American
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American
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Musical
von Duncan Sheik & Roberto Aguirre-Sacasa (2013) Offizielle deutsche Übersetzung im Auftrag von Concord Theatricals 2022 |
Offizielle deutsche Übersetzung des Musicals von Duncan Sheik und Roberto Aguirre-Sacasa nach dem Kultroman von Bret Easton Ellis.
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Über das
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Musik & Liedtexte
Duncan Sheik Buch Roberto Aguirre-Sacasa Uraufführung 12. Dezember 2013 Almeida Theatre London Broadway-Premiere 21. April 2016 Gerald Schoenfeld Theatre New York |
"American Psycho" ist ein rücksichtsloses und gewagtes neues Musical von Duncan Sheik ("Spring Awakening") und Roberto Aguirre-Sacasa ("Riverdale", "The Muckle Man", "The Picture Of Dorian Grey").
Basierend auf dem elektrisierenden Roman von Bret Easton Ellis erzählt das Musical die Geschichte von Patrick Bateman, einem jungen und gutaussehenden Wall-Street-Banker mit tadellosem Geschmack und unstillbaren Sehnsüchten. Patrick und seine elitäre Gruppe von Freunden verbringen ihre Tage in schicken Restaurants, exklusiven Clubs und Designer-Labels. Doch nachts nimmt Patrick an einem dunkleren Verwöhnprogramm teil, und seine Maske der Vernunft beginnt zu verrutschen... Text Concord Theatricals |
Songs |
Musikalische Nummern
1. Akt |
Opening (Morning Routine)
Patrick Bateman Selling Out Patrick & Company Everybody Wants To Rule The World Jean & Company Cards Paul Owen, Patrick, Timothy Price, David Van Patten, Craig McDermott & Luis Carruthers You Are What You Wear Evelyn Williams, Courtney Lawrence & Women True Faith Vanden & Company Killing Time Patrick & Price In The Air Tonight Women Soloists & Company Hardbody Hardbody Trainer, McDermott, Van Patten, Carruthers & Men You Are What You Wear (Reprise) Evelyn, Courtney & Women If We Get Married Evelyn, Patrick & Jean Not A Common Man Patrick Mistletoe Alert Evelyn, Patrick & Company Hip To Be Square Patrick & Paul |
2. Akt
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Killing Spree
Patrick Nice Thought Mrs. Bateman, Jean & Women At The End Of An Island Evelyn, Bateman & Company I Am Back Patrick & Company You Are What You Wear (Reprise) Evelyn, Courtney & Women A Girl Before Jean Clean Company Don't You Want Me Paul, Sean Bateman, Carruthers & Company This Is Not An Exit Patrick & Company |
Awards & Nominierungen
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2016 Outer Critics Circle Award
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Outstanding New Broadway Musical
(Nominierung) Outstanding New Score (Broadway or off-Broadway) Duncan Sheik (Nominierung) Outstanding Director of a Musical Rupert Goold (Nominierung) Outstanding Actor in a Musical Benjamin Walker (Nominierung) Outstanding Featured Actress in a Musical Heléne Yorke (Nominierung) Outstanding Costume Design (Play or Musical) Katrina Lindsay (Nominierung) Outstanding Lighting Design (Play or Musical) Justin Townsend (Gewinner) Outstanding Projection Design (Play or Musical) Finn Ross (Gewinner) |
2016 Tony Award
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Best Scenic Design in a Musical
Es Devlin and Finn Ross (Nominierung) Best Lighting Design of a Musical Justin Townsend (Nominierung) |
2016 Drama Desk Award
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Outstanding Actor in a Musical
Benjamin Walker (Nominierung) Outstanding Director of a Musical Rupert Goold (Nominierung) Outstanding Choreography Lynne Page (Nominierung) Outstanding Scenic Design of a Musical Es Devlin (Nominierung) Outstanding Costume Design of a Musical Katrina Lindsay (Nominierung) Outstanding Lighting Design for a Musical Justin Townsend (Gewinner) Outstanding Projection Design Finn Ross (Gewinner) Outstanding Sound Design in a Musical Dan Moses Schreier (Gewinner) |
2016 Drama League Award
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Outstanding Production of a Broadway or Off-Broadway Musical
(Nominierung) Distinguished Performance Award Benjamin Walker (Nominierung) |
Presse-stimmen |
Mark Kennedy
The Washington Times 21. April 2016 |
"The gloriously gory, sleek, over-the-top musical that opened Thursday at the Gerald Schoenfeld Theatre is a darkly wonderful adaptation of the once-controversial novel by Bret Easton Ellis.
It centers on an investment banker and not-so-secret serial killer obsessed with high-end clothes and beauty products who slashes his way through yuppie 1989 Manhattan, a city he both loathes and yet is obsessed with conquering. [...] There must be many ways to portray serial murder onstage but the creators haven’t held back. Credit story writer Roberto Aguirre-Sacasa, songwriter Duncan Sheik and director Rupert Goold for going whole hog. Graphic sex acts, torturing, stabbing, slashing, axe-wielding, snorting coke off toilets, unsexy orgies and bones cracking are just part of the horrors. [...] Aguirre-Sacasa’s story stays true to the novel but he has fun both looking back at 1989 - Bateman boasts of having a then top-of-the-line Walkman and a 30-inch TV - with forward-looking jokes that goof on Tom Cruise and Donald Trump. Things take a more surreal turn in the stronger Act 2 as we are left to ponder if these murders are just a figment of Bateman’s imagination. Sheik’s electronic- and choral-based score is marvelously varied, from the touching duet 'Nice Thought' to the dance-pop of 'You Are What You Wear,' a clever tune about high fashion that rhymes Giorgio Armani with Norma Kamali. 'Selling Out,' the musical’s standout track, is infectious. Sheik has also been true to the book by including songs of the era, including 'Everybody Wants to Rule the World' by Tears for Fears and Phil Collins' 'In the Air Tonight' - but changing their orchestration so they sound fresh. Listening to Huey Lewis’ 'Hip to Be Square' after this may never be light fun again. [...] The timing of 'American Psycho' must surely be helped by the fact that this tale of yuppies obsessively eating charred mahi mahi and summering in the Hamptons comes during a new wave of disgust at Wall Street excess. It’s raining their blood on Broadway. Come, but bring an umbrella." |
Presse-stimmen |
Marilyn Stasio
Variety 21. April 2016 |
"This high-concept show opens on a note of sheer anxiety in 'Morning Routine,' with a chorus of robotic Wall Streeters marching off to work on two fast-moving revolves. This supple and well-dressed (by Katrina Lindsay) army is oblivious to the visual barrage of black-and-white patterns splattered on Es Devlin’s cubistic set, but the audience is properly disoriented by Finn Ross’ extraordinary projections.
From this cacophony of sound (by Dan Moses Schreier) and light (by Justin Townsend) and absence of color emerges Patrick Bateman (Benjamin Walker), rising from a tanning bed in his tighty-whities and Wayfarer sunglasses like Adonis on the Half-Shell. [...] Aguirre-Sacasa’s book and Sheik’s lyrics savor the author’s satiric intent, and Walker nails the character’s mannerisms with a disdainful tone that both respects and mocks his pretensions. [...] Overall, the music is a super-smart mix of Sheik’s original songs with ’80s classics (like 'In the Air Tonight' from Phil Collins’ aptly named album 'Face Value') that match up with the show’s emphasis on the superficial, materialistic pursuits of the era. The guys are power-mad and money-crazy ('Everybody Wants to Rule the World') and the girls wear shoulder pads and find power wherever they can ('You Are What You Wear'). A series of imaginatively staged scenes — having lunch with the guys in an upscale restaurant, enduring his disastrous 27th birthday party, screwing his girlfriend’s best friend, doing lines of coke at Tunnel — start Patrick on his downward spiral into the homicidal madness that Ellis used to satirize the desperate selfishness and greed of the materialistic Reagan era. But the closest Patrick comes to self-awareness is when he says: 'The world’s going insane and our bodies have somehow become attuned to the insanity. It’s starting to make sense.'" |
Presse-stimmen |
Diverse
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"So smooth, so rich, so ruthless. A carnal carnival of song and dance."
The New York Times "American Psycho slays onstage! Wonderful! Graphic sex acts, torturing, stabbing, slashing, axe-wielding, snorting coke off toilets and a marvelous score." Associated Press "A hyper-stylish, dazzling and slick splatter musical." Newsday "A stylish feast with excellent songs and terrific choreography. American psycho sounds and looks beautiful." The Daily Mirror "Confirms the mythic power of Easton Ellis’s story and leaves us all dangerously entertained." The Guardian "Smart and sharp with an excellent score from the Grammy®-winning composer of Spring Awakening." The Telegraph "Brilliant and absorbing. A stylish shocker." The Evening Standard "This stunning high-concept musical [...] is one of the most original in recent years: creepy, beautiful, reverberative, hollow, sleek and disturbing." Whatsonstage |