Life is a kabarett

The rise of right-wing populism in the world today is evoking for me, and many others, a chilling sense of déjà vu. For me, it taps into my long-held fascination with the politics and culture of 1920s/1930s Germany, a period I was introduced to during my high school years. Back then, History and German were my favorite subjects.

A trip to Germany during my final high school year to a still-divided Berlin solidified this fascination. It coincided perfectly with the peak of German pop’s influence in Australia, with songs like “Da Da Da,” “Der Kommissar,” and “99 Luftballons” topping the charts.

This period of my teenage years also marked the discovery of the musical “Cabaret,” its captivating score and themes of political turmoil and sexual liberation sparking an obsession.

Delving deeper, I explored the music and stories of the Weimar Republic. Artists like Brecht/Weil and Marlene Dietrich, and many others, captured my attention. This era of incredible liberalism and democracy swiftly descended into fascism, a chilling parallel to the potential dangers of our current political climate.

While I appreciate a good love song, cabaret’s edgy and political side truly resonates with me. This is what drew me to a recent show at Sydney’s Spiegeltent featuring Bernie Dieter, who is described as the “undisputed queen of punk cabaret.”

The show was a whirlwind combination of live music, acrobatics, wicked humor, and a healthy dose of political satire.

Her performance evoked thoughts of the other Nena of that era – Nena Hagen, an East German artist who never quite fit in anywhere, really. Though I loved her fierce political views and eclectic beliefs, including a fascination with ancient aliens, along with her strong vocals.

Throughout the show, Dieter’s audience interaction was audacious. At one point, she landed right on my lap! Later, my friend Michaela jokingly remarked, “I was worried your prosthetic leg might come off!” “I’m sure she would have handled it,” I replied.

The show’s acrobatics were equally impressive, adding another layer of spectacle to the evening. It was a truly remarkable performance, and I highly recommend it.

In contrast, my recent experience with Arthur Miller’s classic play “Death of a Salesman” was more introspective. Though familiar with the play, I had never seen it before. This production, directed by Neil Armfield and starring Anthony LaPaglia, offered a fresh contemporary perspective, even though it was first performed in the 1940s.

As the title suggests, the play follows Willy Loman, an aging salesman nearing the end of his career, who ultimately takes his own life. Accompanied by three friends in their 50s and 60s, I found myself deeply affected by the play’s themes of aging in the workforce, feelings of obsolescence, and societal pressure to succeed. These themes remain powerfully relevant today.

The play also explores the complex parent-child dynamic, highlighting the inevitable disappointments and the importance of letting go of unrealistic expectations. Despite its tragic ending, a glimmer of hope emerges as the characters confront the limitations of societal and personal expectations.