Folk, Fantasy and Performance -

The history of Fairytale

The Elven Throne of Thorsagon – the Fantasy Musical takes us on a magical adventure of sound to experience a cross between a musical and a rock opera with sounds ranging from mystic folk to metal. The main character, Vicky, longs to break out of the routine of her everyday life. An old man recommends a place to her that she should see at all costs – and so Vicky begins an adventure that takes her from the human world, or what’s known as the other world, deep into the mysterious kingdom of Thorsagon. With the forest elf Liora at her side, she has to face the inscrutable magician Razar – will she be able to save Thorsagon from a dark fate?

The mystic folk ensemble Fairytale has put its heart and soul into this exciting foray into the world of musicals and demonstrates exceptional musical flair. The songs from The Elven Throne of Thorsagon were written by Laura Isabel Biastoch and Oliver Oppermann who collaborated closely with renowned playwright Karl-Heinz March (known for his children’s musicals Lauras Stern, Der kleine Vampir and others). The upshot is an enthralling musical experience that should inspire young and old alike. Fairytale has already received rave reviews for their second album entitled Autumn’s Crown and toured as a support group for folk scene stars like Moya Brennan, Blackmore’s Night and The Dublin Legends. Now the group’s ready for a very special challenge.

“We were already toying with the idea of a musical before Autumn’s Crown was produced. We met Karl Heinz March at the Kulturbörse show in Freiburg 2017, where we talked about our story-based concerts and developed the idea of a fantasy-based musical,” says Oliver Oppermann, who wrote the plot for the musical. His band colleague Laura Biastoch, who plays the protagonist Vicky in the musical, knows a lot about the multifaceted preparation required for the start of the musical: “Of course, a musical like this takes up a lot of time. Alongside the rehearsals, we also have acting and singing lessons, practise stage fights and there’s still plenty more aspects to come. Then we often have to try on costumes or we’re busy building the set. Nevertheless, the rehearsals for our story-based concert and the Fairytale concerts continue. When we’re not touring with the musical in the autumn, we’ll be touring with Fairytale. I think the two are perfect matches. Both are mutually beneficial and help us as a band too. We’re growing and learning a lot right now and see each other almost every day.”

Experienced playwright, Karl-Heinz March, doesn’t just confirm that the ambitious and classically trained members of Fairytale have talent but are also passionate about their joint project: “What’s so remarkable about Fairytale is that all those involved have always been open to new things. The special attraction of The Elven Throne of Thorsagon is that we combine traditional theatre and musical forms with music that’s rarely heard in concert halls, because we make use of the seeming polar opposites of folk and metal music. Berit Coenders (the forest elf Liora in the musical) explains that what’s special lies dormant in every person: “I think there’s a Vicky in all of us with a longing to discover whether there’s more to life. And that perhaps there’s an adventure waiting. Which is exactly why we read books and delve into a completely different world. We watch movies about hobbits and dragons, as well as different peoples fighting for an iron throne. In the past, when we were children, we created our very own world when we played on the playground or at home with simple figures. Why should we stop doing that? There’s something of the child in all of us. And that’s wonderful! There are no limits to our imagination.”

Especially in a world in which the battle cry for digitalisation has spread to every inch of our lives, this sort of fantasy musical appears to act like a beacon. “To the same extent that our everyday life is increasingly being encroached upon by digitalisation and technology, many people are longing for a brief chance to escape – and this little journey with us to Thorsagon has come at exactly the right time!” says Karl-Heinz March who can’t wait to see the finished result. Vocalist/violinist Berit summarises what her musical colleagues think: “Our musical brings together worlds, genres and people. We invite you to immerse yourself in a world of magic and adventure. And maybe this world isn’t as far away as you think…”