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And there's no shortage of features in Fantastical 2. Through Saturday at the Münchner Volkstheater .The truth is, it does duplicate Apple's calendar app, but the real value comes in the form of the features it adds to your calendar. As an actor in “We Are in the Army Now” says, “Ideology can’t be explained using emojis.” The innovative productions at Radikal Jung suggested that theater can help us untangle things, however modestly, by fostering a greater sense of solidarity with the victims of complex systems of oppression. Our world and the people in it need some serious sorting out. In an exuberant finale, the actors engage in some kick-ass cosplay, battling against the patriarchy and their own self-destructive tendencies as glam-rock Power Rangers. Their autobiographical monologues, staged with furious energy and physicality, are alternatively heartbreaking and empowering. While their tools of self-expression are TikTok and Instagram - and many parts of the live performances are captured with the performers’ smartphones or computers and projected at the back of the stage - their grievances are old as the hills: rage at their parents, unhappy loves, the impotence to change a world that refuses to accept them. The hand-drawn sets, the low-budget special effects - including an active volcano that looms over the school - and the rough and spirited playing of the Orchestra Academy of the Munich Philharmonic (credited as the Orchestra of Cheerleaders) help make “Gymnasium” the senior play you wish your school had been awesome enough - or your classmates talented enough - to put on. With scrappily sung musical numbers and eye-poppingly colorful sets and costumes, “Gymnasium” comments on trolling, viral rumors and climate change skepticism with a gentle satirical touch.
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Tribalism, feudalism and superstition are among the medieval codes that are resurgent in the “post-truth” digital age.
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The stock characters and plot devices of teen comedies transposed to the eccentric setting provide Park and Roessler plenty of fuel for skewering our off-kilter world. Set in a kooky mash-up of the late Middle Ages and the 1990s, the show is a campy, riotous sendup of films like “Carrie,” “Heathers” and “Clueless” that gleefully pokes fun at American high school myths. The only Volkstheater production at Radikal Jung, it is quite possibly the loopiest and most entertaining German production that premiered last year. It was almost a relief to leave the real-life horrors of “Bad Roads” behind for the immersive dystopia of “ Gymnasium,” a “high school opera” written and directed by Bonn Park with music by Ben Roessler. At the same time, Vorozhbit’s sensitivity to her characters’ psychologies - and her desire to understand the perspective even of violent perpetrators - make “Bad Roads” a deeply human work about the compromises, cunning and sheer blind luck that surviving in an inhuman time requires. The disorienting atmosphere brought to mind Sergei Loznitsa’s extraordinary film “Donbass,” another anthology of surreal episodes about the 2014 conflict. It was sometimes difficult, at least for this non-Russian- and non-Ukrainian-speaking viewer, to tell who was on which side. The production is relentlessly dark and savage, even if it’s shot through with morbid humor, such as the moment when a medic who is transporting her lover’s corpse propositions the soldier who has accompanied her on the mission: “A body without a head in a body bag just doesn’t turn me on.” This introductory story sets up the moral ambiguities of the tales that follow, in which ordinary people, robbed of their lives by a senseless conflict, are driven to extremes.
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