Argentinean documentary director Lola Arias, who is best known for her theatre work, recently presented her debut film Teatro de guerra at the Berlin Film Festival. Related to her play Minefield that opened at the Royal Court Theatre in 2016, followed by a world tour, the film features six war veterans from the UK and Argentina who re-enact their experiences and relive their trauma of war together. A master of documentary fiction, Arias is interested in personal stories in a larger historical context, and for her new production she has chosen a highly relevant subject indeed.
After The Merchant of Venice and Elfriede Jelinek’s Wut, resident director Nicolas Stemann brought Chekhov to the Kammerspiele – The Cherry Orchard premiered in January, 2017. Stemann is not the kind of director who embraces naturalism. In his production of The Merchant of Venice, Shylock never makes an appearance. The director likes to challenge his audience with unusual casting decisions and by changing the text of the play. This time, however, the director leaves the text mostly unchanged and casts every character with one actor.
Written in 1905, The Cherry Orchard was Anton Chekhov‘s final play. The dying Chekhov was witnessing a time of great upheaval. There were peasant revolts, the social order was being challenged because the ruling class had ignored the need for change for too long. This passivity greatly contributed to the revolution in 1917. Chekhov wrote his drama as a metaphor for the passivity of society in a time of change and its failure to create a future that is acceptable to everyone.
Once upon a time the cherry orchard used to be very profitable. The harvest guaranteed the income of Lyubov Ranyevskaya and her family and secured them a prominent position in society. But over the past years the market for cherries has dwindled and the estate has been losing money. When land owner Ranyevskaya returns to her childhood home to replenish her energy and her finances, she finds herself deep in debt – the estate will have to be auctioned off. Lopakhin, the son of a former serf, offers a solution to save the estate: Cut down the cherry orchard and replace it with holiday homes. To his former masters, this suggestion clearly demonstrates Lopakhin’s lack of culture and is immediately dismissed. The value of the cherry orchard is immaterial. Cutting it down would mean cutting down their place in society, a place that others are also striving to achieve.
Nicolas Stemann focuses on identities, but age and, on one occasion gender, are unimportant. Lyubov Ranyevskaya, who returns from Paris to find solace in her home, is meant to be a middle-aged woman with a teenaged daughter, yet is played by Ilse Ritter (born in 1944) with Daniel Lommartzsch (born in 1977) as her brother Gayev. Firs is played by the youngest actor of the cast, Samouil Stoyanov. Thomas Hauser has taken over for Brigitte Hobmeier as Anya’s governess Charlotte. Stemann’s daring casting choices work quite well in this artificial environment of representation. Samouil Stoyanov adds another, quite threatening dimension to his character Firs because he shares his reactionary views not as a doddery old man but as an energetic firebrand.
The actors do not often interact with each other but speak into microphones as if they were doing a radio play as the director wants to avoid the sentimental atmosphere of more traditional Chekhov productions. Instead, Stemann places his work in the here and now using the characters as contemporary political figures – Ranyevskaya and her family are the passive establishment, the uninspired neo-liberals are represented by Peter Brombacher‘s tired and subdued Lopakhin, the eternal student Trofimov (Hassan Akkouch) stands for the intellectual who knows the truth but is not a man of action, and Firs is a reactionary who longs for the past because everything was so much easier without freedom. His speeches become quite aggressive and threatening as he turns into the spitting image of a fierce AfD (Alternative for Germany) supporter or any representative of the alt right.
Nicolas Stemann has placed Charlotte in the centre of the production. She is not a mere governess, she is a magician, a Romani without a firm identity. After Varya, played by the great but sadly underused Annette Paulmann, states that “only a God can help us now“, Charlotte starts off the second half with her extemporised summary of the first part, which leads to enthusiastic applause. Katrin Nottrodt‘s stage is bare except for a few chairs, microphones, and some electronic equipment and resembles a workshop. Occasionally, the noise of a drill precedes the arrival of logs that are tossed onto the stage. Yet the only prop that features rather prominently is a red velvet curtain that seems rather out of place and moves miraculously whenever Charlotte deems it necessary, only to end up in the dust just like the traditional Chekhov production it might symbolise.
The excellent cast and the intriguing casting choices make this a worthwhile evening although traditionalists might not enjoy Stemann’s bold production. 4/5
Review written by Carolin Kopplin
DER KIRSCHGARTEN will next be shown on 26 March 2018. To find out more about the production, visit here…
The production is in German with English surtitles.
In his comic triptych Hot Pepper, Air Conditioner and The Farewell Speech, the Japanese director and playwright Toshiki Okada examines office life in contemporary Japan and explores the relationship between temp workers and full-time workers in the declining Japanese economy.
The continuing success of right-wing populist parties and Trump’s presidency are worrying at best. Many people feel powerless, hoping that this situation will soon pass. Lion Feuchtwanger contemplated very similar problems in his trilogy Wartesaal (Waiting Room), which he wrote between 1930 and 1939. Feuchtwanger ‘s observations of national socialism in the 1930s were almost visionary and already entailed a theory of swarm intelligence, decades before this phenomenon was actually described.
Accept. Enjoy. Merge. Glorify. Glorify. Glorify. (Timothy Leary). The Virgin Suicides was the 1993 debut novel by acclaimed American writer Jeffrey Eugenides. Set in a Detroit suburb during the 1970s, the fictional story centres on the lives of five teenage sisters who are raised by fanatical Catholic parents: Cecilia (13 years), Lux (14 years), Bonnie (15 years), Mary (16 years), and Therese (17 years). After the youngest girl makes an initial suicide attempt, her sisters are placed under close scrutiny by the parents, eventually being completely confined to their home. The girls seek to escape their imprisonment but their parents thwart their efforts and isolate them even more from the outside world, thereby destroying their dreams and suffocating their spirit. The girls all commit suicide within a year.
Hungarian born director David Marton started out as a musician for stage directors like Frank Castorf and Christoph Marthaler before developing projects of his own. Moving freely between theatre and opera, Marton’s production His Fairy Queen, oder hätte ich Glenn Gould nicht kennen gelernt (The Fairy-Queen, or hadn’t I met Glenn Gould), after Henry Purcell, was invited to the Zurich Theater Spektakel festival in 2006 and the Impulse festival in 2007. In 2009, the theatre magazine Die Deutsche Bühne chose David Marton as Opera Director of the Year for his production Don Giovanni. Keine Pause (Don Giovanni. No Break). In 2015/16 David Marton founded the Opera House of the Kammerspiele and directed La Sonnambula and Figaros Hochzeit.
This new production by Swiss director and playwright Christoph Marthaler, known for his poetic musical theatre shows, has been eagerly awaited by Munich audiences. Marthaler, sorely missed in the Bavarian capital since his successful 2002 production of Nobel Prize Winner Elfriede Jelinek’s play In den Alpen, was invited by Artistic Director Matthias Lilienthal, with whom Marthaler had collaborated on various occasions, to present his new production at the Kammerspiele.
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