In 2007 the Norwegian-Dutch duo Hans Petter Dahl and Anneke Bonnema created The Ballad of Ricky and Ronny – a Pop Opera, vocal musical theatre with electronic music, about a man and woman on an absurd journey struggling to answer existential questions. The performance was well received by the Flemish press and was described as odd, dazzlingly nihilistic, extreme and sultry. MaisonDahlBonnema is now back with Ricky and Ronny and Hundred Stars – a Sado Country Opera. This is an interview with the two makers, Dahl the composer and Bonnema the librettist. A second performance with Ricky and Ronny. Who are these two? Dahl: We invented Ricky and Ronny as two possible alter egos in 2007. That gave rise to a possible self-portrait, a story about what might happen to us if we found ourselves in another world. Bonnema: So it’s not autobiographical. We are not portraying our lives, but a possible life. Part one is set mainly in a large city, part two mainly in the cosmos, amongst the stars. It’s no problem to see part two without first having seen part one. Ricky and Ronny die at the end of part one. So how do they continue to live in part two? Dahl: Ricky and Ronny wander about among the stars as spirits. There they meet Hundred Stars, a role sung and danced by Louise Peterhoff from Sweden. Through her they stumble into a pornographic universe where they seem to completely lose their footing. Bonnema: As they float through space, led by Hundred Stars, they explore a possible rebirth and continuation of their life on earth. But then they will have to put idolatry and consumerism behind them. Of course things don’t end well. Dahl: No. In fact if, after you have seen the performance, you think that anything worse exists, please tell me about it. This doesn’t sound terribly optimistic. Does this betray a sombre view of life? Bonnema: On the contrary. They get quite a lot of enjoyment out of it too. The world Ricky and Ronny find themselves in is very rich, but also dangerous. Sombre has nothing to do with it. Dahl: We all know there’s misery all around us. But if we accept it and act as if we have no system of values and standards, judgement and morality, what would happen then? That’s the fantasy this work is all about. The story is about the question of how Ricky and Ronny could be reincarnated. Anyway, it’s up to the audience to answer that question. You describe it as a sado country opera. Why? Dahl: We call it an opera because lots of people die in an opera, as Ricky and Ronny do in the first part. Sado country refers to my Norwegian background. There is a Norwegian joke about country musicians that inspired me when I was writing the music. How many country singers do you need to change a light bulb? Two. One to replace the bulb, and the other to sing about how the bulb broke. That’s how I think of country, a style of music that’s enormously sentimental. And we introduce the element of sado to add a bit of fun. So the title is more of a metaphor than a comment on the actual style of music. Actually this time it’s quite symphonic, with the occasional step towards classical instrumentation. In this performance the music is electronic. Is the work also suitable for fans of traditional opera? Dahl: Why not? They might even think it’s wonderful. Of course they have to realise it’s quite an intense work. It’s not suitable for children under 16. Bonnema: At the same time there’s a lot of humour in the work. We certainly try to entertain and move the audience, even though our story is wide-ranging and complex. MaisonDahlBonnema also makes much use of video, art, fashion and so on. Is this the case here too? Dahl: That’s still a secret. But you can be sure we have planned a few surprises for the audience. So the only thing I have to say to the public is this: don’t miss this performance.