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More rave reviews of Spymonkey’s directorial triumph at the Vienna Volksoper. It’s a sell-out smash hit!

Video introduction by Toby and Aitor

“The Volksoper succeeds in a triumph of comedy: this is how you play operetta! Racy, dust-free, modern and colourful – grandiose entertainment theatre of the highest level. Pure joy!”
Wiener Zeitung, 23.1.2023

“The British directing team Toby Park & Aitor Basauri, world famous as Spymonkey, have proved themselves, turbo-charging this Volksoper production of Jacques Offenbach’s ‘Orpheus in the Underworld’. Together with Julian Crouch, one of the most extravagant of set designers, they bring the depraved ancient world of the gods with all its whims, immoralities and erotic deceit to the Währinger Gürtel.”
Kronen Zeitung, 23.1.2023

“A rare chance to see so much hilarious silliness and delightful British slapstick on an Austrian stage… Hooray!”
Kurier, 23/11/2023

“Laughter like this is rare to hear at the Volksoper… Virtuoso comedy.”
Der Standard, 23.1.2023

And here’s a preview from ORF, including interviews with Toby and Aitor about the challenges of making ‘Opera of the Funny’.

Profile of Spymonkey on ORF/Sat-1 network TV arts magazine KulturMontag

“An exuberant celebration of stage craft.”

“A British stage delight!”
Kronen Zeitung, 23.1.2023

“This direction is simply brilliant, full of imagination that reveals itself in the details, full of bizarre ideas and gags that only comedians in the British tradition can invent. And how fantastic: nothing, absolutely nothing, is taken away from the piece as a result. Offenbach’s ‘Orpheus’ remains Offenbach’s ‘Orpheus’, a musical theatre of pleasure, of wit, of winking frivolity.”
Wiener Zeitung, 23/1/2023

“With aplomb, [conductor] Alexander Joel makes Offenbach swing, flashy aural punchlines that pop, and fine, meltingly lyrical moments.”
Kronen Zeitung, 23.1.2023

“Aitor Basauri and Toby Park, as Spymonkey, have ventured into a new realm this time – and with Offenbach have actually found what they want with their own theatre: To make plays that stand on their heads. So you can experience a tour de force between Monty Python humour and the Gallopp Infernal, understood in a completely Viennese sense. Not everything will turn out so badly in the end.”

“Hedwig Ritter sings Eurydice with a soaring radiance that is breathtaking, and proves herself a true comedienne! The entire ensemble sings and plays brilliantly. The ensemble is simply perfect, down to the smallest supporting role, to the chorus rehearsed by Roger Díaz-Cajamarca. And the choreography by Gail Skrela is ravishing, allowing the Vienna State Ballet to shine, both as sheep and bacchants in the cancan.”
Wiener Zeitung, 23.1.2023

“Images that made the premiere audience cheer enthusiastically. Instead of boring us with director’s theatre, Crouch dares to transport us to a riotously kitsch antiquity, from a sugar-coloured sky full of columns to a weird underworld cabaret. Fun is the trump card!”
Kronen Zeitung, 23.1.2023