Don Gio

When the opera turns into cabaret and the old saying of “sex sells” counts for more than the pure beauty of Mozart's music, completely new interests come to guide an actor's actions. In the early nineties a market that strives for more and more rids itself of the shackles of socialism and greedily fills its pockets. How is an inexperienced director supposed to defend himself against the advances of a producer who gladly gives in to sinful temptations. A world of beauty and cunningness, which trades in its values for money, sex and drugs, can only result in wrestling for the scantily dressed. Brothers Michal and Simon Caban, jointly responsible for both script and direction, express loud criticism of the side effects of the transitional period with their “Don Gio” interpretation. In the process they make intelligent use the advantages of the stage in order to hold up a mirror to the uninhibited society beyond. DD