Forty years after the publication of the groundbreaking exposé memoir Ganz Unten (Lowest of the Low), the undercover experience of German investigative journalist Günter Wallraff is transformed into a documentary opera in this UK premiere.
Disguised as a Turkish migrant worker in West Germany during the 1980s, Wallraff entered the hidden world of migrant labour for two years, experiencing and exposing the exploitation, racism and the harsh conditions faced by migrant workers. His revelations shocked Europe and are still strikingly relevant today.
Featuring music by renowned Turkish composer Tuluğ Tırpan, this docu-opera explores the everyday encounters and ethics of Wallraff’s undercover work, considering questions of cultural appropriation through the lens of today and investigating what drove Wallraff’s transformation.
Lowest of the Low will be performed in English.
Review by D. C. Jackson
owest of the Low is a striking UK premiere that immediately establishes a strong theatrical identity. Presented as a documentary opera, the production combines contemporary music with a distinctly Brechtian theatrical language, creating a piece that feels deliberately removed from conventional operatic storytelling.
The Brechtian influence is perhaps what stood out most. Rather than allowing the audience to disappear into the world of the production, there is a constant awareness of the performers, the theatrical space and the act of representation itself. This distance works particularly well with the themes of identity, exploitation and social inequality, encouraging the audience to observe and question rather than simply consume what is happening on stage.
The casting of Ryan Wichert and Oscar Castello as opposite ends of the same character is particularly effective. Their performances complement one another beautifully, creating an intriguing sense of a divided identity. Watching them move between these different aspects of the same character becomes one of the production’s most engaging theatrical devices.
There is also something fascinating about how the production presents society itself. The staging creates a sense of people being surrounded by what they should be seeing, yet somehow remaining blind to it. That idea comes through strongly in the ensemble work, which gives the production a feeling of collective observation.
Lou Strenger deserves a particular shout-out, bringing an impressive energy and presence to the ensemble. The entire company works together extremely well, and there is a strong sense of cohesion between the performers. Nobody feels isolated from the wider production; instead, the ensemble operates as an important part of its theatrical language.
Musically, the production has a distinctive identity, with Tuluğ Tırpan’s score supporting rather than overwhelming the theatrical elements. The combination of opera and documentary material creates something that feels quite different from a traditional operatic experience.
The main challenge is that, without prior knowledge of Günter Wallraff’s memoir, some of the narrative can feel difficult to follow. There are moments where a little more context would help the audience understand the significance of what they are seeing. However, the production remains engaging because of its visual and theatrical language, even when the story itself is not immediately clear.
Ultimately, Lowest of the Low is at its strongest when it embraces its Brechtian sensibility. It does not simply ask the audience to watch; it asks us to consider how we are watching, what we are accepting and what we might be failing to notice.
An intriguing first UK presentation, with particularly strong ensemble work and an inventive central performance from Wichert and Castello. It may require some familiarity with its source material to fully appreciate all of its narrative layers, but as a piece of experimental opera and theatre, Lowest of the Low provides plenty to engage with and think about.
Photo credit: Selin Senkoken
Cast
- Oscar Castellino — Ali
- Ömer Cem Çoltu — Ensemble
- Owain Gwynfryn — Adler
- Talha Kaya — Ensemble
- Lou Strenger — Ensemble
- Ryan Wichert — Günter Wallraff
Musicians
- Olivia Ziani — Violin
- Cubby Howard — Cello
- Tuluğ Tırpan — Piano
Creative & Production Team
- Mehmet Ergen — Director / Librettist
- Tuluğ Tırpan — Composer / Musical Director
- Simon Reade — Dramaturg
- Zeynep Anacan — Translator
- Richard Williamson — Lighting Designer
- Defne Özdoğan — Original Costume Designer
- Emir Gülerhan — Video Designer
- Beyhan Murphy — Original Movement Director
- Seeta Indrani — Revival Movement Director
- Deniz Dortok — Score Editor
- Gus Hodgson — Assistant Director
- Jamie Kubisch-Wiles — Stage Manager (on Book)
- Bessy Mo — Costume Supervisor
- Yağmur Karabacak — Design Placement
- Matt Pierce — Production Assistant
- Selin Şenköken — Production Photographer
Further info: click here