An elegant hotel on the Côte d’Azur, where international crowds flock and European nobles make wedding plans to jazz band music – well supplied with cocktails by the busy staff. Not unusual at first glance. But nothing is as it seems. The shy waiter Albert, who is actually a hotel heir, falls head over heels in love with the impoverished Spanish princess Isabella, who in turn is promised to an Austrian prince. Enough material for a real Hollywood movie – follow the arguments of Marylou, daughter of the bankrupt American film producer Makintosh. The self-determined modern woman has set it in her mind to save her father’s company from ruin, bursts into the middle of the action and, with her lack of understanding of the outdated values of the old world, disrupts the fragile order of society. The Grand Hotel is upside down: who gets whom, and how will the movie end?
Supported by Paul Abraham’s versatile music – from waltz to foxtrot, from tango to jazz – a playful Hollywood-style confusion arises. The wit of the plot, as well as the score, still bask in the reflection of the fallen Weimar Republic. Banned from Berlin stages, Abraham and his librettists bring this parodic declaration of love to the absurdities of the operetta to the stage in 1934 already in exile.