There’s no business like show business

Despite all these background skills his main job as a member of the AIDA ensemble is singing. Although he took singing lessons for many years, the 32-year-old never really pursued a career as a vocalist – until suddenly one day in his theatre group he found himself in the main singing role, covering for a sick colleague. “I really jumped in at the deep end”, says the affable Dutchman, “but everything went smoothly, and I discovered a new passion.” Happily, as a “mover”, he doesn’t have to dance. So what’s a mover? “The vocalists in a show receive tuition in dance steps, elegant glides – what we call movements – so that we don’t look too stiff next to the dancers”, explains Bart. And that’s the class he’s heading to this afternoon.

Movements, choreographies and acrobatics are all rehearsed in the scarlet building just down the road, which was built four years ago. The building’s 4,360 square metres spread over seven floors are packed with rehearsal rooms and stages, all equipped with the latest technology. The rehearsal studios, which are almost as big as gymnasiums, have the AIDA stages outlined on the floor. “Each movement, each step, every position is spot on – these people are all consummate professionals”, says Melanie Sievers, Manager Entertainment Communication at AIDA. “The singers and dancers practice their show repertoire separately, and later, at the ‘put-in’, everything is fused together to form the show.”

The average time needed to put on a show, starting from the initial idea, is between eight and ten months. The creative cogwheels of AIDA Entertainment start turning long before it becomes part of the AIDA repertoire. One of these many cogs is costume design and production. As soon as the show concept has been approved, Michael Berndt, Manager Costume Development at AIDA and responsible for pattern and prototype development, is given the figurines and the design sketches for each individual role. A prototype is designed for each costume. “Before we start serial production”, says Berndt, “we perfect each outfit down to the smallest detail in the fittings.” The costume’s appearance and functionality are what counts, he adds. “The artists have to feel comfortable in their outfit and be able to move freely.”

The costumes also have to be well made, able to withstand considerable wear and tear, and are designed to be changed with ease and at great speed. Performers come and go but the costumes remain, meaning they also have to be adjustable. For example, the trousers are designed to allow the knees – which tend to wear out during the rock’n’roll shows – to be easily replaced. “This saves time and material”, says Berndt. Most costumes are usually discarded after six years at the latest, which is also the average lifespan of a show.

For the aerial acrobats it is essential that their costumes fit like a second skin. Watch them flying through the air in the spacious rehearsal room with its vast corner windows, and you soon realise why. Suspended several meters above the ground, the AIDAprima artists, who come from Ukraine, Cambodia and the USA, perform their heart-stopping acrobatics using silks, ropes and trapezes, seemingly unbound by the laws of gravity. The power and the ease with which these five gymnasts move are truly astonishing. Each grip, each twirl in the silk and each plunge has to be absolutely perfect, and there is no margin for errors. There’s no safety net or line – the artists depend solely on their body control and skill. Ill-fitting or baggy costumes could present a great risk.

There are only four weeks left before the ensemble artists of the AIDA fleet – who are called the AIDA stars – board the AIDAprima. Four weeks left to rehearse their performances, songs, dances. “We have exactly one week to study and rehearse each show”, says solo singer Bart. In four weeks they’ll be standing on the Theatrium, which is the large stage on the AIDAprima. Today, they’re focussing on the emotion-laden final song in the big welcome show. After an hour-and-a-half of rehearsals, the six soloists go through the closing number and Holger Kolodziej is finally satisfied. “Very nice”, he praises their performance. It is also very moving, despite the plain surroundings of the rehearsal room. On a proper stage, with spotlights, glamorous costumes and a lavish stage set it will be simply overwhelming: a show that gets feet tapping and sends shivers down your spine. And that, as Borris Brandt says, is exactly the effect a good show should have.

Pictures: Ralph von Kaufmann