Info and pics from a Souvenir Brochure* (mid-80s), courtesy of Sachmet and from "CATS in Wien - Die Geschichte eines Erfolges"**, 1985, Jugend & Volk Wien by Peter Weck and Attila E. Lang. Translation from German (c) Triskell, 2001. If you want to use it, please contact me first.

MICHAEL KUNZE*

Michael Kunze was born in Prague (Czech Republic) and grew up in Southern Germany. In 1968 he finished his studies of the law and wrote his diploma essay about witch trials. Afterwards, he mainly worked as lyricist and LP producer. He wrote the lyrics for over 600 pop songs; among others for Udo Jürgens, Gilbert Bécaud and Charles Aznavour. Dr. Kunze had a US number one hit as the first German producer with his group “Silver Convention” and was awarded the American phonoacademy’s “Grammy”. Until now (mid-80s ed.) he was won 30 “Golden LPs” and two “Goldene Europas”. In 1978 Mr. Kunze gave up “Silver Convention” and founded a stage publisher, focusing on musicals more and more. So he did not only translate many shows (Evita), but wrote his own as well. The translation of the texts from CATS, based on Thomas Stearns Eliot’s “Old Possum’s Book of Practical Cats”, was a special challenge for Dr. Kunze, as there was not only poetry to be put into the German language, but also the rhythm of the music by Andrew Lloyd Webber to be kept in mind.

Mr. Kunze translated “A Chorus Line”, the first German production of “The Phantom of the Opera” (also the first time this musical was played in continental Europe) and is, together with Gillian Lynne and Dario Farina working on a musical entitled “Elisabeth”. (very good musical about the Austrian Empress, strong images, lovely music and good lyrics ed.)

“Why CATS didn’t become cats…” by Michael Kunze*

The musical’s translator had the strange ambition not to be noticed. Because his duty is best fulfilled when he dismantles the language barrier between original and the audience in such as way, that the latter will have the feeling of seeing the original. In the best case he furthers the success of the first domestic performance by remaining invisible behind the achievement of the original librettist.

I dare not hope having achieved this ideal. (he has, in my personal opinion ed.) The task was hardly to be done. On the one hand the German version of CATS should be as executable in singing and dancing as the original, on the other hand the meaning and, if possible, the phrasing of T.S. Eliot’s poems had to be transported into German. Compromises were inevitable.

When some questions remain unanswered for the audience of the Vienna production (“What is the ‘Spherical Realm’? - “What does ‘Grizabella, the sunflower’ mean?”), they are not worse off than the audience in London and New York. T.S. Eliot’s mystical darkness is one of the colours of this theatrical spectacle and, I believe, one of its most fascinating. (couldn’t agree more on that ed.) To keep it - not to clear it up - was the task before me.

Behind our heroes’ names there is, however, no mysticism. “Jellicle Cats” are nothing but “the little cats” from a child’s mouth, the same explanation can be used for “Pollicle Dog” (“poor little dog”). Of course this origin of the names T.S. Eliot used is not known to most English speaking member of the audience either.

Now and then, Peter Weck discussed the possibility of transplanting the scenery of the cat party from London to Vienna and of having Viennese cats acting on stage with me. Both of us found it enthralling, but we were also agreed that respect for the original didn’t leave us this freedom. (there are some parts, however, that are quite “Viennese” all the same eg. Bustopher’s mention of Viennese cuisine ed.)


PETER WECK*

Coming soon. Hopefully ;D.