When Thomas Hermanns brings Howard Carpendale’s serious, well-mannered songs to the stage as an original dance, he ultimately keeps no one in suspense. The comedian succeeds in the feat of not only satisfying old fans, but also inspiring the new successful target group.
In the message “Hello! Still?” It’s not just the punctuation that’s different. And even if it is at least a love triangle, it remains serious and well-mannered, in the best sense of the word. Serious and polite like the music of South African Howard Carpendale, a veteran like the imposing rock of German pop music.
It has been part of the musical tapestry of the Federal Republic of Germany from at least 1970 (“The Beautiful Girl on Page 1”) to 1984 (“Hello Again”). And Carpendale still exists: after a farewell in 2003 and a return in 2007, he will turn 80 in two years. A final tour with 22 concerts is currently being prepared under the motto “Let’s do it again, again!”
Homage to Howard Carpendale
Enter Thomas Hermann. The Bochum native, born in 1963, is not only an indispensable comedian, producer, theater owner and agency in the entertainment industry, but also loves musicals and blockbusters. And he’s a repeat offender. In 2011 in Düsseldorf he brought Hape Kerkeling’s 1993 television satire of the same name to the stage of “Kein Pardon” with original music by Achim Hagemann, and the original was in Munich in 2015:
“Bussi – Das Munical” was a memory of Hermann’s student days in the 1980s and a declaration of love to and with the successes of the Neue Deutsche Welle. In July 2024, his nostalgic mini-musical for three tourists and a taxi driver “Berlin Non Stop” celebrated its premiere in 2010. Thomas Zaufke (also involved in “Kein Pardon”) wrote the music for the adventure of a night between Dönerbude and Berghain.
So now – as a fourth creative stroke – another jukebox piece in homage to Howard Carpendale, in Leipzig, home of the MDR – as a cheerful exploiter of German-German pop bliss, epicenter of yesterday’s warbling, even in the post-Achim Era Reichel. In the performance of the entire repertoire, the average age is 65 years and the first march to applause begins with the second song. In the end they all stand.
And they are right too. The almost three hours of entertainment are absolutely solidly made and not only meet expectations. Thomas Hermanns, responsible for the idea, concept and direction, managed to surprise with Howard Carpendale’s catalog of songs, disguised as a tailor-made story. Of course, Carpendale, the eternally silver-blond squirrel of the Cape of Good Hope, is also so coherent because he seems so calm and compliant. Also in the second generation with soap star son Wayne.
The German mega-music market leader Stage Entertainment also relies completely on the reliability of Juxebox for its two current premieres in Hamburg: with the female empowerment thriller “& Juliet”. After Romeo’s death, Shakespeare’s Juliet celebrates an emancipated female life thanks to Swede Max Martin’s catalog of 1990s songs for Britney Spears, Justin Timberlake, the Backstreet Boys and Céline Dion; also with the Pop Divo saga “MJ – The Michael Jackson Musical” (from 1 December 2024).
The “House of Love” is located in Leipzig
But Thomas Hermanns also wrote a narrative structure truly suited to evergreens such as new ballads. They are more subtle but, in terms of story, more enduring than Abba’s catalog in “Mamma Mia!” or Udo Jürgens’ successes in “I’ve Never Been to New York”. The set design of Hans Kudlich’s caramel-colored “House of Love”, deliberately reminiscent of the suburban sleepiness of Hamburg, is about a marriage of three people over the course of thirty years, which integrates the different song styles well and is vividly resurrected in the costumes by Aleksandra Kika.
This ménage is, of course, as attentive and non-erotic as Carpendale’s work, but louder and more honest. Even the mere six people (in front of a discreet choir of 20 as cheerful ghosts from the house’s past and a single dancing couple) seem like scenes – but with a message of integrity.
In 1979 the newlyweds Hanna (Teflon straight: Roberta Valentini) and Rolf (most notable are his different wigs: Christoph Messner) go to live with their landlady Ottilie (kindly stubborn: Angela Mehling). From the pizzeria around the corner, the young boss Matteo (impeccable without Italian cliché: Thomas Hohler) delivers a Margherita, and Hanna leaves. But first comes daughter Lisa (boringly straight, even in the second generation: Da-yung Cho), then only in 1989 does she enter the marriage bed.
New Year’s Eve 1999 is a crisis: Hanna wants to go with Matteo, but he has to return to Italy to get married; Rolf picks her up again. in 2009, on the thirtieth day of their acquaintance, Lisa is already married (to Kostya, to whom Ivo Kovrigar gives a bit of an Austrian accent as the only identifying feature), Hanna finally emancipates herself, without tears and without pain. Because “All this happens / Under the same sky”.
The insight into the fun evening: How beautiful and deep Carpendale’s songs are, even in “Lulei Lulei Lulei” and “Schubi Dam Dam”, they work in a different orchestration (four arrangers, including the sensitive conductor Michael Nündel ) and in a different context. The Italian sings “Your Traces in the Sand” as a quiet seduction ballad on the piano. “How much do you want to be free” matures into a complex quartet, “Ti Amo” becomes the melancholy first ending for the abandoned Hanna; where in “Elisabeth”, the most successful musical in German, it is written “I belong only to myself”. And before “Strangers or Friends” becomes the decision-making trio, the prompt Ottilie revealed that she had been living as a lesbian “next door to Alice.” The gay Hermanns easily bring a hint of weirdness to the heteronormative world of Howie singing.
And those who were moved at the premiere can only say thank you. While Vicky Leandros (72) and Mireille Matthieu (78) are the latest pop icons to say goodbye, 90-year-old Nana Mouskouri wants to move forward only with vocal sandpaper: “Bye! Once again?” an original creation that highlights Howard Carpendale in a dignified and completely new singer-songwriter
Biedermann as a vocal philosopher of small things.
“Hello? Again!”Leipzig Opera, next performances on 12 November, 7 and 8 December 2024
Interview between Time.news Editor and Thomas Hermanns, Comedian and Director of the New Dance Adaptation of Howard Carpendale’s Music
Time.news Editor: Welcome, Thomas! It’s a pleasure to have you with us today. Your new project, a dance adaptation of Howard Carpendale’s well-loved music, has been getting a lot of buzz. What inspired you to take on this endeavor?
Thomas Hermanns: Thank you for having me! It’s wonderful to discuss this project. My inspiration came from a deep appreciation for Howard Carpendale’s music, which has been a part of the musical landscape in Germany for decades. The poignant lyrics and heartfelt melodies have always resonated with me. I wanted to create something that would not only honor his legacy but also attract a younger audience who might not be as familiar with his work.
Time.news Editor: You mentioned a younger audience. How do you think this adaptation appeals to them while still satisfying long-time fans of Carpendale?
Thomas Hermanns: It’s a balancing act! I aimed to build a narrative that is relatable and modern, while threading in Carpendale’s cherished songs seamlessly. The story of a love triangle set over thirty years gives us room to explore themes of love, friendship, and resilience—all set to his timeless music. It’s about finding that sweet spot where both old and new fans can connect with the emotional depth of the songs.
Time.news Editor: That sounds like a fascinating story arc. You describe the production as “serious and well-mannered.” How does that reflect Carpendale’s style, and how did you interpret that in your production?
Thomas Hermanns: Howard’s music has always been elegant and sincere, much like his persona. In our production, I wanted to maintain that integrity, creating a space where the music feels genuine and the story respectful. While it’s certainly a joyous tribute, we also delve into the challenges of relationships without over-dramatizing them. It’s about celebrating life’s highs and lows while keeping the essence of Carpendale’s artistry intact.
Time.news Editor: The set design is described as capturing a certain nostalgia. Can you elaborate on how that plays into the storytelling?
Thomas Hermanns: Absolutely! The set, designed with caramel tones to evoke that suburban feel, serves as the backdrop for our characters’ journeys. It’s designed to remind the audience of their own experiences—those memories of growth, love, and heartache. It’s nearly a character in itself, rooting the audience in a familiar yet vibrant world where the timeless nature of Carpendale’s music shines.
Time.news Editor: Speaking of music, how did you select which songs to include, and what role do they play in advancing the narrative?
Thomas Hermanns: The selection process was both challenging and rewarding. I wanted to ensure the songs we chose not only highlighted Carpendale’s strengths as a songwriter but also propelled the story forward. Each song is strategically placed to reflect the characters’ emotional journeys. For example, a song about longing might accompany a pivotal moment in the plot, thereby deepening the audience’s connection to the characters.
Time.news Editor: Lastly, as you prepare for the premiere, what do you hope audiences will take away from this production?
Thomas Hermanns: I hope audiences leave feeling uplifted and reflective. I want them to embrace the beautiful message that love takes many forms and that life, with all its complexities, is best shared. If they find joy in Carpendale’s music and see their own stories mirrored on stage, then I consider that a success.
Time.news Editor: That’s a meaningful vision, Thomas. Thank you for sharing your insights with us. We’re excited to see how your production of Howard Carpendale’s music unfolds!
Thomas Hermanns: Thank you! I’m thrilled to bring this story to life and share it with everyone. It’s an exciting journey, and I can’t wait for audiences to experience it!