A night out at the Admiralspalast
The words ‘Berlin’ and ‘cabaret’ are synonymous. The songs from the 1920s and 1930s echo down the years, and capture the essential Berlin feeling. Like a magic carpet of sound they transport you effortlessly back to a time when the German capital was renowned for its creativity and risqué edginess. Packed with catchy melodies and witty lyrics, the popular hits from the Weimar era paint a musical picture of the Zeitgeist. Nobody plays them better than the iconic Berlin-based band, Max Raabe & Palast Orchester, and the historic Admiralspalast next to Friedrichstraße Station provides the perfect setting. Last month, the band was back there, with their sell-our show, ‘Eine Nacht in Berlin’ (A Night in Berlin) and I had made sure of tickets by booking six months ahead.
The hot ticket
The German word ‘Palast’ (palace) says it all; both the band and the building have style and glamour. It is sheer professionalism and a unique sound that makes Max Raabe & Palast Orchester so special. Their shows are slick and seamless and capture the sound of those pre-war years that the Americans call‘Roaring’ and the Germans call ‘Golden’ – and the heyday of the Admiralspalast. Max Raabe founded the Palast Orchester in 1986, with 11 fellow students at the Berlin Academy of Arts, where he graduated as a baritone singer. The band initially used original musical arrangements from the 1920s and 1930s that Raabe picked up at various Berlin flea markets. Then they worked on learning them before giving their first public performance in 1987. They had their first hit 5 years later, with an original song, ‘Kein Schwein ruft mich an’ (Nobody calls me up). You can follow this link to listen and read more about Max Raabe on the Goethe Institute website.
Max Raabe & Palast Orchester
The band’s repertoire is mainly a homage to composers from the pre-war era of German and American popular songs, but they also perform contemporary music in the same vintage musical style. Non-German speakers might miss the humour in some of the lyrics, but Max Raabe’s singing is so accomplished and expressive that it hardly matters. There are instrumental numbers too, and in true jazz style the band members – who are traditionally all male, with the exception of the violinist – have a chance to show off their individual talent.
Queuing to get into the show
On the evening I heard them at the Admiralspalast we were treated to six extra numbers in English at the end of the show, as it was being recorded for an American TV channel. They included perfect renderings of ‘Stormy Weather’ and ‘Mack the Knife’. Next season the band is appearing in Norway, Denmark, Sweden, Finland, Latvia and Estonia, as well as Germany, Austria and Switzerland. In the past they have performed in the Cadogan Hall in London, the Carnegie Hall in New York and in Israel. But to really tune into the band’s Berlin connection, it has to be the Admiralspalast. Tickets are already on sale for March 2017 on the band’s website.
Street view of the Admiralspalast
The Admiralspalast is one of the few Weimar theatres left in Berlin and like many survivors, it has had to re-invent itself to adapt to changing times. Its history dates back to 1867 when a saltwater spring was discovered on this site. The ‘Admiralsgartenbad’ opened in 1873 and soon became one of the leading public baths in Imperial Berlin. This building was demolished in 1910 and replaced a year later with the luxurious four-storey Admiralspalast, containing a skating rink, bowling alleys, restaurants, a cinema – and, allegedly, a bordello. The whole complex had over 900 rooms.
The ladies’ baths in the Admiralsgartenbad
The ice-skating rink at the Admiralspalast
An English cartoon from the 1920s
In 1920, the concept of the Admiralspalast was changed and the central skating rink was turned into a variety theatre in art déco style, with two dress circles and 1,065 seats. Ten years later the auditorium was enlarged to seat 2,200 and given a new, expressionist design. After the National Socialists came to power in 1933, the Admiralspalast was used mainly for the performance of operettas. In 1939, on the orders of Goebbels, it was given the plain, classical interior that it has retained to this day. A ‘Führerloge’(Führer’s box) was added in 1940; Hitler often slipped into the theatre to watch his favourite operetta, ‘Die lustige Witwe’ (The Merry Widow).
The Admiralspalast auditorium
The Admiralspalast escaped the World War II bombing relatively unscathed. After the war, the Social Democratic Party of Germany and the Communist Party of Germany in the Soviet Occupation Zone held a historic convention at the Admiralspalast where they merged to become the SED, the Socialist Unity Party of Germany, which was to rule the GDR for 40 years. The building then became home to the Berlin State Opera until 1955, when restoration of the opera house on Unter den Linden was completed. During the GDR years, revues and operettas continued to be performed at the Admiralspalast, but under the name of the Metropol-Theater. The GDR Union of Journalists also had its offices inside the Admiralspalast.
The Admiralspalast as home to the Berlin State Opera
After reunification, the Admiralspalast put on shows until 1997, when it was closed and threatened with demolition. The site stood empty for several years, but was finally rescued and renovated. On August 11th, 2006, when the restoration work was still incomplete, it officially reopened with Brecht’s ‘Threepenny Opera’, directed by Klaus Maria Brandauer. This was followed by ‘My Fair Lady’, ‘The Rocky Horror Show’ and, in the summer of 2009, it became the first venue in Germany to stage Mel Brook’s cult comedy ‘The Producers’. Follow this link for an interesting review of this Nazi-lampooning show. These days, it’s mainly concerts and comedy shows that are held in the main auditorium of the Admiralspalast. Sometimes the seats are folded away – then everyone parties and dances the night away. The Admiralspalast’s website gives all the details of their entertainment programme in English.