Review
Ludwig Lohengrin
at Motel through February 28
thirdstreet.ca or at the door
Three and a half stars out of five
The only thing missing is once upon a time.
Ludwig and Lohengrin, Kyall Rakoz’s engaging adult fairy tale tells the story of Ludwig II, a dreamy boy who became King of Bavaria too young.
He’s not exactly leadership material, judging by the early scenes, when one of the King’s right hand men pleads with him to spend more time with Ludwig on their trips into Munich, to give him at least a hint of what the real (Bavarian) world that he may end up ruling looks and feels like.
Sure enough, the King drops dead and Ludwig, at the tender age of 18, wakes up to find himself the new king, at a time when all of Central Europe is going through political upheaval.
Youthful headshot of Calgary actor Kyall Rakoz, who created Ludwig and Lohengrin, about King Ludwig II of Bavaria
Ludwig isn’t very interested. Instead, he retreats into a fantasy world of the castle he lives in, and the myth of Lohengrin, a mythical swan featured in a composition by Richard Wagner, who shows up one day at the castle on the urging of Ludwig, who offers to pay off his debts in return for his exalted musical company.
The Bavarian court does their best to adapt to their odd new reclusive King. They set about doing what courts do: namely, finding someone for the King to marry, and in fact, they do, but it all falls apart because Ludwig is gay. (This isn’t a problem for the would-be bride, but Ludwig doesn’t want to go through with a sham marriage).
It’s a terrific story, and Rakoz is a charming, engaging performer, who plays every part of the Bavarian court, from the various hangers-on, to the princess Anastassia, to the various Bavarian aristocrats, to a latter-day Bavarian tour guide escorting us through the castle (which became the template for the Disney castle).
It’s engaging storytelling that Rakoz adds a dimension to with his creative use of simple props like a sheet that he manages to contort into a half dozen different costumes.
What’s missing is Ludwig.
I guess it’s a (dramaturgical) choice, but to tell the story of the oddly lovable, quirky, fantasy-filled teenage King of Bavaria without actually giving voice to him made me feel a little bit let down.
Rakoz did such a fine job of conjuring up the world of Ludwig II, of Bavaria during the late 19th century, when Germany came into being, that I was more than ready to climb inside Ludwig’s head for a visit.
Instead, Ludwig and Lohengrin tells its story in a kind of faux-documentary style, with various witnesses to the Bavarian court relating their memories of the age of Ludwig II.
It’s still moving, particularly towards the end, when Ludwig’s charmed, but aloof and lonely life turns tragic – and it’s a story well worth hearing. But it’s hard not to feel that the third person is not the best way to take us inside the story of one of Bavaria’s most fascinating first persons.
shunt@calgaryherald.com
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