Openning night: 30th of March 2001CAST
Professor Emanuel Raat…………....................FLORIN ZAMFIRESCU
Lohmann, a pupil…………………….................LEONID DONI
Von Ertzum, a pupil………………….................IOAN BATINAS
Kieselack, a pupil………………………............DIMITRII BOGOMAZThe troup from “The Blue Angel”:
Rosa Frohlich, nicknamed Lola Lola…............MAIA MORGENSTERN
Guste……………………………….……..........JANINE STAVARACHE
Kiepert…………………………..….…..........…MIRCEA CONSTANTINESCU
Helga……………………………...…...........….CATALINA MUSTATA
The mute clown……………….……..…...........GEORGE CALINStage direction band choreography……....... RAZVAN MAZILU
Stage design………......................................... IRINA SOLOMON & DRAGOS BUHAGIAR
Music………………………………………….. FRIEDRICH HOLLANDER
Lyrics……….................................................….ROBERT LIEBMANN &FRIEDRICH HOLLANDER
Arrangements……………………............……PETRU MARGINEANU
“Words cannot describe a film sequence, words cannot describe an image. Nowadays, “The blue Angel” is used to describe nightclubs, escadrons and remakes: until I gave this title to my film, it had not existed”
Sternberg changed the ending of Mann’s novel, that was a social story about a professor that marries Rosa Frohlich, a cabaret singer who has a child, and is accepted by the society after making a new career as cabaret singer.
Contemporary audience regarded “The Blue Angel” as a chronic of a decadence period that lasted in Germany for ten years.
“The Blue Angel” is a kind of apocalyptic premonition about the social force
that will form the nucleus of the Nazi epoch. The changing of professor Raat’s name to Unrat (=filthiness) is an anticipation of the methods used in the concentration camps, and Rath’s pupils are models of young Nazi soldiers.