did bring Katte's ghost back in s5 as well. Let's face it, if you're covering Fritz for longer than Küstrin, it's pretty much the only way in which Katte gets to have some narrative space beyond a short part of it.
Not that I expect the musical to go into depth with this, because, you know, musical, meaning most stage time will be covered by songs, not dialogue, but I do find the Katte & Old Fritz combination a challenging and intriguing dramatic premise to pull off, if, that is, one has Katte as an actual character as opposed to a part of Fritz' imagination (in the way the tv show Six Feet Under uses its "ghosts" to comment as a post modern way to replace the dramatic monologue about one's innner state). I know the Mobster AU writer has done it, but that's a Fritz who actually has had therapy and has a current good life, and the one significant relationship he's in - with AU Algarotti - is encouraging and functional, and hence this old Fritz is already in a very different emoitonal and psychological state than the real deal would have been in the 80s (or even in the 70s, if you want to have ghostly Katte show up earlier). Because if ghostly Katte is an actual person, not a fragment of imagination, and if he shows up for longer than just to bring Fritz peace, wouldn't he be bound to have OPINIONS on the various people in Fritz' life and Fritz' relationships with them?
Let's be real. If Wilhelmine fell for Katte and let it be known, the three of them would have jumped all over a ménage à trois.
So what you're saying is that Grumbkow in Fiat Justitia has a point? ;)
wouldn't he be bound to have OPINIONS on the various people in Fritz' life and Fritz' relationships with them?
OMG.
Algarotti: I like him! Nice guy. Think he's up for a menage a trois with another ghost? Fredersdorf: Oh, that's nice flute playing. OK, I guess I approve of him, but you know, he's a commoner! Keith: Bro. You've got to talk to Pete more. Come on, this is ridiculous. Voltaire: ...really? Really??
Because if ghostly Katte is an actual person, not a fragment of imagination, and if he shows up for longer than just to bring Fritz peace, wouldn't he be bound to have OPINIONS on the various people in Fritz' life and Fritz' relationships with them?
Yes! And that would be super interesting. And challenging. He probably wouldn't have a problem with the Silesian invasion, he is an 18th century Prussian (who preferred a Prussian war to a French peace, no less), but he might have some opinions about the ways in which Fritz turned out like FW. It would be easier for him, I think, if he was there to watch the whole development, but if he just shows up late in Fritz's life, he might be in for something of a shock.
I know the Mobster AU writer has done it, but that's a Fritz who actually has had therapy and has a current good life, and the one significant relationship he's in - with AU Algarotti - is encouraging and functional
Yes, indeed. Also, I didn't know you were reading the most recent one, where he gets reunited with Katte late in life. The one I commissioned. :D
So what you're saying is that Grumbkow in Fiat Justitia has a point? ;)
He's not completely off the mark. ;) They *didn't*, but they *could have*.
Also, I didn't know you were reading the most recent one, where he gets reunited with Katte late in life. The one I commissioned.
Just because I love the siblings and the most problematic boyfriend the most doesn't mean I don't care about the rest of the ensemble. :) Also I was curious, because a Katte who has the chance to live an actual life instead of dying young and tragically is someone I personally couldn't write (somehow, my imagination ends at the end of Fiat Justitia when it comes to surviving Kattes), but am interested to read about. There are certainly a good variety of possibilities of how he could turn out!
Meanwhile, ghostly Katte who remains young but gets the chance to look at further developments: Yes! And that would be super interesting. And challenging. He probably wouldn't have a problem with the Silesian invasion, he is an 18th century Prussian (who preferred a Prussian war to a French peace, no less), but he might have some opinions about the ways in which Fritz turned out like FW. It would be easier for him, I think, if he was there to watch the whole development, but if he just shows up late in Fritz's life, he might be in for something of a shock.
No kidding. I mean, just imagine him first dropping by for a ghostly visit when Fritz is having a go at nephew FW2 for wearing French clothing and gets rid of some of FW2's friends as bad influences. Or, well, at any encounter between Fritz and Heinrich. (Even if Heinrich is being a bastard right back at Fritz, which as opposed to nephew he was absolutely capable of, being l'autre moi-meme.)
just imagine him first dropping by for a ghostly visit when Fritz is having a go at nephew FW2 for wearing French clothing and gets rid of some of FW2's friends as bad influences.
That is EXACTLY the one I had in mind.
Katte, maybe your resting place should be a place where you, you know, rest. Either stick with Fritz starting at Küstrin, or reunite with him and his dogs after 1786 at Sanssouci and be sans souci together. The middle ground is full of landmines.
Because I've been wondering how that would go, and also, he can sing a song. There are even already het relationships to cover that angle, and you can still put the one with Heinrich in the centre.
Act 1: Young Lehndorff arrives in Berlin like a Disney heroine, wide-eyed, full of hope, singing the obligatory "this is what I want!" Disney heroine opening song. (Solo number with background chorus: "Berlin!", variation "Cool City"))
He gets bad news from home; his intended and cousin has been sold to the Katte clan (Lehndorff/Du Rosey farewell duet: Our love was not to be.) Also, the job he gets is Chamberlain at the Queen's, and as he quickly finds out, this means no contact with the King and much boredom (Ensemble song: Bored Now!) A despondendet Lehndorff wanders through the nightly palace garden, wondering whether he shouldn't resign and return to East Prussia (Reprise: Berlin!", variation: Cruel City), when he comes across another nightly wanderer in distress, a young man about to marry very much against his will, wondering whether to flee. Lehndorff feels an instant powerful connection/attraction, as the two find comfort in each other (Duet: Two of Us). Only the next morning does he find out the young man in the garden is none other but the King's younger brother, Prince Heinrich. Lehndorff attends Heinrich's wedding as a part of the Queen's entourage, ponders the irony that the two of them have given each other the courage to stay and endure just as he is realising he's fallen in love with a man who will never be his. (Big orchestral number "The Wedding" with Lehndorff recitative.)
Some years later. Lehndorff hangs out with the Divine Trio (quartet: The Best of Friends), enjoying the Berlin party life. After Heinrich departs with his latest lover, Prince Wilhelm holds Lehndorff back; he's spotted the true love in Lehndorff's eyes and, having just lost the chance to marry Sophie von Pannewitz due to his brother refusing to grant a divorce, urges Lehndorff to confess the depth of his feelings to Heinrich. (Duet: Love will prevail.) Lehndorff takes all his courage, gets Heinrich alone and is about to follow AW's advice when terrible news arrive: Austria has managed a treaty with France and Russia. Heinrich is sure this will mean war. (Heinrich solo number: This Brother of Mine/He's Done It Now). Sure enough, since we're dealing with a time compressed musical reality, summons arrive from the King that Heinrich is supposed to join the war effort: Heinrich says farewell to Lehndorff and, asking for one good memory of peaceful Berlin, kisses him passionately goodbye. Act One ends with Lehndorff's heartrendering solo number: Will I Ever See You Again?
- INTERLUDE -
Act 2 opens with a 7 Years War montage. On one part of the stage, we see Lehndorff and the court, fretting about news from the front ("Waiting, Hoping"), while on the other part, we see Heinrich, King Frederick the Great and AW ("Life's a Fight").
As the court gets evacuated to Magdedburg, Lehndorff, who has just learned of his older brother's demise making him the heir of the estate and isn't able to find his way in the new location, comes across a local, charming, shy Fräulein von Häseler, who helps him out (duet "This is the way"). Terrible news of AW's disgrace arrives, followed by Prince Wilhelm himself (remember, compressed time and events). (AW solo number: "Ruin!" with chorus backup.) AW gets a heartrending death scene in which Lehndorff takes Amalie's place because due to the severe cutting down of characters from rl in a stage play; Heinrich arrives just too late to find his brother still alive; what he does find is the terribliy distressed Lehndorff getting hugged and consoled by Fräulein von Häseler. (Trio: "Comfort/No Comfort") Heinrich, who has sung his part of the trio unobserved in the background, decides that he will avenge his brother by murdering the King once the war has been won.
The war is before its last big battle. Having not heard from Heinrich after AW's death, Lehndorff has married Fräulein von Häseler, trying to live as good a life as possible under the circumstances, vowing to regard the royals only as a subject now. A conversation with Heinrich's aide and current lover, the boastful Kalkreuth (Fame! We're gonna live forever! chorus number), who is visiting the court, reveals that the Prince, now a famous war hero, has changed in other regards, too. Lehndorff is about to resign himself to the fact that the Heinrich he knew and loved is gone when Kalkreuth accidentally reveals that Heinrich did, in fact try to reach the dying AW in time and came just too late. When new Mrs. Lehndorff mentions that yes, there was this odd stranger in the background, Lehndorff realises the truth. ("What happened that day?" Lehndorff recitative.)
Heinrich has won the battle of Freiberg, the last battle of the 7 Years War. He's supposed to get honored by the King at the victory parade. The court gets ready to celebrate the won battle, the impending peace and the prince. ("Oh Glorious Day" ensemble number.) Only Lehndorff, much as he would like to, is sure that there is something seriously off and something terrible could be about to happen. He seeks out Heinrich, imploring him to open his heart again and say what he truly feels. Heinrich refuses at first, and the musical's most passionate duet ensues as Lehndorff finally manages to get through to him and learn of Heinrich's terrible vow of vengeange. ("I Know Your Soul/Blood Will Have Blood").
The big moment is there, as the King arrives to honor his brother's victory and declare peace. ("Fridericus Rex", ensemble number with "This brother of mine" reprise from Heinrich as counterpoint.) Lehndorff, caught in the terrible dilemma of either watching his beloved become a murderer and die, or an unsuccesful assassin and die (if he denounces him), chooses a third option: he steps forward, seemingly to petition the King in the name of East Prussians whose country has been ravaged by war and who urgently need peace and royal help. But his petition/song, praising peace and the importance of reconciliation and rebuilding over ongoing hate, is really aimed at Heinrich. (Lehndorff Solo number with Chorus backup: "Give Peace A Chance") At last, the King, growing impatient, orders Lehndorff to step aside so he can go on with the victory/Heinrich honoring ceremony. Lehndorff refuses, even as the King threatens him with disgrace and banishment. Overwhelmed at this spectacle of loyalty and affection which only he understands, Heinrich throws away the dagger he's held. He embraces Lehndorff in front of the King and declares he wishes no further honoring but for the King to grant Lehndorff's petition. As Friedrich does so, the big finale number consists of the entire ensemble celebrating the arrival of peace while Heinrich and Lehndorff sing "Now the future can be ours again".
omg I LOVE THIS SO MUCH yessss Lehndorff gets to be the tenor hero! it really would make a brilliant musical! I envision it as one of those Frank Wildhorn spectacles, like the Scarlet Pimpernel :D
*tries to write lyrics and fails utterly* I guess this is a little harder than I thought, lol :D
I was thinking Frank Wildhorn as composer, too, I admit.:) I hear you re:lyrics, but with your expertise, you get to say which character sings in which register (other than Lehndorff as the tenor hero, which is obvious)!
Du Rosey: had better be a soprano, though a light-voiced one Heinrich: had better be a baritone, mostly because I NEED MORE tenor/baritone duets in my life (oh, okay, I suppose that Heinrich as the major love interest would be a tenor really in a Broadway play, but sorry, he's going to be a baritone if I get to choose) Fritz: baritone (btw, Fritz is turning over in his grave at this libretto — what do you mean he only has one solo verse in his song, and then Heinrich comes in?? Who wrote this thing anyway??) AW: bass (or low baritone), again mostly because I would like to see a song called "Ruin!" sung in a low register :D and because baritone-baritone-bass trio (or tenor-baritone-bass trio if we bow to convention for Heinrich) would be made of awesome Fräulein von Häseler: soprano, though a richer soprano than Du Rosey Kalkreuth: mm. Whatever voice part Heinrich isn't. (Baritone if he's a tenor; tenor if he's a baritone.)
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Fritz - the Musical
Fritz and Wilhelmine song "Wir beide gehören zusammen" (she's cheering him up after a typical Dad dressing down, evidently): Wir gehören zusammen
Voltaire's song is, suitably enough, Voltaire being sarcastic about the Philosophe de Sanssouci collecting intellectuals, including himself: Bienvenue in Sanssouci
Die Schande Preußens (FW vs young Fritz)
vs
Ebenbild (aka Frederick the Great realises he's become just like Dad)
Finale (featuring Katte's ghost bring at last peace to Old Fritz)
Re: Fritz - the Musical
Fritz and Wilhelmine song "Wir beide gehören zusammen
okay, the people who made this musical clearly are 100% with our little group in both being fascinated by Fritz/Wilhelmine and being all "welp, that was sure one orientation and two sex drives away from a huge scandal!" (I especially loved the bit where he takes her hand and she sort of... looks at it...)
Voltaire being sarcastic about the Philosophe de Sanssouci collecting intellectuals, including himself
The hilarity of this song was, I fear, overshadowed by me going "But how can Voltaire possibly be a baritone? He's clearly a tenor!" (I suppose that would have made the balance off, given that both Fritz parts and FW seem to be tenors?) This makes me realize I totally think of Voltaire as Basilio in Nozze :P (Now watch real-life Voltaire have been a baritone, just to spite me!)
Die Schande Preußens (FW vs young Fritz) vs Ebenbild (aka Frederick the Great realises he's become just like Dad)
<3 also I thought FW having the beer mug in his hand was hilarious
Finale (featuring Katte's ghost bring at last peace to Old Fritz)
<333333 that bit where young!Fritz and Katte and Wilhelmine <33333 and they're all singing "Sanssouci," and my heart just melted <33333
Re: Fritz - the Musical
Never mind, though, musical treatments of history were never famous for their accuracy, as Verdi was the first one to admit, and I can see why the librettists mostly wanted to do the crown prince tragedy with some addendum re: what that did to Fritz' psyche in the long term.
okay, the people who made this musical clearly are 100% with our little group in both being fascinated by Fritz/Wilhelmine and being all "welp, that was sure one orientation and two sex drives away from a huge scandal!
Between the lyrics including "we were born for each other", "one soul shared in two bodies" and "we against the world", I'm getting that impression, yes.
But how can Voltaire possibly be a baritone? He's clearly a tenor!
LOL. I've always imagined him as a baritone myself for some reason - Rossini's Figaro from Il Barbiere rather than Mozart's came to mind - but a tenor works for me, too.
Re: what he actually was, one of us will have to read a Voltaire biography one of these days, maybe they're quoting someone's description which could tell us whether he had a high or low voice at least. I don't think the Duc de Croy, who met him and Émilie in Versailles, ever mentions that part in his diaries. And while Voltaire occasionally acted in courtly drama performances - like the one in Potsdam for Fritz where he was Cicero and Heinrich was Catiline in his own play Rome Sauvée - no one on the Prussian side of things ever mentions him trying to sing, which would indicate he didn't. Thus depriving us from a chance of ever knowing for sure. :)
Re: Fritz - the Musical
*blinks*
*blinks again*
no one on the Prussian side of things ever mentions him trying to sing, which would indicate he didn't.
I am almost sure that the Émilie bio says that Émilie used to sing in Cirey productions, but now that you mention it I am not sure that it said Voltaire did. I am also totally with the headcanon of Voltaire not being able to carry a tune, I would find that utterly hilarious, actually :D
Re: Fritz - the Musical
The framing narration is old Fritz the hermit, at Sanssouci, dictating his memoirs, when ghostly Katte shows up. Old Fritz sends the writer home and talks with ghostly Katte about his life, as ghostly Katte reminds him who he used to be. Cue flashback to his youth; FW is FW, Fritz and Wilhelmine sing their song, then it's off to Dresden, with Wilhelmine and Katte. Fritz gets deflowered by Orzelska, Wilhelmine and Katte fall in love, which Fritz isn't happy about. (Summary doesn't say which of them he's jealous of.) FW nearly beats Fritz to death, Fritz and Katte decides to flee, which is the Act 1 cliffhanger ending.
After the break, we catch up with Katte and Wilhelmine arguing about the escape plan. Fritz gets caught and incarcarated. Grumbkow uncovers that Katte was part of the plan. FW gives the execution in front of Fritz order. At which point Old Fritz interrupts the goings on, and it's clear he can't bear to remember the exeution and that this is the central trauma of his life. He takes over the narration and skips to his first year of Kingship, MT ascending and him using the chance to invade Silesia and becoming Frederick the Great.
Next, the musical skips forward to Voltaire's song and Fritz trying to live the artistic life at Sanssouci. Disaster ensues. Then Wilhelmine visits and is shocked about how he's changed. He gets an FW style temper outburst when she says so, and the ensuing 7 Years War is also a way to numb his unhealed grief, not that it works. He has the self realising song "Ebenbild" and finishes the war outwardly victorious but as a broken and now completly lonely man.
At which point the tale has caught up with the beginning. Ghostly Katte helps him to face the anbearable memory he's been running from all his life and then Fritz finally is able to let go, find peace and die in the final song, reuniting with Katte and Wilhelmine in the finale.
On the one hand, it's a bit Freud for dummies - i.e. peace comes when he's finally able to confront the most traumatic memory, his seaking military glory is solely because of Dad (I'm more with Mildred - Dad influenced how he sought it, but even if FW had been treating him like AW, he'd have become and expansionist monarch) - and of course the SD/Grumbkow (I assume this is how Grumbkow finds out about Katte?) and Wilhelmine/Katte affairs are gratituous heterosexualisation, bot otoh if I understand the summary correctly Old Fritz is on stage with Katte's ghost the entire time, arguing about his life, and as far as narrative ideas for a 2 hours stage version go, that's not a bad one.
An English language trailer of the musical!
Re: Fritz - the Musical
Wilhelmine and Katte fall in love, which Fritz isn't happy about. (Summary doesn't say which of them he's jealous of.)
Let's be real. If Wilhelmine fell for Katte and let it be known, the three of them would have jumped all over a ménage à trois. Not saying jealousy would never have reared its ugly head, not with two of them deeply psychologically scarred and the third still a product of the 18th century, but if W and K were getting along, Fritz might well have seen this as an opportunity rather than something to complain about. ;)
FW, on the other hand...
Old Fritz is on stage with Katte's ghost the entire time, arguing about his life
I can't decide whether my reaction is <3 or </3, but either way, it hurts so good. Much like someone arguing with a certain best enemy ghost in 1780 and wondering where all his other ghosts are. :-(
Re: Fritz - the Musical
Not that I expect the musical to go into depth with this, because, you know, musical, meaning most stage time will be covered by songs, not dialogue, but I do find the Katte & Old Fritz combination a challenging and intriguing dramatic premise to pull off, if, that is, one has Katte as an actual character as opposed to a part of Fritz' imagination (in the way the tv show Six Feet Under uses its "ghosts" to comment as a post modern way to replace the dramatic monologue about one's innner state). I know the Mobster AU writer has done it, but that's a Fritz who actually has had therapy and has a current good life, and the one significant relationship he's in - with AU Algarotti - is encouraging and functional, and hence this old Fritz is already in a very different emoitonal and psychological state than the real deal would have been in the 80s (or even in the 70s, if you want to have ghostly Katte show up earlier). Because if ghostly Katte is an actual person, not a fragment of imagination, and if he shows up for longer than just to bring Fritz peace, wouldn't he be bound to have OPINIONS on the various people in Fritz' life and Fritz' relationships with them?
Let's be real. If Wilhelmine fell for Katte and let it be known, the three of them would have jumped all over a ménage à trois.
So what you're saying is that Grumbkow in Fiat Justitia has a point? ;)
Re: Fritz - the Musical
OMG.
Algarotti: I like him! Nice guy. Think he's up for a menage a trois with another ghost?
Fredersdorf: Oh, that's nice flute playing. OK, I guess I approve of him, but you know, he's a commoner!
Keith: Bro. You've got to talk to Pete more. Come on, this is ridiculous.
Voltaire: ...really? Really??
Re: Fritz - the Musical
Re: Fritz - the Musical
Yes! And that would be super interesting. And challenging. He probably wouldn't have a problem with the Silesian invasion, he is an 18th century Prussian (who preferred a Prussian war to a French peace, no less), but he might have some opinions about the ways in which Fritz turned out like FW. It would be easier for him, I think, if he was there to watch the whole development, but if he just shows up late in Fritz's life, he might be in for something of a shock.
I know the Mobster AU writer has done it, but that's a Fritz who actually has had therapy and has a current good life, and the one significant relationship he's in - with AU Algarotti - is encouraging and functional
Yes, indeed. Also, I didn't know you were reading the most recent one, where he gets reunited with Katte late in life. The one I commissioned. :D
So what you're saying is that Grumbkow in Fiat Justitia has a point? ;)
He's not completely off the mark. ;) They *didn't*, but they *could have*.
Re: Fritz - the Musical
Just because I love the siblings and the most problematic boyfriend the most doesn't mean I don't care about the rest of the ensemble. :) Also I was curious, because a Katte who has the chance to live an actual life instead of dying young and tragically is someone I personally couldn't write (somehow, my imagination ends at the end of Fiat Justitia when it comes to surviving Kattes), but am interested to read about. There are certainly a good variety of possibilities of how he could turn out!
Meanwhile, ghostly Katte who remains young but gets the chance to look at further developments:
Yes! And that would be super interesting. And challenging. He probably wouldn't have a problem with the Silesian invasion, he is an 18th century Prussian (who preferred a Prussian war to a French peace, no less), but he might have some opinions about the ways in which Fritz turned out like FW. It would be easier for him, I think, if he was there to watch the whole development, but if he just shows up late in Fritz's life, he might be in for something of a shock.
No kidding. I mean, just imagine him first dropping by for a ghostly visit when Fritz is having a go at nephew FW2 for wearing French clothing and gets rid of some of FW2's friends as bad influences. Or, well, at any encounter between Fritz and Heinrich. (Even if Heinrich is being a bastard right back at Fritz, which as opposed to nephew he was absolutely capable of, being l'autre moi-meme.)
Re: Fritz - the Musical
That is EXACTLY the one I had in mind.
Katte, maybe your resting place should be a place where you, you know, rest. Either stick with Fritz starting at Küstrin, or reunite with him and his dogs after 1786 at Sanssouci and be sans souci together. The middle ground is full of landmines.
Lehndorff - The Musical!
Act 1: Young Lehndorff arrives in Berlin like a Disney heroine, wide-eyed, full of hope, singing the obligatory "this is what I want!" Disney heroine opening song. (Solo number with background chorus: "Berlin!", variation "Cool City"))
He gets bad news from home; his intended and cousin has been sold to the Katte clan (Lehndorff/Du Rosey farewell duet: Our love was not to be.) Also, the job he gets is Chamberlain at the Queen's, and as he quickly finds out, this means no contact with the King and much boredom (Ensemble song: Bored Now!) A despondendet Lehndorff wanders through the nightly palace garden, wondering whether he shouldn't resign and return to East Prussia (Reprise: Berlin!", variation: Cruel City), when he comes across another nightly wanderer in distress, a young man about to marry very much against his will, wondering whether to flee. Lehndorff feels an instant powerful connection/attraction, as the two find comfort in each other (Duet: Two of Us). Only the next morning does he find out the young man in the garden is none other but the King's younger brother, Prince Heinrich. Lehndorff attends Heinrich's wedding as a part of the Queen's entourage, ponders the irony that the two of them have given each other the courage to stay and endure just as he is realising he's fallen in love with a man who will never be his. (Big orchestral number "The Wedding" with Lehndorff recitative.)
Some years later. Lehndorff hangs out with the Divine Trio (quartet: The Best of Friends), enjoying the Berlin party life. After Heinrich departs with his latest lover, Prince Wilhelm holds Lehndorff back; he's spotted the true love in Lehndorff's eyes and, having just lost the chance to marry Sophie von Pannewitz due to his brother refusing to grant a divorce, urges Lehndorff to confess the depth of his feelings to Heinrich. (Duet: Love will prevail.) Lehndorff takes all his courage, gets Heinrich alone and is about to follow AW's advice when terrible news arrive: Austria has managed a treaty with France and Russia. Heinrich is sure this will mean war. (Heinrich solo number: This Brother of Mine/He's Done It Now). Sure enough, since we're dealing with a time compressed musical reality, summons arrive from the King that Heinrich is supposed to join the war effort: Heinrich says farewell to Lehndorff and, asking for one good memory of peaceful Berlin, kisses him passionately goodbye. Act One ends with Lehndorff's heartrendering solo number: Will I Ever See You Again?
- INTERLUDE -
Act 2 opens with a 7 Years War montage. On one part of the stage, we see Lehndorff and the court, fretting about news from the front ("Waiting, Hoping"), while on the other part, we see Heinrich, King Frederick the Great and AW ("Life's a Fight").
As the court gets evacuated to Magdedburg, Lehndorff, who has just learned of his older brother's demise making him the heir of the estate and isn't able to find his way in the new location, comes across a local, charming, shy Fräulein von Häseler, who helps him out (duet "This is the way"). Terrible news of AW's disgrace arrives, followed by Prince Wilhelm himself (remember, compressed time and events). (AW solo number: "Ruin!" with chorus backup.) AW gets a heartrending death scene in which Lehndorff takes Amalie's place because due to the severe cutting down of characters from rl in a stage play; Heinrich arrives just too late to find his brother still alive; what he does find is the terribliy distressed Lehndorff getting hugged and consoled by Fräulein von Häseler. (Trio: "Comfort/No Comfort") Heinrich, who has sung his part of the trio unobserved in the background, decides that he will avenge his brother by murdering the King once the war has been won.
The war is before its last big battle. Having not heard from Heinrich after AW's death, Lehndorff has married Fräulein von Häseler, trying to live as good a life as possible under the circumstances, vowing to regard the royals only as a subject now. A conversation with Heinrich's aide and current lover, the boastful Kalkreuth (Fame! We're gonna live forever! chorus number), who is visiting the court, reveals that the Prince, now a famous war hero, has changed in other regards, too. Lehndorff is about to resign himself to the fact that the Heinrich he knew and loved is gone when Kalkreuth accidentally reveals that Heinrich did, in fact try to reach the dying AW in time and came just too late. When new Mrs. Lehndorff mentions that yes, there was this odd stranger in the background, Lehndorff realises the truth. ("What happened that day?" Lehndorff recitative.)
Heinrich has won the battle of Freiberg, the last battle of the 7 Years War. He's supposed to get honored by the King at the victory parade. The court gets ready to celebrate the won battle, the impending peace and the prince. ("Oh Glorious Day" ensemble number.) Only Lehndorff, much as he would like to, is sure that there is something seriously off and something terrible could be about to happen. He seeks out Heinrich, imploring him to open his heart again and say what he truly feels. Heinrich refuses at first, and the musical's most passionate duet ensues as Lehndorff finally manages to get through to him and learn of Heinrich's terrible vow of vengeange. ("I Know Your Soul/Blood Will Have Blood").
The big moment is there, as the King arrives to honor his brother's victory and declare peace. ("Fridericus Rex", ensemble number with "This brother of mine" reprise from Heinrich as counterpoint.) Lehndorff, caught in the terrible dilemma of either watching his beloved become a murderer and die, or an unsuccesful assassin and die (if he denounces him), chooses a third option: he steps forward, seemingly to petition the King in the name of East Prussians whose country has been ravaged by war and who urgently need peace and royal help. But his petition/song, praising peace and the importance of reconciliation and rebuilding over ongoing hate, is really aimed at Heinrich. (Lehndorff Solo number with Chorus backup: "Give Peace A Chance") At last, the King, growing impatient, orders Lehndorff to step aside so he can go on with the victory/Heinrich honoring ceremony. Lehndorff refuses, even as the King threatens him with disgrace and banishment. Overwhelmed at this spectacle of loyalty and affection which only he understands, Heinrich throws away the dagger he's held. He embraces Lehndorff in front of the King and declares he wishes no further honoring but for the King to grant Lehndorff's petition. As Friedrich does so, the big finale number consists of the entire ensemble celebrating the arrival of peace while Heinrich and Lehndorff sing "Now the future can be ours again".
THE END
Re: Lehndorff - The Musical!
Truly, I bow before your genius. All we need now is to pitch this to the right people!
Re: Lehndorff - The Musical!
*tries to write lyrics and fails utterly* I guess this is a little harder than I thought, lol :D
Re: Lehndorff - The Musical!
Re: Lehndorff - The Musical!
Du Rosey: had better be a soprano, though a light-voiced one
Heinrich: had better be a baritone, mostly because I NEED MORE tenor/baritone duets in my life (oh, okay, I suppose that Heinrich as the major love interest would be a tenor really in a Broadway play, but sorry, he's going to be a baritone if I get to choose)
Fritz: baritone (btw, Fritz is turning over in his grave at this libretto — what do you mean he only has one solo verse in his song, and then Heinrich comes in?? Who wrote this thing anyway??)
AW: bass (or low baritone), again mostly because I would like to see a song called "Ruin!" sung in a low register :D and because baritone-baritone-bass trio (or tenor-baritone-bass trio if we bow to convention for Heinrich) would be made of awesome
Fräulein von Häseler: soprano, though a richer soprano than Du Rosey
Kalkreuth: mm. Whatever voice part Heinrich isn't. (Baritone if he's a tenor; tenor if he's a baritone.)
:D