We mark the passing of three long-time associates and supporters of this journal. We also note with deep sadness the loss of our colleague Daniel Gerould, editor of our companion journal, Slavic and East European Performance. The editors of WES have opened discussions with professor allan kuharski about combining the two journals.
We mark the passing of three long-time associates and supporters of this journal. We also note with deep sadness the loss of our colleague Daniel Gerould, editor of our companion journal, Slavic and East European Performance. The editors of WES have opened discussions with professor allan kuharski about combining the two journals.
We mark the passing of three long-time associates and supporters of this journal. We also note with deep sadness the loss of our colleague Daniel Gerould, editor of our companion journal, Slavic and East European Performance. The editors of WES have opened discussions with professor allan kuharski about combining the two journals.
We mark the passing of three long-time associates and supporters of this journal. We also note with deep sadness the loss of our colleague Daniel Gerould, editor of our companion journal, Slavic and East European Performance. The editors of WES have opened discussions with professor allan kuharski about combining the two journals.
Christopher Balme Miriam D'Aponte Marion P. Holt Glenn Loney Daniele Vianello Harry Carlson Maria M. Delgado Barry Daniels Yvonne Shafer Phyllis Zatlin Editorial Staff Alexandra (Sascha) Just, Managing Editor Kalle Westerling, Editorial Assistant Benjamin Gillespie, Circulation Manager Staffan Valdemar Holm Photo: Sebastian Hoppe Martin E. Segal Theatre Center-Copyright 2012 ISSN # 1050-1991 Professor Daniel Gerould (in memoriam), Director of Publications Frank Hentschker, Executive Director Jan Stenzel, Director of Administration To the Reader In this issue we mark the passing of three long-time associates and supporters of this journal. Two tributes are posted below, that of Rosette Lamont, a founding editor and frequent contributor, and Jean Decock, a long-time reporter on the Off Festival in Avignon. We also note with deep sadness the loss of our colleague Daniel Gerould, editor of our companion journal, Slavic and East European Performance. Before his death, Professor Gerould began negotiations with another outstanding scholar of Eastern European theatre, Allan Kuharski of Swarthmore College, to assume editorship of SEEP, but insuffcient funding and staff support prevented those plans from moving forward. The editors of WES, which has also experienced funding cutbacks in recent years, have opened discussions with Professor Kuharski about combining the two journals, so that the important work of both can continue. Aside from fnancial considerations, this would also acknowledge the fact that Europe, clearly divided into an East and a West a quarter of a century ago when these two journals were founded, is now a very different and far more unifed and interlocked continent, and a combined journal would much more clearly refect contemporary cultural reality. We hope that within the next year we will have organized this new structure. We will, of course, keep our faithful readers informed as the situation develops and hope that they will be as supportive of us in the future as they have been in the past. In the meantime, WES will continue its current orientation, and we welcome, as always, interviews and reports on recent work of interest anywhere in Western Europe. Subscriptions and queries about possible contributions should be addressed to the Editor, Western European Stages, Theatre Program, CUNY Graduate Center, 365 Fifth Avenue, New York, NY 10016, or mcarlson@gc.cuny.edu. Western European Stages is supported by a generous grant from the Sidney E. Cohn Chair in Theatre Studies. Martin E. Segal Theatre Center Journals are available online from ProQuest Information and Learning as abstracts via the ProQuest information service and the International Index to the Performing Arts. www.il.proquest.com. All Journals are indexed in the MLA International Bibliography and are members of the Council of Editors of Learned Journals. Rosette C. Lamont 1927-2012 Rosette Lamont was one of the founding editorial board members of Western European Stages, and a frequent contributor on contemporary productions in Paris during the frst twelve years of the journal, when she contributed over twenty- fve witty, insightful, and informed essays. She also wrote regularly for the New York Times, Theater Week, and The New York Theatre Wire. A leading scholar on the post-war French theatre, she was the author of two books on Eugene Ionesco, of whom she was a personal friend. She received many awards and decorations in both the United States and in France. She was a brilliant speaker and a mentor to two generations of students, frst at Hunter College and the CUNY Graduate Center, and subsequently at Sarah Lawrence College. Rosette Lamont leaves behind a tremendous legacy as a teacher, a scholar, and a critic. Marvin Carlson Jean Decock, 1928-2011 Who can ever forget Jean Decock, seated in the front row of theatres in New York City, at the Avignon Festival, in Paris, and anywhere else he happened to be? With his white hair pulled back in a ponytail, taking copious notes with his tiny pen and clearly engrossed in what was happening on stage, he was always a fgure of note. Even in his seventies and early eighties, he would see at least two shows a day, a concert, or a flm. And in Avignon, I marveled at his ability to crisscross the town on foot, in the broiling heat, as he sought out the latest OFF Festival shows (at least four a day.) Along with his love of theatre and flm, Jean was known for "his kindness, his culture, his charm, and his humanity," to quote Regis Philippi, the owner of the hotel where Jean stayed during every Avignon Festival. He will be greatly missed by all who knew him and shared his enthusiasm for the arts. Philippa Wehle 3 Table of Contents 5 25 31 39 57 63 71 75 79 87 91 103 Roy Kift Brian Rinehart Marvin Carlson LeGrace Benson David Willinger Maria M. Delgado Joan Templeton Phyllis Zatlin Steve Earnest Charlott Neuhauser Volume 24, Number 1 Going Europe...The Dsseldorf Schauspielhaus 2011-2012 One, Two, Three, and Already Over: The Theatre of Uli Jckle Report from Berlin Report from London, January, 2012 Guy and IvoTwo Directors, Two Cities, Two Intersecting Paths Barcelona Theatre 2012: Mismatched Couples, Capitalism under the Scalpel, and the Ghosts of the Past Frank Castorf's La Dame aux Camlias at the Odon, Paris, January 7- February 4, 2012 Parisians Love to Laugh Theatre in Iceland, Winter 2011 The BibleNow a Play in Three Acts The Index to Western European Stages, Volume 23 Contributors SPRING 2012 4 William Shakespeare's Hamlet, directed by Staffan Valdemar Holm. Photo: Sebastian Hoppe. 5 The Dsseldorf Schauspielhaus (Ds- seldorf Playhouse) has three main stages: the main auditorium and the studio (both at Gustaf-Grnd- gens-Platz in the city center), and the Young People's Theatre a few kilometers away in a converted fac- tory building in the suburb of Rath. It has a total staff of over 300, and an ensemble of forty-four actors. At the moment it enjoys an annual grant of around 21,000,000 to cover a total budget of 25,000,000. The origins of the Dsseldorf Schauspiel- haus go back to 1747 when a foundry in the city was converted into a theatre building in honor of the local Prince, Karl Theodor. From 1794 to 1815 Dsseldorf was in Napoleon's hands, but when it reverted to Prussia's King Friedrich Wilhelm II., the theatre was handed over to the city in 1818, and ac- cordingly named the Dsseldorf Stadttheater, or Mu- nicipal Theatre. Its initial director was Josef Derossi, an actor from Austria. But it was only after 1834, when the direction of the theatre was taken over by a lawyer and writer named Karl Leberecht Immer- mann that the theatre began to gain a reputation for itself. In 1873 work began on a new theatre building near the city's central park, the "Hofgarten," and the new building was opened two years later. From now on, however, the Stadttheater was mainly dedicated to opera productions. The Dsseldorf Schauspielhaus was founded as a private theatre on 16 June 1904 by the actress Louise Dumont and the director Gustav Lindemannthe two later marriedand less than a year later they inaugurated a new theatre building (audience capacity: 950) with a production of Heb- bel's biblical tragedy Judith, written in 1840. At the time the city of Dsseldorf was expanding fast and already boasted a nationally renowned Academy of Arts. In the nineteenth century its music life had been enriched by the presence of Robert Schumann and Felix Mendelssohn, who also conducted the city orchestra. Dumont and Lindemann had ambitious aims to give the city a similarly high theatrical repu- tation by presenting avant-garde productions at the cutting edge of modern theatre, and it was not long before the theatre began to earn a name for itself well beyond the immediate city boundaries. Con- temporary dramatists were engaged as dramaturgs, a fortnightly magazine Masken was launched, and Sunday matinees were staged, one of which featur- ing a reading by Herman Hesse in 1909. Not content with this, Louise Dumont set up an acting school attached to the theatre. In the 1920s, however, the theatre fell into fnancial diffculties, partly because of its challenging program and the more popular repertoire presented by the Stadttheater, and partly because of the general economic situation. After a break in productions between 1922 and 1924 its existence was fnally secured with the help of a "society of friends." Financial problems once again came to the fore at the start of the 1930s, and Lin- demann was forced to fnd a partner in the region. But the collaboration with the Cologne Municipal Theatre only lasted for one season (1932-33). In 1932, Louise Dumont died at the age of seventy, and one year later, Gustav Lindemann, who was Jewish, was forced out of offce by the Nazis. The Schauspielhaus was integrated into the Dsseldorf Municipal Theatre, and Lindemann withdrew from theatre life completely. Fourteen years later, during the Second World War, the municipal theatre was almost completely destroyed by allied bombs and had to be completely rebuilt after the war. In 1947, the direction of the municipal theatre was taken over by Gustaf Grndgens, who had himself been born in the city and was one of Dumont's former acting students. On 10 April 1951, theatre productions were separated from opera and transferred to an existing theatre building in Jahnstrasse. From now on this was to be known as the Dsseldorf Schauspielhaus. During his eight years as artistic director (Intendant) Grndgens took the reputation of the theatre to fur- ther heights. His own production of Goethe's "Faust" (in which he also played the main role) has gone down in history as one of the legendary productions in the German theatre and it was even recorded on gramophone records. After Grndgens departure for Hamburg in 1955 his successor Karl-Heinz Stroux continued his work in a similar tradition with a company which for a time included such great names as Elisabeth Bergner, Fritz Kortner, Maria Wimmer, and Paula Wesely. In 1964, Stroux's production of Ionesco's The King Dies! was invited to the Berlin Theatertref- fen as one of the most outstanding productions of the year. By now the theatre in Jahnstrasse was proving inadequate for the job, and plans were made for an entirely new building. The current Schauspielhaus on Gustaf-Grndgens-Platz opened on 16 January 1970 with a production of Georg Bchner's Danton's Going EuropeThe Dsseldorf Schauspielhaus 2011-2012 Roy Kift 6 Death to an invited audience only. Mass protests at the exclusive nature of the event ended in police in- tervention, twenty arrests, and several people being taken to the hospital. Stroux was followed as Intend- ant by Ulrich Brecht (1972), Gnther Beelitz (1976), and Volker Canaris (1986). With the arrival of Anna Badora in 1996 the reputation of the Schauspielhaus began to decline. Ten years later she was succeeded by Amlie Niermeyer, who in turn left to take over the theatre department of the Mozarteum University in Salzburg in summer 2011. Niemeyer's reign had been nondescript, to say the least, and the city fa- thers were desperate to restore the reputation of the Grndgens era. By now however, Dsseldorf was no longer considered a leading address for top German directors. Thus, it was that they turned their attention abroad for possible candidates. Their solution was Staffan Valdemar Holm, the former artistic director of the Royal Dramatic Theatre in Stockholm. At the frst press conference to announce his frst season, Holm declared that it was his aim to orientate the theatre more towards Europe. With his new team of directors, dramaturgs, and actors he aimed to promote both tradition and experiment. His young directors were to be respon- sible for the experiments and "I shall do the boring stuff" he joked. The new era was to open in October with a new production of Hamlet by Holm himself. To underline his international ambitions and introduce new authors and directors who were to work under his aegis, the season opened with a program of guest performances from Tokyo, Berlin, Santiago de Chile, Weimar, Antwerp and Brussels. One of Dsseldorf's new team of directors was Nurkan Erpulat, who had been responsible for the immensely successful Crazy Blood [WES, 23.3, Fall 2011]. His entertaining review Clash featured a group of young amateur actors from Berlin who had devised their own scenes in which they questioned the relevance of traditional German values in an in- tercultural society shaped by religious diversity. An- other new young director Nora Schlcker presented her Weimar production of Sartre's Dirty Hands. There was a crazy trio of pieces by Toshiki Okada from Japan; a very wordy two part evening called Villa/Discurso on the traumatic fate of Pinochet's torture victims in Chile, written and directed by Guillermo Caldern; and a truly magnifcent piece of theatre from Holland called Sunken Red. Based on an autobiographical novel by Jeroen Brouwers's Sunken Red play tells of the close relationship between a young boy and his mother, more particularly of the traumatic years they spent together in a women's concentration camp during the Second World War in Japan. When the play opens we see an old man picking obsessively at his toe nails alone in a room: shades of Beckett's Krapp. Indeed, there is a grotesque thread running through Dsseldorfer Schauspielhaus. Photo: Courtesy of Roy Kift. 7 the play which continually threatens to turn tragedy into farce. The solo character, whose name we never learn, recounts in painful detail the horrifc experi- ences he endured in Japanese captivity with his mother, his aunt, and grandmother. The long agony of hunger and torture appeared to have come to an end when the Japanese capitulated to the oncoming allies and wagons full of fresh food arrived in the camp: only to be brutally destroyed by the Japanese before the eyes of the starving prisoners. Back home, the shattered mother fnds it impossible to care for her son and has him sent away to a school. These agonizing experiences affect his whole life and the resulting irrational resentment against his mother makes it impossible for him to have any satisfactory relationship with other women. Trapped within his lonely psychological and physical cell he relives all the hatred he has suffered and feels. But what begins as a settlement of a debt with his mother ends ca- thartically with an urgent declaration of love. Sunken Red proved to be one of the most amazing theatre ex- periences I have had. Indeed, it was so powerful that I returned the next day to gaze again in awe at the masterly performancein English!of the Dutch actor Dirk Roothooft as the tormented victim. At a discussion after the frst night Roothooft revealed that he has been performing the play for years, also in French and Spanish, but never in England and only once in New York where it received mixed re- views. Perhaps it has developed since then: but then again perhaps European audiences have a different cultural receptive framework for such subject mat- ter. If you think the theatrical world is dominated by English and American actors, grab a chance to catch this show and you'll experience one of the best act- ing performances in recent history. Holm originally intended to open his Ds- seldorf era with his own production of Shakespeare's Hamlet. However, he had scarcely begun rehearsals on the play than he was hit by a bombshell: renova- tions to the main house, which had been going on for almost a year, would not be completed on time. Hence the October opening would have to be post- poned until the start of November. Thus shows in the Young People's Theatre and the Studio would have to kick off the season. Whether deliberately or by coincidence, both the opening shows were adapta- tions of novels. The Danish writer Janne Teller's book, Nothingis Important, has been described as the twenty-frst century equivalent of Lord of the Flies. It tells of a school class in a country town in Denmark and its reaction to a fellow student, Pierre, who stands up one day and announces that "Noth- ing is important anymore," before walking out of the Jeroen Brouwers's Sunken Red, directed by Guy Cassiers, Toneelhuis Antwerpen. Photo: Courtesy Dsseldorfer Schauspielhaus. 8 school and climbing a tree in his garden from where he proceeds to bombard his contemporaries with provocative statementsand plums. Almost imme- diately it is clear that the book is both realistic and a parable. The class mates decide to try to prove to Pierre that life does indeed have a meaning, and that this consists of things we value and love. The prob- lem is how to demonstrate this palpably. The group's nave response consists of each of them having to sacrifce an object which is important to them and building all the objects into a sort of "installation" embodying the concept of meaningfulness. After an initial attempt to bring along their "valuable" objects to a deserted old hut in the country, they realize that they have to be much more stringent in their sac- rifces. What starts harmlessly with favorite comics soon becomes a hazardous venture whereby certain members of the class demand specifc sacrifces from others, for example a brand new bicycle or a pet hamster. The distress of having to submit to group pressures leads in turn to "revenge" demands which become increasingly drastic. Eventually there comes a point of no return when one of the class breaks into the local cemetery, opens up the grave of his baby brother, and steals the coffn. Another mem- ber steals a crucifx from an old church, someone's dog is decapitated, a girl has to sacrifce her virginity (how is not specifed but a blood-stained cloth serves as evidence), and fnally one of the ring-leaders has to submit to having the top of his index fnger cut off because this is one he most needs in order to play his guitar. Inevitably this fnal act of bloody mutila- tion leads to their being discovered, the police move in, and cordon off the "installation" and the class is duly reprimanded. But by now the local press had got hold of the story and, when a television report goes global, art experts from around the world de- scend on the hut. This culminates in the installation being greeted as a major work of art and the class agrees to sell it for a seven fgure sum to the Museum of Modern Art in New York. But when the group confronts Pierre with their success he can only scoff in contempt at their having sold their meaningful installation so easily. Indeed, their action has only proved his point: nothing is important. The class is so enraged by his reaction that they fall on him and kill him. By any measure of realism the book falls apart once the police intervene, because the instal- lation would certainly have been screened off and/ Janne Teller's Nothing, directed by Marco torman. Photo: Sebastian Hoppe. 9 or dismantled almost immediately to be used as evi- dence. But it is the parable behind the book which holds it together, because it embodies a burning question for young people today: how to give their lives a meaning. Unfortunately neither the offcially ap- proved adaptation of the book, nor the production itself managed to live up to the original. The adapta- tion was stymied from the start by a compulsion to follow the events and dialogue in the novel almost to the letter, with no attempt to rethink it in possi- ble theatrical terms. The production aggravated this further by not only discarding the potential horror in the book but setting the play within the framework of an entertaining disco run by Pierre. Thus, far from being a shadowy distant provocateur, Pierre became a mocking happy-go-luck DJ. The fnal, fatal er- ror in the show was to invite the audience to leave their seats at the end to examine more closely the unveiled installation, here a banal piece of artwork which inevitably failed to live up to anything we might have imagined in our heads. If the idea was to involve the audience more directly in the murder of Pierre, it only succeeded in turning pathos into bathos. Because of the book's controversial popular- ity in Germany, the adaptationlike Erpulat/Hilje's Crazy Bloodhas been taken into the repertoire of many other theatres throughout the country. Happily the premiere of Nothing was fol- lowed shortly after by an impressive production of Franz Grillparzer's Medea written in 1819 as the third part of a trilogy entitled the Golden Fleece. Under the skilful direction of Sarantos Zervoulakos, the evening turned out to be one of the highlights of the season. Despite the fact that the production was aimed at young audiences there was no attempt to impose any directorial tricks: no pop music, disco effects, or modern text interpolations, nothing but the text and the story. In the hands of Zervoulakos, the potentially thorny mythical material proved to be a truly original imaginative and gripping theatrical experience. At the start the audience is confronted by an empty stage, apart from a large rectangular pit surrounded by a low wooden frame. Four actors ar- rive and hoist a huge sail made of thick plastic strips which they then move slowly back and forth to cre- ate the sound of wind and the rushing sea. A hose pipe leading to the pit in front of the sail releases fog into the air, and for a few minutes with the lights going on and off at regular intervals to indicate the passing of the days, we are sunk in the atmosphere of wind and cloud and the long journey of Jason and the Argonauts to the Greek city of Corinth. Here, after years of exile Jason (Aleksandar Tesla) and his wife Medea are taken in by King Creon (Dirk Osig) and the framed pit becomes not only a metaphor for the self-enclosed royal court but also a play area for children. Creon looks kindly on Jason, but prejudiced by tales of Medea's magic powers and her "barbarian" background he refuses to accept her into his court as an equal, despite her initial efforts to integrate. Tensions are aggravated when Jason meets up once again with his childhood sweetheart, Creon's daughter Creusa, who shows a particular interest in his two children. Medea's in- securities are aroused and she reacts with a display of hostility, which in turn only shuts her off even more from social contact. Thus the play becomes the story of an outsider in a foreign country, a criminal from the other end of the world, utterly unable to adapt to the norms of a "civilized" society. Whereas Creusa is slim, young, and beautiful, this Medea is a stocky, red-haired woman packed in a parka, as if to protect her not only from the wintery climate but the coldness of the social surroundings. Stefanie Reinsperger gives an imposing and utterly convinc- ing performance as Medea. She is simultaneously powerful and fragile, proud and full of self-doubt, sensitive and hard, driven by elementary emotions and tortured by her observations. When her children are taken from her she throws herself on the ground, out of her mind with fury and grief. Inconsolable. In the Dsseldorf production the inevitable step to- wards killing her own two children is then realized in a highly concentrated and unexpected manner. Instead of the expected bloodbath she simply take one baby in a basket under her arm and the other, a young boy dressed in a sailor's cap, by the hand and leads them quietly from the stage under the light of a harsh sun. When the spotlights go out, it is clear that she has killed them and the world has been turned into eternal darkness. Rarely have I seen such an uncompromisingly concentrated production on a young people's stage. This was not simply out- standing theatre for young people, it was outstanding theatre which might have found a more ftting home in the adult studio theatre. Instead, the studio theatre opened with The Map and the Territory, the latest novel by the controversial French writer, Michel Houellebecq in an adaptation by the German dramatist and drama- turg Falk Richter, who also directs the show. The play is a cynical satire on the art world: all surface image, modern, and modish. The stage is full of cameras, photographs, sketches, and drawings, videos, refecting the contrast between content and 10 Franz Grillparzer's Medea, directed by Sarantos Zervoulakos. Photo: Sebastian Hoppe. 11 presentation. The protagonist, Jed Martin, is a star artist whose works sell for millions, and who broke through to fame and fortune with an obscure series of photographs of Michelin road maps which osten- sibly demonstrate that the map is more important than the territory itself. Unsure as to whether he is a genuine talent or simply a hyped-up media charla- tan, Jed moves overnight from an object of obscurity to become the darling of the art world who can do no wrong. He immediately cashes in on his new-found fame with a series of photographs of media giants like Bill Gates and Steve Jobs, and rich artists like Jeff Coons and Damien Hirst (sic!) whom he cannot seem to capture to his satisfaction. The absurdity of the art world is shown here as a farce. Everything is self-conscious perfor- mance and self-presentation. None of the characters seem able to communicate with each other, whether they be Jed's lover Olga (complete with exaggerated Russian accent), his press agent Marylin stretch- ing herself out on a sofa in a lascivious fashion, or his vain gallery owner Franz. They either speak of themselves in the third person or directly to the audi- ence via a microphone. Almost inevitably the most interesting fgure in the show is not the millionaire painter and photographer Jed, who has retired into self-imposed exile into a country estate and now devotes his time to pictograms and videos to give expression to his contempt for the art world and the world in general which he sees as falling apart. In a piece of self-mirroring absurdity, Jed (a thinly- disguised authorial alter ego) asks none other than the reluctant Houellebecq to write the forword to the catalogue for his latest exhibition, and from now on it is Houellebecq himself who takes over the show: a smoking, boozing, self-indulgent cynic who knows only too well that he can behave how he likes, both artistically and socially because "I'm all the rage." The shock comes at the end of the even- ing when Houellebecq himself is mysteriously and senselessly murdered, and by the end of the play the world is reduced to slapstick with caricature detec- tives directly out of The Pink Panther walking into walls and falling over chairs. If this all sounds a lit- tle like comedy science-fction, it is: what starts in 2012 ends in 2048. If nothing else, the production showed that nihilism can be fun. And that itself was an achievement. At the start of November renovations to the playhouse were fnally completed and the thea- tre world waited expectantly for Staffan Valdemar Holm's dbut production: Shakespeare's Hamlet. The curtain rises on an utterly empty golden cage (design and costumes, Bente Lykke Mller) to the sound of soft rock music from the Danish band "Sort Sol." At the furthest corner of the stage stands the tiny thin fgure of Ophelia, a teenager in a plain black dress and high heels, lost in a (disco?) dream. Facing her across the vast expanse of emptiness is another teenager in a formal black suit and tie (as are all the male characters in this production), Hamlet. They hold their hands out towards each other, fnger- ing the air but keeping their distance as they circle slowly round the periphery of the cage to the sound of the music, desiring to come nearer to one another but simultaneously afraid of doing so. Eventually Hamlet breaks out of the formal dance, and when they move into the center of the stage the dream is broken by the entrance of an older man standing behind Hamlet so closely that he can breathe down his neck: "I am thy father's spirit, doomed for a cer- tain time to walk the night Revenge this foul and most unnatural murder." Thus in the space of the frst ten minutes, Holm establishes the parameters of his production. This is a love story between two nave teenagers that is destroyed by the murder of Hamlet's father and a categorical order to wreak a murderous revenge. All illusory innocent dreams are now destined to become nightmarish realities of guilt and self-accusation. This Hamlet is no tragic hero but a boy forced to become a man before his time, whose sharp awareness of his own inadequacy leads him from one disaster to the next as he tries to avoid the inevitable. Stripped of the Fortinbras/ political element the play thus becomes a highly personal drama of two families: Hamlet's family, broken and ruined by the murder of his father and the remarriage of his widow Gertrude (a masterful performance by Imogen Kogge caught between her role as queen and mother), to his uncle Claudius the usurping King. Over against this Holm gives us another family: that of Polonius, a man split between his du- ties as a courtier and his responsibilities as a caring father. Sven Walser's Polonius, is no doddering fool but a worried realist concerned about the future of his son, Laertes, once he returns to his student life in Paris. Laertes, in turn, seems to know only too well the lures of the fesh and, before he leaves, tries to warn his sister Ophelia against falling too much for Hamlet. His concerns are reinforced by his father who is highly agitated that the Prince might misuse his daughter for his adolescent lust and then discard her at will. But the damage to Hamlet's relationship has already been done. Compelled by the order from his ghostly father he is no longer able to pursue the 12 relationship for which he strives so ardently, and his seemingly harsh rejection of Ophelia takes on a tragic logic. The world is out of joint and everything has become a play of "seeming" and "being." "This can't be real" we seem to hear him say. In Holm's production it is and it isn't. He drives this home even more powerfully by having an elderly actor and actress play Guildenstern and Rosencrantz respec- tively. However in this production they are not only Rosencrantz and Guildenstern, but also the players, clowns, sailors, and gravediggers. In the central scene wherein Hamlet hopes to catch the "con- science of the King," the two play out the murder of Hamlet's father. As Hamlet's father (a woman as the father!) dies, she suddenly breaks out of the play and announces she can no longer act and speaks an excerpt from Ingmar Bergmann's Fanny and Alex- ander, in which an aging actress tells the ghost of her son that being an actress has ruined reality for her, and that she has given up trying to repair the world. At the same time she questions the reality of Gertrude and her husband, and throws the play onto a meta-level where Hamlet, according to Holm in the program "might be a prince another guy might be a dead kinga fair lady might be a queen. Or is it Imogen Kogge?" etc.). From now on, the stage world is thoroughly out of joint and the phantasmagoria on stage are un- able to prevent the external reality of a privileged society in a golden cage from collapsing like a house of cards. Driven insane by Hamlet's rejection, the innocent Ophelia haunts the court, dancing and sing- ing to the pop music she hears in her head whilst offering herself as a topless whore to whomever she approaches, including even her father whose fears have now turned into nightmare reality. Claudius's guilty conscience, pierced by the players' play within the play, comes to the surface and, in Rainer Bock's magnifcent interpretation, the usurping king descends from being a banal, technocratic decision- maker to a babbling alcoholic wreck in shirt-sleeves and open-neck vainly attempting to repent a crime to a God whom he despises. This is the great scene where Hamlet is fnally given the ideal opportunity to fulfl his father's command and take revenge: only to talk himself out of it on the grounds that he can- not murder a man at prayer. In Holm's production it seems at one point as if Hamlet might just ham- mer his uncle to death with his bottle of schnapps. Instead, he pours the remaining alcohol over the unwitting drunk and runs from the scene. Powerful as the staging might be at this William Shakespeare's Hamlet, directed by Staffan Valdemar Holm. Photo: Sebastian Hoppe. 13 point it is surpassed in the graveyard scene where not only Ophelia but the golden world itself is turned to dust. As Laertes and Hamlet tussle for the ashes of Ophelia, the urn is broken open, and the stage/ world covered in a cloud of ashes which reduces the two young men into helpless grey ghosts, horrifed and acutely embarrassed at the consequences of their dispute. Lea Drger's fragile, nave Ophelia makes a wonderful contrast to Aleksander Radenkovic's volatile young intellectual Hamlet, played with stun- ning clarity and schizophrenic wit. The magnifcent cast is completed by the two clown-players eerily and at times grotesquely performed by Marianne Hoika and Winfried Kppers: and Taher Sahintrk in the role of Laertes who, in the course of the play, matures from a cool modern student to a courageous and movingly mature man of dignity as he learns of the death of frst his father and then of his beloved sister. The play opens with the words "Who's there?" and after three and quarter hours of compelling thea- tre, in the fnal tableau Horatio (a weird interpreta- tion of a character who didn't seem to ft in the play at all) takes leave of all the characters lying dead on stage with the words "the rest is silence." The premiere of Holm's production re- ceived mixed reviews, since many critics saw it as conventionally old-fashioned. The highly respected and generally conservative Frankfurter Allgemeine Zeitung even perversely dismissed it out of hand as being a piece of hack work. Another critic remarked that this would be the production to send your chil- dren to, as they would be able to follow the story. Since most of today's young people, not only in Ger- many but around the world, are highly unlikely to have become acquainted with the story during their time in school or even university, one might reason- ably think this remark might be a compliment. In Germany where Shakespeare can be cut up and put together to ft any postmodern deconstruction theo- ryand let's face it, the non-English theatre world have a hugely liberating advantage here in that they have access to continually new translations because the outdated language of Shakespeare's English and its status as an almost sacred text undoubtedly ham- pers any attempt to "contemporize" the Bardthe comment was probably intended to be neutral at the most and more likely, negative. And herein, perhaps, lies the real problem for German critics: too many drastic modern reinterpretations of Shakespeare seem to have made them insensitive and unrecep- tive to the virtues of text over performance. For me, Holm's modernyes, modernconcept was not only clear in its intentions, but utterly coherent and sensitive to the original text. The few changes and insertions he made only served to heighten his vi- sion of the play and to shed a fresh light on a very old masterpiece. One fnal comment, this must be the only play production I have witnessed which pro- ceeded from start to fnish without a single piece of furnitureno curtains, no beds, no thrones, no bat- tlements, no makeshift stage for the playersevery reality is left to our imagination from start to end. Peter Brooke's "empty space" indeed! In her novel The Lacuna, the American writer Barbara Kingsolver quotes a tale about Stalin as related by his rival Trotsky. When asked what he liked best in life, Stalin replied "To choose your victim, to prepare everything, to revenge yourself pitilessly. And then to go to sleep." It would be very diffcult to fnd a better motto for the eponymous protagonist in Richard III, Holm's second Shake- speare production of the season. Once again the virtues of the "empty space" were invoked in the design by Lykke Mller. This time the empty box was black as a blackboard and scribbled in chalk with the names and family trees of all the charac- ters in the play, an immense help for anyone like me who has diffculty retaining the precise relationship of Shakespeare's casts. Around the edge of the stage were plain wooden chairs where the actors in mod- ern dress sat throughout the performance when they were not involved. And when a character was mur- dered one of the actors struck out the name on the wall with a piece of chalk. The play has no less than thirty-six characters and Holm elected to produce it with a cast of ten, all of whom except Richard and the four women characters doubled. At the start of the evening the actors take their seats and begin to mutter segments of text against a musical rhythm. Still seated they transform into a pack of dangerous dogs howling at Richard's ankles as he springs to his feet to order them to bring them to silence and be- gin one of the most famous opening monologues in the Shakespearian canon: "Now is the winter of our discontent made glorious summer." The massive fgure of Richard in a worn out tee-shirt and shabby trousers is anything but regal in his aura. This lout clearly relishes his role as the ugly outsider and from time to time emphasizes his alien nature by hunching a shoulder or putting on a limp la Laurence Olivier. The fact that he only does this occasionally empha- sizes the fact that he knows only too well that he is playing a role in a power struggle where anything goes in his ambition to grab and keep the throne. Here Rainer Galke runs the gamut of possibilities, exploiting to the full the "actorly" features of the 14 character who has a sort of beastly sensual attraction. Unfortunately the same cannot be said of the rest of the cast who were not only extraordinarily colorless but utterly undifferentiated in the various roles they were asked to adopt. Taner Sahintrk is a potentially exceptional actor. His Laertes in Hamlet was highly convincing and as Clarence, Richard's brother and frst victim in the Tower he again puts in a persuasive performance. But when it came to portraying seven other characters in the play they all seemed to be the same, a feature which was not helped by the fact that Sahintrk and the rest of the cast retained exactly the same clothes for all their characters. By contrast the women in the play seemed to have been caught up in a bout of collective hyste- ria. Karin Pfammater's Queen Margaret in particular did nothing but scream endlessly at the top of her voice, which made me more concerned about the state of her vocal chords than of the character herself. Indeed, screaming at the top of the voice seemed to be the principal means of expression throughout the play, with the overdone histrionics of Claudia Hb- becker as Queen Elisabeth, who gave the impression less of being a queen than an immature twenty- fve-year old ex-private school student. The overall impression of the production was not helped by the series of murders, the vast majority of which were lengthyand I mean minute-longthrottlings. In the face of an onslaught of screaming, drawn-out deaths and an utter lack of characterization, the ac- tors were completely unable to spark the fint of the "empty space" to fre the audience's imagination. The upshot was that an initially irritating evening slowly descended into tiresome monotony and end- less repetition. Thanks to the continual crossing-out of the names, the one clear fact put across by the production was the huge amount of persons who had fallen victim to Richard's brutal tyranny. Perhaps this was one of the points the production was trying to make: that in a world of naked power politics murder is nothing more than a cold bureaucratic procedure. Tick them off and they're dead and forgotten. This might also explain why they were all so faceless and interchangeable. Whatever the case, it was diffcult for me to discern why Holm had chosen to present this particular play at this particular time to this par- ticular audience, a view confrmed by almost all the critics who reviewed the show. By contrast with the lukewarm reception for Richard III, Nurkan Erpulat's reinterpretation (one might also say re-writing) of a modern German comedy Herr Kolpert was greeted with considerable critical enthusiasm. The play by the German author David Gieselmann was originally premiered in an William Shakespeare's Richard III, directed by Staffan Valdemar Holm. Photo: Sebastian Hoppe. 15 English translation at the Royal Court Theatre in London in 2000 and has since made its way around the stages of the world from Australia to the United States via many Eastern bloc countries. The black comedy la Who's Afraid of Virginia Woolf tells of a bored young couple, Ralf and Sarah, who decide to have a joke at the expense of their guests, a stiff non- drinking architect named Bastian and his wife Edith, by telling them that they have strangled a colleague of Sarah and Edith named Mr. Kolpert, and locked him in a trunk in the lounge. Taking as his starting point a reference to a seemingly unmotivated pos- session of a gun in Alfred Hitchcock's flm Rope, the author builds his tension on the question as to whether there might indeed be a corpse in the trunk, especially since knocking noises seem to be com- ing from beneath the lid. Edith makes the situation more confused by conniving in the hosts' story and confessing that she once had a brief sexual encounter with Herr Kolpert in the lift at work. Bastian is ap- palled at the news and even more at the incredible bad taste of the whole story, and cannot decide to believe it or not. Since Sarah and Ralf have forgotten to buy any food for the evening meal they order four take-away dishes from the local pizza restaurant. The drinking has already begun and when Ralf tries to phone through individual orders and extra requests this produces a chaotic series of misunderstandings which inevitably result in the delivery man arriving with the wrong order. In the meantime, the chaos has reached such a level that Bastian takes it into his hands to tie up Ralf and open up the trunk for himself. It tran- spires that the trunk is empty. But later in the play, after playing a chaotic identity game called Celeb- rity Guess, the body of Herr Kolpert falls out of a cupboard. By this time, Ralf, Sarah, and Edith are hopelessly drunk and the pizza man arrives back on the scene with the correct order only to fnd himself in the middle of a crime scene. Edith and Sarah bun- dle the body of Herr Kolpert into the trunk and pile the protesting Bastian on top of him before slam- ming tight the lid. The pizza man attempts to leave the apartment but is foiled by Edith who butchers him to death with a knife as an act of liberation to put herself on the same level as the other two murder- ers. The three of them pile the pizza man on top of Bastian who, in attempting to escape from the trunk, is then knifed to death by Ralf and Sarah. As a fnal act of emancipation Ralf, Sarah, and Edith all strip naked and stand there weeping. Whatever you make of the text of this farce, it does at least have its own internal slapstick logic. An English director would probably say that to make David Gieselmann's Herr Kolpert, directed by Nurkan Erpulat. Photo: Sebastian Hoppe. 16 the play really funny it has to be played extremely seriously. In Germany, the culture seems to be en- tirely different and the school of thought goes that to make a play even more funny than it is, you have to exaggerate it to the limit. This is the approach taken by Erpulat. He not only ignores the level of menace inherent in the references to Rope but pref- aces the play with his own invention, whereby Sarah and Ralf are two well-heeled Dsseldorfers looking out onto the outline of the city and congratulating themselves on their own success. As soon as the play starts all four characters start mugging it up, and when the pizza man arrives Erpulat decides to make this even more absurd by adding an interlude during which he sings and dances to a crazy rock song before delivering the food. The play contains many slapstick scenes which need precise timing in order to work. Unfortunately, on the night I attended the show, there was neither timing nor technique, simply a series of effortful mistimed messy gags. With no interest in the characters, the play rapidly deteriorated into a tedious disaster. For some reason known only to himself, Erpulat ducked the nude ending in the script and substituted it by having the three drunken survivors clean up the apartment before show- ing the skyline of Dsseldorf gradu- ally collapsing into rubble as if a 9/11 disaster had hit the whole city. Perhaps this was the meta-message: life and the world is a senseless disaster. Fair enough, but unfortunately in this case the production was too. And this from the young director who had given us the theatrical hit of the previous sea- son with his precisely realistic and ut- terly compelling production of Crazy Blood. Two days after the premiere of Hamlet, the main stage played host to the premiere of Gerhart Haupt- mann's Einsame Menschen ("Lonely People") written in 1891 and said to be his favorite play. Hauptmann himself once wrote: "There is nothing so grue- some as the alienation of those who know each other" and this seems to be the theme behind his drama. It tells of the intrusion of an outsider, a student by the name of Anna Mahr, into the enclosed life of a middle-class family in Berlin in the late nineteenth century. She arrives unheralded to fnd herself caught up in the midst of a family party to celebrate the baptism of the son of Johannes and Kthe Vockerat. The fam- ily welcomes her with open arms and invites her to stay for as long as she likes. Her original plan was to make contact with one of the guests, an artist by the name of Braun, but soon she and Johannes fnd themselves mutually attracted to one another. In Hauptmann's text this seems to be for intellectual reasons. But in Nora Schlcker's production they seem to be more interested in splashing about in the lake bordering the family estate than discussing phi- losophy. Correspondingly, the productionlike so many others in Germanyis set unoriginally amidst a huge mass of water in which people are continually paddling and even swimming. At one point the two maids even pile up chairs and tables in the middle of the water which gives the whole production a surreal favor. Days turns into weeks and tensions in the family grow. Johannes' wife can only gaze on David Gieselmann's Herr Kolpert, directed by Nurkan Erpulat. Photo: Sebastian Hoppe. 17 helplessly at the newly-found meeting of minds, his parents can only pass disapproving comments, and Johannes cannot bring himself to decide whether to stay within the family boundaries or break out to freedom. In the end Anna departs once again to her life as a "single," Johannes's wife breaks down and Johannes wades off to drown himself in the lake. Ironically, enough the outsider-family constellation in the play has some similarities with the Medea I describe above. But, unlike Medea, despite some good performances, especially from Tina Engel and Hans Diel as Johannes's parents, the production and the fate of the characters never re- ally grip. In an interview about her production, Nora Schlcker says that the play interested her because it questioned traditional middle-class ideas of the fam- ily and that here the characters are perpetrators and victims alike. Their desires to realize their deepest potentials and live a life of personal freedom stand in direct contrast to the cage of a conventional fam- ily life. A good theme, which is perhaps even more relevant today than it was in the nineteenth century. The question is why this play and not, say, an equally good play on the same theme by Alan Ayckbourn or another modern author. Productions on the main theatre stage con- tinued with a hermetic chamber play by the Norwe- gian author Arne Lygre entitled Days Beneath, writ- ten in 2006 and frst performed in Norway in 2009. Ostensibly, it tells the story of a man who collects (kidnaps?) people from the street and shuts them up in his underground bunker. The play, however, has nothing to do with the gruesome news stories of kid- nap and incestuous rape that have been coming out of Austria and Belgium in recent years. Despite the fact that the bunker is a sort of prison, the play has less to do with physical than intellectual control. It opens with a middle-aged man (Udo Samel) stand- ing opposite a woman in the bunker. "I am nothing," he says. "I am nothing," she repeats. "I have you," he says. "That is a dream," she replies. The parameters of the play are set. Language can create and dictate reality. Especially when here, the characters talk about themselves in the third person and even speak their stage directions before carrying them out. So how real is this reality? And if it is nothing but a linguistic construction, or a dream, dreams can also turn to nightmares. This is a world of security and insecurity, certainty and uncertainty, freedom and captivity, loneliness and togetherness. The man seems to have kidnapped the woman in order to heal her, and she appears to have fallen into a state of collusive dependence. For when he indicates he wants to return her to the outside world she resists to the hilt, despite his threat to cut her fngers off. And when he does succeed in send- Gerhart Hauptmann's Einsame Menschen, directed by Nora Schlocker. Photo: Sebastian Hoppe. 18 ing her back into the world she soon returns of her own free will. The two are joined by a young man, Peter, and a nameless "girl," whom the woman sees a possible rivals who can "break everything apart," despite the fact that both seem to have been captured against their will. Half way through the play, with- out warning, the kidnapper dies and disappears from the scene. The back wall of the bunker opens out to become a sort of huge empty window and the three captives are left to their own devices in what is de- scribed as an "existential ping-pong." There are su- perfcial resemblances here to Sartre's Huis Clos in which two women and man fnd themselves trapped for eternity in a claustrophobic hell. But whereas Sartre's characters are caught in an emotional tangle of sexual desire and rejection, Lygre's remain blood- less and cold. And as confused as most of the audi- ence. After one and three quarters hours without a break, the play closed with the words, "My story is empty." At least that was honest. Perhaps the most fascinating of the new plays in the season was Kevin Rittberger's Puppen ("Puppets"): not only for its content but its form. Presented in the studio theatre, this is an ambitiously absurd piece of surreal nonsense whose subtitleif it were pompous enoughmight be "Desperate Peo- ple in Search of the Meaning of Life." Indeed it does have something of a hint of Monty Python, although its humor never reaches such heights of inspired madness, nor probably aspires to do so. This is clear from the start in Rittberger's own staging (its Vienna premiere in 2011 in the hands of another director had received only a lukewarm reception) where the text becomes the central part of a triptych, prefaced on one side by a twenty minute orchestral prelude, and rounded off on the other by a series of almost still- life videos of solitary urban landscapes accompanied by a laconic commentary. The author-director describes his show more as an installation than a play, and this is clear from the stage which is almost bare apart from two pieces of scaffolding, one a rectangle in black, and the other a three meter high tower on wheels cov- ered in red cloth. The show starts with the entrance of a cellist who begins to play a harsh waltz, before being joined by a drummer and eight other musi- cians (strings, wind instruments, and a pianist) all clad in outlandish uniforms reminiscent of Chinese revolutionaries. Indeed, the music has something of Brecht-Eisler's martial power mixed with overtones of Mike Oldfeld's Tubular Bells and the music of John Adams. After about ten minutes you start to wonder if you are in a play or a concert. The musi- cians stop intermittently, then stubbornly take up the theme again in all its variations as if to emphasize their determination to create something new. But when they come to a triumphant end a trapdoor opens and they silently fle off into the bowels of Arne Lygre's Tage unter, directed by Stphane Braunschweig. Photo: Elisabeth Carecchio. 19 the earth. It is at this point that the play begins: it has no ongoing narrative, no conventional dialogue and no traditionally rounded characters. Instead, we are confronted with a series of scenes announced by an alien fgure in red shoes (the same strange actor who played Horatio in Hamlet), involving a hairdresser without clients, a greasy-haired grubby young man called "Clandestino" (a term currently used to de- scribe an illegal immigrant in Europe), a butcher without customers, and a "women who falls prey to attacks of giddiness." The young hairdresser is ob- sessed with her own "beautiful hair" and constantly rehearses the way she wants to present herself to the outside world as if she is a model in a fashion show or a television star. She is interrupted by Clandestino who wants his hair cut but has no money to pay for it. After telling her a wild story of his life including drug dealing in Amsterdam and crossing borders il- legally, he promptly announces that only half of it is true anyway. In the emptiness of the encounter they fall into each other's arms and desperately at- tempt to fnd some meaning in sex, only to end up in a farcically unfulflling tangle head to toe on the foor before deciding to separate and go their own ways. This is all accompanied by odd snatches of the music heard in the prelude, but now reproduced and distorted through a synthesizer by a performer standing at one side of the stage. No sooner has this scene ended than the next is announced by the man in the red shoes. A neatly dressed middle-aged "woman who falls prey to attacks of giddiness" tells us in an almost hysteri- cal burst of enthusiasm of her feeling of solidarity with her fellow human beings, fueled by her par- ticipation in a mass protest. For or against what we never fnd out, but when her energy burns out, we see an exhausted, lonely disorientated fgure who keeps collapsing to the foor like a puppet cut free of its strings. Clandestino attempts to pull her to her feet on several occasions and, just as we have dismissed his efforts as a hopeless venture, she begins to dance and soar around the stage like a prima donna. Only to keep collapsing once more when her energy runs out. She is then reprimanded from the audience by a third character, a brute of a man in a gray butcher's apron and gloves. At one point he claims to have been the latest in a long line in a family business go- ing back to the last century; and at another he tells us he has no idea of the butchery business at all. Indeed, Kevin Rittberger, Hauschka and Stefan Schneider's Puppen, directed by Kevin Rittberger. Photo: Sebastian Hoppe. 20 it becomes clear after a time that his life consists of standing behind an empty counter waiting for cus- tomers who never arrive. In desperation he decides to work on making a huge sausage with which to feed the world, another senseless attempt to give his existence a meaning. Needless to say he never even begins to realize this ambition, and at the end of the play he is surrounded by the orchestranow known as the "army of people who are getting rid of work"), placed on a platform with a white sign hanging round his neck (shades of the Cultural Revolution) and hammered into non-existence by abuse from the chorus. The playtext ends with the chorus lined up like jobless workers trudging off the stage into an empty future and Clandestino confronting the hairdresser once again with a short comment on her beautiful hair. Happy end or no happy end? Hope and mutual help, or hopelessness and helplessness? How much are people in charge of their lives any- more? How real are their lives? How meaningful? Is it possible to give life a meaning in a disintegrating world spinning free of values and orientation? These are the questions which Rittberger seems to be ask- ing. By this time, not only I, but I sensed the majority of the audience was as confused and frus- trated as the characters we had been witnessing on stage. But before we had time to digest what we had seen so far, a huge white screen covering the whole of the stage dropped down from the fies, and a man in a dark suit behind a podium began to deliver objective descriptions of a series of almost still-life videos of realyet seemingly unrealur- ban landscapes taken in Dsseldorf. The sense of un/ reality was heightened further by the fact that the only characters seen in the videos were those from the play. The hairdresser stands forlornly at a drab windswept crossroads beneath a railway crossing, the woman subject to fainting fts walks tentatively along a disused rail track trying to keep her balance on one of the rails. The butcher knocks continually on a warehouse door in a deserted industrial estate before disappearing slowly down another empty rail- way line, and the whole cast are vaguely glimpsed in a martial arts studio tucked away between an array of offce blocks and run-down apartments. The la- conic commentary on this last video ends with the words "almost all of the windows and doors have just been closed." So what to make of this hermetic experience? Pretentious crap or pioneering genius? Kevin Rittberger, Hauschka and Stefan Schneider's Puppen, directed by Kevin Rittberger. Photo: Sebastian Hoppe. 21 Perhaps a little of both. Nowadays the likes of Io- nesco and Beckett seem utterly conventional, but at the time they burst onto the Parisian stage in the 1950s, they were regarded by most people as utterly incomprehensible. Back in the Young People's Theatre, I was presented with the German premiere of a group play for audiences of ten years old and upwards, devised in Holland by Jetse Batelaan and his company from Rotterdam. The Raised Finger refers to the gesture used by adults to warn their children to behave them- selves, but here it is the adults we are asked to ob- serve around a children's playground sandpit. Before the play starts, the children are separated from the adults in the foyer and ordered not to utter a squeak during the performance but to observe the goings-on and discuss them afterwards. The children are then told to occupy the front rows with the adults sitting behind them. The result was disturbingly the quietest atmosphere I have ever experienced in a children's theatre show. The eighty-minute show displays the various antics of four parents, Sarah, Rosa, Alex, and Lukas who are supposed to be supervising their children at the public playground. Although the parents address their children, reprimand them, offer them food, clean them off etc., we never see the children themselves. Instead, our attention is fo- cused on the shenanigans of the parents who, here in an improvised situation, seem to behave even more childishly than their offspring. Lukas tries to escape as quickly as he can to play on a PlayStation with a friend but tells his daughter he has to go off to work. Rosa, a middle-class prig lays out half a library full of children's books in the sandpit for the kids to read, alongside an array of fresh fruit and vegetables in Tupperware boxes. Sarah order her son around the whole time whilst firting with her new boyfriend Alex, who can't wait for his ex-wife to arrive and take away their handicapped child. Sarah starts a heavy firt with Lukas, and Rosa in turn with Alex. As a former houseman myself, I failed almost en- tirely to recognize any reality in the situations or the characters who were played in an utterly exagger- ated manner. At the end of the play a projection on a screen at the back of the stage orders the children to shout to the actors to shut up and stop the show. They do so, following which the cast ask the children to analyze what they had seen and give their comments. Jetse Batelaan's Der erhobene Zeigefnger (The Raised Finger), directed by Daniel Cremer. Photo: Sebastian Hoppe. 22 Unsurprisingly enough, the day I was there the kids could say nothing particularly enlightening about the show except that it was "funny" or "My parents are much better than that." For me the message, apart from the fact that adults aren't perfect, was disturb- ingly authoritarian: sit there, shut up, and watch till we tell you to say something. Weird. The most distinguished guest director of the season was Andrea Breth, who in her time has produced some quite breath-takingsorry about the unintended pun. It only works in Englishall of which are noted for her love of detail and psycho- logical fnesse. I shall long treasure the memory of her production of Pirandello's fnal play The Moun- tain Giants in Bochum around twenty years ago, a mythical tale about a company of actors which the author never managed to complete before his death, and which Breth transformed into a cosmic fable about reality and illusion, life and death. Since then Andrea Breth has been a fxed star in all the major theatres in the German-language world, most recently at the Burgtheater in Vienna. Originally she was scheduled to direct a play by Jean Anouilh in Dsseldorf, but out of the blue and without explana- tion this was changed to a play by the Russian writer Isaac Babel: Marija. Originally from Odessa, Babel, a Jew, wrote the play in 1935 as a biographical mem- oir and a testimony to the self-deluding lies which served to shore up Communist rule under Stalin. Not surprisingly since its completion it has never been performed in Russia and only seldom abroad. As late as 1936, the French writer Andr Gide was extolling Russia as the freest of all countries. Tragi- cally, around the same time Stalin had begun his great campaign of terror against any opponents real or imagined, which ended in Babel being arrested and subsequently murdered in 1940. Marija is set in Petersburg around 1920. We never meet the epony- mous heroine because she is fghting for the cause of the socialist revolution at the Polish/Russian front, as we learn from her letters. Unfortunately her idea of the glorious workers' revolution is countered by the harsh reality back home. The city has been redu- The city has been redu- ced to poverty and hunger and all traces of morality seem to have disappeared. Even Marija's own family are not spared. Her father, a retired Czarist general can only react in cynical amusement and fury to Marija's letters, whilst her sister Ludmila is reduced, like so many other respectable middle-class women at the time, to prostituting herself with rich parve- nus in order to survive. In this respect the decline of Marija's family serves as a metaphor of the time. They are caught in the middle of an epidemic of moral corruption, raw manners, liquidation, spying, black marketing, whoring, boozing, and racketeer- ing. After eight sharp scenes of the brutal life in the city the play ends with the general's apartment being renovated for "people from the cellar" under the command of a socialist commissarwho neither knows nor cares where the family has now disap- pearedto the sound of a military band outside ac- companied by a parody of goose-step marching from a cleaning woman, whilst a gaunt, heavily pregnant woman perched in a wooden chair utters silent howls of agony as the birth of her child approaches. As might be expected Breth gives us a panorama of individual scenes, so psychologically nuanced and naturalistically presented in three dimensional sets that one could be forgiven for thinking German theatre had not moved on since the 1950s. Indeed, I was caught between sheer admiration at the depth of characterization she had dug out of her ensemble of twenty-two actors (particularly outstanding here were Peter Jecklin as the general and Imogen Kogge as the housekeeper) and wonder at the boldness of her "anachronistic" approach. But as Holm said during an interview in the middle of the season, perhaps this is all the more revolutionary because it goes against the trend of postmodern performative values which have had the upper hand in Germany for the last thirty years or so. Would such a production be invited to the Berlin Theatertreffen in May, I wondered? It wasn't. But it should have been. The last show I saw before the WES deadline forced me to an abrupt halt, was once more directed by Falk Richter, who was responsible for the Houellebecq show. Rausch (Rush: as in a feeling of ecstasy) is a collaborative project with the Dutch choreographer Anouk van Dijk and a mixed cast of twelve dancers and actors. It's all about the problems facing young people today: the impossi- bility of fnding a satisfactory relationship, virtual friendships on Facebook and their disappointing re- ality, the confusion arising from the huge amount of choice available to them in all areas, their reactions to traditional political parties, the Catholic Church, the turbulence on the fnancial markets, the rich and the royal. The two main protagonists played by Alek- sander Radenkovic and Lea Drager (Romeo and Juliette!) are mired down in discussing every detail of their relationship and its inadequacies, instead of living it to the full. Something is missing in their lives to make them completely happy, and no matter how they try they cannot fnd it. They even have a couple therapist whose interest, predictably enough 23 in an age where everyone is looking for their own personal gain, is not so much in helping them as in leeching from them as much money as he can. The stage, designed by Katrin Hoffmann, bare apart from a gold and black foor consists of just a few sofas, scaffolding towers, and spotlights. The dialogue, which mainly consists of monologues spoken either to the audience or at (rather than to), each other is interrupted at intervals, or accompanied simultane- ously by the dancers who hurl themselves to and fro against each other in a desperate and helpless attempt to establish a stable relationship with each other. All this to the accompaniment of loud electronic music by Ben Frost. About an hour and a quarter into the ninety-minute show the cast discover the occupy movement, and proceed to move into an open-air camp where they fnally seem to fnd a reason for living. At this point, I half expected them to break into the great hit from Hairand wouldn't that have been great! But no, this was not the re-dawning of the age of Aquarius at all. Far from it. In the 1960s, most of the protesting youth had had nothing handed to them on a plate by their parents and were looking forward to building a brighter future for themselves. But today's generationin the prosperous parts of the West at leasthas been brought up to have it all on demand, and is now watching in fear as the world appears to be dissolving down the plughole into a non-existent future. None of this, is of course new. And had the evening consisted solely of the text it would have been nothing more than a series of un- digested regurgitations of contemporary issues per- formed in a deadly serious manner. There was more than enough pamphleteering in the text, but where oh where was the lightness and the irony? And when will German writers ever learn that they don't have to be serious to be serious? Nonetheless, with the extraordinary choreography and the music, it turned out to be an entertaining, indeed provocative, piece of theatre. Interestingly enough, on the night I was there, only around thirty per cent of the audience at the most, was under ffty! How to sum up Holm's frst season, which for deadline reasons, I was not able to see to the end? Compared with the vast majority of theatres all over the world, Dsseldorf Schauspielhaus, like many others of its size and reputation in Germany, is swimming in money. This enables it to take risks which would be unthinkable in English and North American theatres which are much more dependent, Isaak Babel's Marija, directed by Andrea Breth. Photo: Bernd Uhlig. 24 if not entirely dependent, on the box offce for their survival. The result is that it can afford to present a huge repertoire of productions from the classical theatre to the modern, in an unheard-of amount of styles. Not everything in Staffan Valdemar Holm's opening season in Dsseldorf has been a success. Far too many of the new shows over-rely on out- front monologues, and supposedly postdramatic techniques like an avoidance of characterization, psychological exploration, and simply story-telling, all those virtues longed for by actors whose talents are being reduced to the status of performative mouthpieces. Not to speak of what the generally conservative Dsseldorf audiences might want. It is simply not good enough to alienate old established season-ticket holders in the expectation that they will automatically be replaced by new, younger au- diences. As Peter Zadek once slyly asked the young Christoph Schlingensief during a public discussion in Bochum: "What have you got against older people in the theatre? Don't they have as much right to be there as the young?" Nonetheless, new and provoca- tive elements have to be present if any theatre is to remain alive, and it was good to have the opportunity to view the works of hitherto unknown European dramatists. If Holm sticks to his policies, whilst check- ing out some of his new play projects a little more closely before letting them loose on the general pub- lic, the Dsseldorf Schauspielhaus might just be on the edge of a very exciting future. I wish him well. Falk Richter's Rausch (Rush), directed by Falk Richter and Anouk van Dijk. Photo: Sebastian Hoppe. 25 With an impressive record of successful productions in some of the most prestigious theatres in the country, director Uli Jckle has become a ris- ing star in German theatre. His latest, a production of Die Odyssee (The Odyssey) premieres this Spring at The Deutsches Theater in Berlin. His Odyssee is a highly physical deconstruction of the classic poem, and it features a cast of average, everyday Berliners who answered the call to audition. Jckle is distin- guished primarily by his success at working with such non-actors. Two productions in 2011 featured his distinctive approach to playmaking, Die groe Pause, and Eins, zwei, drei und schon vorbei: Ein Spiel vom Anfang und Ende der Dinge. Die groe Pause Using his company, Theater Aspik, and the townspeople of Freiburg, Jckle created and staged a production titled Die groe Pause (The Long Break) in the Spring of 2011. The play was a site-specifc, audience-interactive form of "trekking theatre," in which the audience is taken on a literal and fgurative journey through a specifcally chosen performance space; in this case, an abandoned clock factory. The collagestyle text of the play was pulled from thirty years of the factory's newspaper, published every week, from poems to sports editorials, all written by employees of the factory. The performance was divided into two parts. In the frst, the audience sat outside and watched a recreation of a soccer game played de- cades earlier by the factory and one of its rivals. The game was played by children from Freiburg, dressed in the same clothing the men had worn at the time (to scale), with fake beards and other facial hair. In the second part, the audience was taken inside the factory and encouraged to walk around freely. Using the various interior spaces of the building, rooms, hallways, stairwells, kitchens, lounges, Jckle cre- ated a collection of performance installations, each one refecting the experiences of the workers who spent so many years there. In a kitchen area, there was a room covered in aluminum foilfoil that employees had wrapped their sandwiches in for de- cades. In another room, thirty years of data-printouts were piled into the center of a gigantic space once One, Two, Three, and Already Over: The Theatre of Uli Jckle Brian Rhinehart Die groe Pause, created and directed by Uli Jckle. Photo: Theater Aspik. 26 occupied by hundreds of employees. Each installation allowed for audience in- teraction. They could touch the materials, speak to the performers and engage with the performance itself. Because Jckle's style puts the audience in charge of its own artistic experience, they were al- lowed to linger with one particular installation or move rapidly throughout. Because many of the townspeople in the cast and in the audience were returning to the factory for the frst time in two decades, the performance was deeply emotional and very well-received. The production was both a critical and personal success for Jckle, whose father had worked at the factory for thirty years, and for the community that had been devastated by the loss of an industry in that it took such pride. Track work Jckle has a unique approach to play- making, an approach that keeps different "tracks" separated, most notably the visual, aural, and textual tracks of a performance. Separating a performance into tracks enables him to explore the ways in which different onstage media, sign systems, and modes of expression interrelate to produce meaning for the spectator. Jckle dismantles the basic elements of theatre (such as movement, gesture, dialogue, music, sound, etc.), and then re-arranges them into new and surprising confgurations. The effect on the audience is analogous to that of Cubism in the visual arts, wherein the viewer is called upon to reorganize the reality of the vision on the canvas, and in doing so, he or she becomes an integral part in the creation of its meaning. Jckle's process stands in opposition to the theatre of realistic illusion, in which the specta- tor passively observes the objective reality onstage as a spectator of fne art would look at a portrait by Rembrandt, all the work having been done for him or her by the master. Track work turns viewers into collabora- tors, each of whom must analyze and arrange the various tracks on the stage to ft their own sensibili- ties. Each audience member thus creates a meaning that is singular and different from that of everyone else. Rather than attempting to create a seamless and illusory version of reality onstage, Jckle dispenses with the fourth wall and invites each spectator to participate in production of meaning within what he calls the "third room." For him, the theatrical moment does not happen in the room on the stage, or in the room of the audience's imagination, but in a "third room," a transitional space between the two. By rearranging the tracks in unpredictable and surprising ways, Jckle creates a complex, theatre open to multiple interpretations that takes place in this space of fantasy between the objective reality of Die groe Pause, created and directed by Uli Jckle. Photo: Theater Aspik. 27 the stage, and the subjective reality of the spectator's imagination. Everyday People In November 2010, Jckle staged the pro- duction of Eins, zwei, drei und schon vorbei: Ein Spiel vom Anfang und Ende der Dinge (One, Two, Three, and Already Over: A Play About the Begin- ning and End of Things) at the Dresden Staatss- chauspielhaus, to rave reviews. The play was then subsequently staged at the Braunschweig Staats- schauspielhaus in June of 2011. Eins, zwei, drei is a play about the begin- nings and endings of life. It consists of a collection of interviews with thirty-fve residents of Dresden young girls and boys (ages nine to sixteen), and older men and women (ages ffty-eight to seventy). The interviews, conducted by Jckle's writing partners Carsten Schneider and Suzanne J. Hensel, were de- signed to be as evocative and emotionally engaging as possible. The three of them then combined those responses into a dramatic collage. The loose frame for this collage was a series of voice-overs contain- ing interview prompts about the performers' lives in ten year increments, such as "Finish this sentence: At ten years old I want(ed) to be...," or "At twenty," and so on through seventy years old. The use of everyday people and not profes- sional actors gives the performance a sincerity that is often missing from professional productions, a sense of realness that invites the spectator to participate in a deeper, more meaningful way than that of con- ventional theatre. Though they lack the smooth so- phistication of professionals, the non-actors of Eins, zwei, drei seemed to have less guile, less to prove than professional actors, which relieved the pressure on the audience to somehow form a judgment about each "actor's" performance. Absolved of objective responsibilities, the audience was free to immerse themselves in the experience of real people, saying real things about the most important subjects of all: life and death. Jckle believes that when using non-actors the most compelling material, and that of which it is easiest for them to speak honestly and truthfully to an audience, comes from them: stories about their lives, about who they are, who they were, who they want to be. Using specifc details of those stories, Jckle creates affecting and rich portraits of human life. Working with non-professionals to create a performance from the ground up, using the sensi- tive material of the actors' lives, demands a complex inter-relational approach from the director. There is a need for a far more intimate relationship with the people involved than in a traditional theatre setting, where professionals come together, usually for a month, to perform an already written and polished text. The conventional director's situation is even more transient as he or she swoops in, barely getting to know the cast and crew, and then, as soon as it opens, fies out to direct the next show. In contrast, Jckle's rehearsal process sometimes takes as long as six months. An environment of safety and non- judgment must be created in order for the cast to feel comfortable enough to share their intimate personal details with him. For this reason, he must take far more time getting to know each person in the cast, earning their trust, helping them to open up, so that heand the audiencecan experience the truth of their lives. One, Two, Three The opening segment of Eins, zwei, drei included a voice over based on the responses to the interview prompt, "Finish this sentence: At the end of my life I want" The answers were played while one of the elderly women in the cast crossed to the front of the stage (a thirty by thirty feet elevated plat- form), sat down, and inexplicably drank the contents of a large bottle of water without stopping. Some of the interviewees' voice-over responses during this event were, To have an acting and singing career in Hollywood. To still be ft. Be cheerful. Be happy and have no problems. Not to be in a nursing home. To die in the circle of my family. That I can still say goodbye to everyone. That they say only good things about me. That I can say: "My life was worth it." To say: "It was a nice life, and now I can go in peace." A beautiful death. To die with dignity. Jckle thus establishes the logic of his pro- duction at the outset, especially his willingness to dismantle the "tracks" of conventional theatre. The fact of the woman's unpredictable gesture was medi- ated, turned into something new by the voice-over's litany of specifc, highly personal statements about the end of life. It was a complex moment of theatre. The woman's act, with its clear beginning and end, became a striking metaphor for the production itself. Following this moment, the stage became a kind of battleground as the older members of the cast took it over, but were immediately frightened 28 away by the children who, as the lights shifted from bright to eerily dark, rose up ominously from behind the stage and advanced downstage in slow motion to a heavy rock score. Suddenly the music broke, the lighting shifted back to normal, and the children gleefully shouted their responses to the interview prompt, "I look forward to," with answers rang- ing from "my birthday," to "ski-camp in the seventh grade." The children then leapt energetically off the stage and it was left empty. Slowly, cautiously, one of the women mounted the stage. A light piece of in- strumental music began; she came downstage to the audience and said, "The most beautiful thing is," and then started to dance joyously by herself. One by one, the other adults joined her, until they were all onstage, mirroring her choreographed move- ments. Weaving his way between them, one of the boys began to speak the responses to the interview prompt, "Old people." As he delivered lines such as, "Old people like to eat cake," and "Old people can be wonderful and awful," the elderly perform- ers danced gleefully and vigorously around him. In keeping with Jckle's track work style, he remained unaffected by the other people onstage, the perfor- mance tracks (dance, character, narrative, gesture, and emotion) having been re-confgured to create a spacethe third roomfor the audience to fll with its own subjective meaning. As this segment ended, chairs were brought to the stage for the older performers by the children, and all sat and listened to a voice-over, "At eight years old," and "At nine years old." When a performer's recorded response was being spoken in the voice-over, they would raise a hand, acknowl- edging their voice and their contribution to that mo- ment. Toward the end of the voice-over, the elderly performers seemed to age dramatically, slumping in their seats, appearing to lose consciousness, as one of the young performers danced a short choreographed piece of ballet at the front of the stage. The next, rather lengthy segment began with the voice-over prompt, "My frst...," which in- cluded responses such as, "My frst memory was of my mom," and "My frst time I was already engaged, but my parents didn't know it yet," as well as com- ments about frst cars, frst fghts, and frst kisses. Several "My frst" monologues followed. A boy told the story of his frst love; a young girl spoke of her frst love letter, and at the end of her monologue, a boy entered and told the story of his traumatic frst haircut. In this segment, Jckle again created a dense, Eins, zwei, drei und schon vorbei, directed by Uli Jckle. Photo: David Baltzer. 29 multi-layered collage of tracks. As the boy described how his tension over the unwanted coiffeur rose, a heavy rock score began, and he was forced to scream out the words. The adults then quickly took the stage and began to dance behind him. During this action, a girl entered the stage and started to dance opposite him, facing away from the audience, with a mon- ster mask on the back of her head. As his vociferous narrative began to wind down, several of the older performers removed the mask from her head and escorted him off the stage. The girl then danced a ballet as the voice-over delivered a list of interview responses to the prompt, "At ten years old." When the voice-over was fnished, the dancer told the story of how, at ten years old, she had become interested in the harp. As she spoke her monologue, several of the men and women placed a harp onstage and she sat down and started play- ing. Soon she was joined by a man, who sang the repetitive lines, "Little monsters, big monsters play all day," while the rest of the cast accompanied them on recorders. Several segments then featured young cast members responding to such emotionally provoca- tive prompts as "At the end of my life, I want," and "I will die when," which were followed by a kick-line style dance with men and women wearing adult diapers. As the line broke up and he scampered deftly among the admiring women, he delivered a lengthy monologue about death, in which he listed a multitude of colorful euphemisms and substitute phrases for the concepts of death and dying, from "bite the dust," to "chat with the mealworms." As the monologue and the dancing ended, the men and women exited and the children were revealed at the back of the stage in the middle of a birthday party, twirling plates and watching a puppet dance on the edge of the stage. Both children and adults then marched joyfully around the perimeter of the stage, blowing noisemakers in birthday cel- ebration style. A blackout changed the atmosphere abruptly. The sound of the marching turned ominous, became resonant of jack-boots, and in the dark, one of the women delivered a tense and emotional mono- logue about the Dresden frebombing of 1944. When the lights came up again, a young girl spoke the responses to the interview prompt, "I will never." Eins, zwei, drei und schon vorbei, directed by Uli Jckle. Photo: David Baltzer. 30 I'll never eat fsh again. I will never ride on a bicycle again. I will never disappoint others. I will never again wear a wedding dress. I'll never go back to kindergarten. I will never again start from scratch. I'll never be young again. As she fnished the litany, the men and women gathered upstage behind her. Marion Black's song "Who Knows" began to play, and they started to dance and sing the lyrics. The children entered the stage from the back, mixing in with the adults. A lighting shift occurred (from bright to eerily dark), and they all started to advance in slow motion to the front of the stage. When they arrived, a blackout sig- naled the end of the show. Jckle's production illuminated the vulner- abilities and strengths of both youth and age, from the pangs of frst love to the comfort of a life-long relationship. Formally innovative, yet warm and ac- cessible throughout, this unpredictable and surpris- ing new work created a powerful and deeply affect- ing portrait of human life. It also forged a rare and signifcant connection between a divergent group of young and old people, each from completely differ- ent backgrounds and life experiences. Through their personal stories and their unguarded willingness to expose themselves night after night, they were able to share that extraordinary connection with receptive and appreciative audiences throughout the run of the show. The secret to Jckle's success at creating such plays with non-actors is that he insists that his performers matter more to him than the productions themselves. He never wants them to feel exploited or that their lives are only important to him as "mate- rial" for the stage. He treats them with compassion and sensitivity, but he treats them just as he would more experienced actors, with professionalism and confdence in their ability to accomplish what he asks of them. He trusts them with a great deal of responsibility and takes their contributions in re- hearsal very seriously. Jckle deeply appreciates the fresh perspective that non-actors bring to the pro- cess, and never tries to turn them into slick, polished professionals. To him, the skill that they acquire in preparation and rehearsal isn't nearly as important as the truth and the vulnerability that they bring to the stage. Eins, zwei, drei und schon vorbei, directed by Uli Jckle. Photo: David Baltzer. 31 The highlight of the Berlin theatrical season is unquestionably the May Theatertreffen, which offers over a two-three week period the outstanding productions from the German-speaking world, selected by a host of leading critics and writers. The theatre offerings in Berlin are so rich, however, that even if one attends all of the productions in the festival, there remain a number of free evenings to attend other attractive works in the city. Thus in May, in addition to the thirteen productions in the Theatertreffen I was also able to get at least a small sampling of the city's other theatre attractions. Two of these were at the Maxim Gorki Theatre, a centrally located house not far from the Berliner Ensemble and the Deutsches Theatre, but with a less distinguished reputation. The Gorki is the smallest of the Berlin state theatres, seating only 440. For many years indeed it was generally considered a house dedicated to rather convcentional and old-fashioned revivals of standard classics from the German and international repertoire. The arrival of a new Intendant, Armin Petras, in 2006, did not radically change the Gorki repertoire (in May one could see such standards as Drrenmatt's The Visit and Ibsen's A Doll Housethe two I sawas well as Shakespeare's Merchant of Venice, Goethe's Iphigenie auf Tauris, Kleist's Der zerbrochene Krug and Ktchen von Heilbronn), but on the whole these are presented in much more radical adaptations and cuttings more typical of the productions at the larger houses in recent decades. Such was certainly the case with the two productions I saw there. The frst was Drrenmatt's The Visit, but so far removed from its 1950s original as to be almost a new play. Apparently Petras, director of this Visit, was infuenced by Michael Thalheimer who frequently radically cuts traditional texts and collaborates with designer Olaf Altmann, who created the setting for this production. The bottom part of this setting, a huge sweep of stark white stairs that fll the proscenium opening and descend into the audience, whith a narrow acting area halfway down, distinctly recalls Altmann's set for Thalheimer's Oresteia, complete with a single fgure on that platform as the audience enters, a smoking Clytemnesta in the Oresteia, a prone Alfred Ill, his back to us, in The Visit. At the top of the staircase is a long opening with curtains at the rear, Report from Berlin Marvin Carlson Drrenmatt's The Visit, directed by Armin Petras. Photo: Bettina Stoss. 32 this opening so low that actors must stoop to enter or exit, distinctly echoing the similar stage arrangement Altmann created for Thalheimer's Die Ratten. Where Petras most strikingly departs from Thalheimer, however, is in the orientation of his much reduced version and in the overall style of performance. Thalheimer's unconventional use of speaking rhythms, with long pauses and extremely rapid staccato passages, is never heard here, where the approach is determinedly realistic, removing even the grotesque ironic edge so central to the original. Moreover, Thalheimer's cutting is widely regarded, at least by his supporters, as exposing the "essence" of the play, while that of Petras takes the play in quite a different direction. As already noted, almost all of the grotesque elements are gonethe old lady's peculiar entourage. All that remains is a single "sick young woman" called Leopard, who in fact has little direct contact with the old lady, but in a black body suit accompanies the action by moving around the stage like a kind of balletic chorus. She is physically quite attractive as is the old lady, here named Clara and described (and played) as "a beautiful woman." There is nothing of the odd or deformed about Christine Hoppe, who gives a marvelous performance, but one more suggestive of a 1940s flm star than of a distorted character in a modern morality play. Andreas Leopard plays her distinctly unworthy opponent, Alfred Ill, "a former dandy," with sympathy but without much enthusiasm. The rest of the cast is composed of Ill's son and daughter (Stefko Hanuchevsky and Anne Mller) and three town offcials, the major (Wolfgang Michalek), the police chief (Matthias Reichwald), and a journalist (Gunnar Teuber), who often function as a kind of informal chorus. Very often in his work, Petras focuses upon the tensions between East and West Germany, still not entirely resolved today. This is clearly the case with his version of Drrenmatt's play. While the original was clearly meant to be a general parable of human vulnerability to corruption, this version takes on a much more specifc and local coloring. Clara is clearly the young East German who has escaped to the opulent West and returns to her poverty- stricken border town to show off her capitalist gains. There is certainly a political criticism made both of her arrogance and of the town's passivity and willingness to capitulate to the threats of local bullies like the Stasi, but the concerns remain at this local geopolitical level, rather tired and obvious even to German audiences. Despite some strong acting, the piece has been clearly diminished by Petras's The Visit. Photo: Bettina Stoss. 33 adjustments. One other element should be mentioned. Above the proscenium arch video projections are from time to time used to supplement the action, a device very popular on the German stage of the 1990s but now only infrequently seen. Few of these contribute in a signifcant way to the action, but the closing one provides a strong terminal comment. Ill's daughter is shown at the train station, obviously pregnant and with a suitcase in hand, clearly retracing Clara's path a generation later. It is a striking image but its meaning is anything but clear. We know nothing about the contextwhy she is pregnant, for example, and although the message seems to be that nothing has changed, it is not clear how we are to feel about this. Like much of the production, this fnal image is striking, but emotionally empty. My second visit to the Gorki, two days later, was for a new interpretation of Ibsen's Doll House (called Nora in German), which I found suffered from some of the same problems. I was interested in this staging since it was the frst I had seen from a much-praised younger director, Jorinde Drse. Drse was appointed house-director at the Gorki this season, after successful productions of classic and contemporary plays over the past eight years in Hamburg, Bochum, Frankfurt, and Munich. Her style has been described as nave and whimsical, and in the case of classic works has usually involved a lightly humorous retelling of the basic story in contemporary terms. This was certainly true of her Doll House, though not, I thought, to the good of the play. The issue of women's rights was clearly subordinated to the more fashionable subject of the corruptions of capitalism, with much made of the business side of the playthe borrowed money, Nora's extravagances, Torvald's new position, the negotiations at the bank, Christine's fnancial diffculties, and so onbut while these concerns are certainly important to the play, they are diminished by a series of visual, acting, and directing tricks that distract from their impact. The play begins in total darkness, and in silence where for several minutes the audience sees the glow of a cigarette smoked by a dim, unidentifable fgure in three successive locations on Henrik Ibsen's Nora, directed by Jorinde Drse. Photo: Bettina Stoss. 34 stage. We never discover who this was or why it was shown, a warning of the often inexplicable directing choices to follow. The setting once again was a geometric minimalist space, strongly suggesting a Thalbach production. Windowless dull rose patterned side walls raked sharply back to a fat red wall containing what looked like a revolving door with two transparent openings facing the audience. This mechanical arrangement somewhat suggested a design by Andres Kriegenberg, with whom the designer, Susanne Schuboth, has studied. It turned out not to work quite as it appeared. After the opening scenes the visible doors slid into pockets on either side, leaving the panel projecting toward the audience to pivot alone on its center, so that it could completely close the rectangular opening or (as it was more frequently used, especially by Nora and Torvald in the closing scene) as a means of visually separating two characters who could push on it and by its turning gain spatial dominance over the other. This same scenic device was used more centrally and more effectively a few years ago for the much- praised Gotscheff The Persians at the Deutsches Theater. Within this setting, the furnishing is both minimal and whimsical. On the right are two chairs with a standing ashtray between them. One is very small, almost a child's chair, the other is clearly oversized, dwarfng anyone who sits it in. I thought of course that something metaphorical might be done with these chairs, rather as Lee Breuer did with his reduced settings (and actors) in his imaginative Dollhouse, but surprisingly, that was not so. The only person who used the large chair extensively was Kristine (Anja Schneider) and although it indeed gave her an infantile appearance, this seems to have little relationship to the production. The small chair was rarely used at all, and most notably by Dr. Rank (Andreas Leupold), who after his fnal "Thanks for the light" does not leave the stage at once but lies down on the foor by the small chair, with his heand in it, cries and sobs loudly for several minutes and then carries the chair away with him. The only other object on stage is a small white box against the opposite wall. It is established as a small refrigerator when Kristine arrives and Nora (Hilke Altefrohne) serves her a roll from it. Later in the production, Torvald (Peter Kurth) puts a photograph record behind it and it begins playing music, so it apparently is supposed to be some sort of record player as well. When opened, it displays a jumble of colored lights. The visual effects, usually with a cartoonish edge, are intermittently effective. I did enjoy Nora's frst entrance, when she appears totally enclosed in a large gift-wrapped box, carrying a tree and other boxes, so that it is some time before we are sure who she in fact is. Other devices, though spectacular, were less effective. Particularly odd was a 1950s-style dance, lead by Torvald (whose costume, hairdo, and general style distinctly evoked Grease) but involving the entire cast, even the children and Krogstad (Gunnar Teuber) which inexplicably seemed to replace the rehearsal of the tarentella. Hilke Altefrohne's Nora was tall, gawky, and awkward, but one had to develop a certain sympathy for her. Oddly enough, her costumes, also designed by Schuboth, made her appear clearly pregnant, but I am not sure that was a designed effect. Peter Kurth's Torvald seemed essentially a foolish 1950s adolescent, and although his rage at Nora seemed played for a kind of farce comedy, it did demonstrate a considerable expressive range. Leupold's Rank was rather underplayed but generally effective, though why he made his frst entrance saying "I just rode in from Kansas City. How about a whisky" in English in a Texas accent seemed an odd choice, even though he did wear cowboy boots. Gunnar Teuber's Krogstad ultimately proved by far the most sympathetic of the characters. For some reason his "sons" were converted in this production into a single adolescent daughter, who accompanied him on every visit to the Torvald home and remained hovering and visible outside and upstage, during each of his scenes, an oddly distracting and somewhat inexplicable presence. The ending of this play, probably Ibsen's most famous, has, not surprisingly, been staged in a variety of original ways by modern German directors, eager to show their independence of established texts, but I have never seen a more peculiar Doll House ending than this one. Torvald and Nora stage their fnal confrontation upstage, as I have said, pushing each other backward and forward on either side of the rotating panel. Behind them, an area which has either been a blank wall or shown projections (mostly of children's faces) during the evening is now for the frst time open into a black void, in which we see swirling snow. Still shouting at each other, Nora and Torvald slowly disppear into this void, apparently in opposite directions. For a moment the stage is empty and then their two children enter hand in hand, looking off after their parents. Then the children sit on the platform in front of the panel and continue with the lines where the parents left off, now very near the end of the play. After a few lines however, 35 the apparent absurdity of the situation strikes them and they dissolve into laughter. The voice of the prompter is heard, urging them to go on but when they do not, the prompter speaks the fnal lines and the lights go out. Are we to take this as a dismissal of the play? Of Ibsen? Of theatre itself? I took it essentially as a rather adolescent prank by a director without a clear concept but only a desire to surprise an audience by her daring. No less unconventional, no less anarchic, but still more satisfying as a whole was the production I saw at the Volksbhne of Brecht's "teaching plays," The Yea-Sayer and The Nay-Sayer, directed by Frank Castorf. Castorf, who emerged onto the Berlin scene as an enfant terrible in 1992, has now become a pillar of the Berlin stage, his twenty years heading the same theatre unmatched by any other Intendant. Many of the stylistic features that marked Castorf's early work are still central to his current offerings the slapstick comedy, the physical violence, the metatheatrical self-consciousness, the adding into the production external material, especially from contemporary popular cultureand the critical establishment in Berlin now tends to dismiss Castorf's work as overly repetitive. Certainly these complaints might be leveled against the production of these two short teaching plays combined into one, but in a performance lasting only forty minutes, the humor and energy of the interpretation carried the audience along. The setting, by Castorf's house designer, Bert Neumann, suggested the interior of a cheap music hall. In the center of the mirrored back wall was a small interior proscenium stage with glittering curtains, above it a large sign (in English) "Dreams for Sale." Above that was a more general title "Salon Gier" suggesting an affnity with the pseudo-Westerm town constructed in the Volksbhne by Neumann for Castorf's 2006 adaptation of Frank Norris Gier (Greed). Greed is still strongly suggested in this combined "teaching play," one of a series of four mounted by Castorf between 2007 and 2010 (the others being Die Manahme in 2008 and Lehrstck in 2010). Brecht's two "researchers" are dressed as successful Western business men, with power suits and briefcases, the louder and pudgier of the two (Bernhard Schtz) aparently teaching the trade to the less self-confdent Maximilian Speck. Schtz is a tornado of comic energy, dashing about the stage and out into the audience in continual action, with Bertolt Brecht's Der Jasager (The Yay-Sayer), directed by Frank Castorf. Photo: Thomas Aurin. 36 the hapless Speck in his wake. The frst row of the audience is temporary white plastic garden chairs which curve around the sides of the acting area, with actual audience members seated generally in the middle. From time to time Schtz will throw himself into one of these chairs, which breaks apart under this attack, leaving a trail of ruin about the stage. Schtz also stampedes, rages at, and knocks over the stools of the two faux elegant songstresses (Ana Charim and Ruth Rosenfeld) who attempt to deliver the songs written by Kurt Weill for the Jasager amidst the continuing mayhem. They are accompanied by musical director Reinhold Friedl at the piano, who manages to maintain a generally aloof detachment from the proceedings. Despite the hysterical protests of his mother (Brigitte Cuvelier), the nave young man (Axel Wandtke) is drawn into the project of the travelers. His central decision, to say yes to the demands of the journey and society even if it means his death, is taken well out in the auditorium, where he has been led by the intrepid Schtz. The audience need not turn in their seats to follow this action, however, because of it. Like the entirety of the production, is being followed by the hand-held, live video camera of Andreas Deinert, who provides closeups over every distorted grimace which are projected on a large screen above the acting area to the right another familiar Castorf device. When it comes time for the yea-sayer's sacrifce, he is pursued offstage by the others, who then come back and run about the stage looking up into the fies, from whence a few minutes later, a life-size white dummy is dropped. The grieving mother seizes and dances with it, then, seated quietly beneath the screen, proved an alternative moral (somewhat oddly, in French), the moral of Brecht's counter play, The Nay-Sayer, which argues that a better solution is to propose new alternatives to conventional wisdom and practice. Only the latter part of this second play is involved, the set-up being similar. The son returns to life, the Singers celebrate the telling of a new story, and all the characters join on the small stage in a celebratory dance. In 1974, Fluxus poet Dieter Roth published an experimental novel of 174 pages which consisted entirely of the single word "murmel," (murmer) repeated over and over. An odd enough experiment for a novel, it could hardly be expected to be taken up as a libretto for a stage production, less still an enormously popular one. Yet, that is the remarkable achievement of Germany's leading comic director, Dieter Roth's Murmel Murmel, directed by Herbert Fritsch. Photo: Courtesy dpa. 37 Herbert Fritsch, whose Murmel Murmel at the Volksbhne, where Fritsch was for many years a leading actor, is currently the most sought-after ticket in the Berlin season. It should be noted that Fritsch is currently among the most honored of German directors, with two productions out of the ten in last year's prestigious Theatretreffen and another this year (with Murmel Murmel a very likely candidate for next year). The productions are very different, but all employ an impressive comic imagination, drawing heavily upon slapstick, physical humor, burlesque, and silent flm comedy. Murmel Murmel is a bit more formal and elegant than Fritsch's recent (Spanische Fliege), based on an early twentieth century farce and containing more pratfalls that I think I have ever seen in a single production, but that does not mean that actors do not fall off the stage into the pit with alarming regularity and nonchalance. Indeed, the production begins with a conductor noisily entering an auditorium door and pushing his way along the frst row of seats until he falls into the orchestra pit, only to pop up, station himself at a piano right and begin "conducting" the frst actor, who appears onstage to recite "murmel" innumerable times in various intonations under his direction. In the hour and a half which follows, no plot develops, but rather a series of solos, duets, and choric numbers, somewhat suggesting an evening of comic modern dance. The actors wear sometimes neutral, sometimes more colorful, but rather elegant and not exaggerated contemporary dress (costumes by Marysol del Castillo) and perform against, behind, and alongside a colorful abstract setting designed by the director and Thomas Dreiigacker. This consists essentially of sets of wings and borders in primary colors, rather like a children's stage, and as the production progresses, these elements all become more and more active, constantly changing the size and shape of the performing area. Eventually, another scenic element is addedlarge slide fats, also each of a single color, that slide from one side of the stage to the other, temporarily hiding the actors behind them. As these fats pass on, they take the actors with them or reveal new actors or new confgurations. The spectacle and ingenuity of the production clearly enchants its audience, and ninety minutes of the same word far from becoming boring, continually builds in delight. By the end in repeated curtain calls that are extended even by German standards, audience and actors alike joyfully exchange repeated cries of "murmel, murmel." Finally, back to the Volksbhne for a new production (it opened in December) by one of my favorite German directors, Andreas Kriegenburg. This was Kleist's diffcult and challenging dark Heinrich von Kleist's Kthchen von Heilbronn, directed by Andreas Kriegenburg. Photo: wrb. 38 fairy-tale play, Kthchen von Heilbronn. Although the setting (Kriegenburg normally designs his own sets) was stunning and there were many images and sequences of great beauty and theatrical imagination, I did not feel that this production represented Kriegenburg's best work. A superfcial unity was imposed on Kleist's sprawling work, but one still had the feeling of a rather disjointed production, not entirely focused either emotionally or theatrically. Kriegenburg's concept is an interesting one. Rather than stage the play directly, he stages the development of the play in Kleist's own mind. The curtain rises to reveal a high-ceilinged wood- paneled room, all of its walls covered with pinned up manuscript pages. Four writing desks are lined up across the room, at each of which sits a Kleist double in early nineteenth century dress, avidly working on the developing manuscript with a quill pen. Two others are tacking up fresh pages to the already thickly papered back wall, seemingly walking upright up and down the wall, though actually supported by cables from above. This acting on the wall effect, central to Kriegenburg's famous production of Kafka's The Trial a few years ago, was several times used in this production, but not in so central a manner. As the evening progresses, the six actors move in and out of Kleist's play, sometimes reading scenes or stage directions, sometimes commenting on these, sometimes reading other Kleist material, essays or selections from his letters. Certain passages, especially a plea to his sister Ulrike for money, are frequently repeated. The play's action is complex to begin with but with all this extraneous material, only an audience member with a solid knowledge of the original and preferably of Kleist's other writings as well, could be expected to follow the rather stream- of-consciousness presentation, especially since the different characters are passed freely around among the actors and at times played by two or three actors simultaneously. A scene where the heroine falls asleep beneath an elderberry bush and is confronted by her potential lover is simultaneously performed by actors in three different parts of the stage, one couple to the right, another suspended on the upstage wall as previously described, and thirdly by tiny fgures in a toy theatre downstage to the left. The toy theatre was a part of one of the evening's most distinctive features. Taking his cue from Kleist's most famous essays, "On the Marionette Theatre," Kriegenburg supplemented his action with a wide variety of puppet fgures, ranging in size from the toy theatre fgures, almost too small to be distinguished from the auditorium, to somewhat larger than life-size knights in full body armor, each manipulated from behind by a single actor. Most common were puppets of intermediate size, some operated rather in the style of muppets, others controlled from above by strings. These added a striking and engaging design element to the whole and in some cases, especially the grotesque puppet of the evil Kunigunde, were considerably more memorable than the shifting human representatives. As always with Kriegenburg, there were highly effective visual creations. The setting itself with its set of Kleists, all in similar garb and similar makeup, white faces with dark sunken eyes, assiduously working away, gave a wonderful effect. The burning of the castle was beautifully and simply handled, beginning with the actors intertwining their quill pens to suggest fames and going on to opening trap doors at the rear of the stage so that orange and red lights illuminated from below the many sheets of paper pinned to the back wall, now agitated by two actors fapping their coats to create bursts of air. It gave an astonishing, a very theatrical impression of a burning wall. At another point, as the lovers consider a double suicide, likened by Kleist to a painting, their almost naked bodies are arranged entwined together on a table to suggest rolling hills, an effect emphasized by scattering green particles and placing a few miniature trees on the gentle slopes of these bodies. Dream and reality, theatre and life, painting and performance, puppetry and humanity are memorably fused in this imaginative image. If such images and sequences did not ultimately fuse into a complete theatrical experience, that may in part be attributed to the diffculty of this erratic text, but even with its faws, Kriegenburg's exploration of the mind of Kleist is well worth seeing. 39 British playwrights have the advantage of the richest language in the world; its words and phrases brought in or gathered from all directions, even before the Empire began collecting animals, plants, and linguistic treasures from the remotest corners of the earth. These days they almost need the advantage. Their plays must stand up to the inven- tive power of set designers who create each London season what is, in effect, a multi-venue ephemeral architecture exhibition. In some cases the transitory constructions fulfll the duties of a Greek chorus. This was certainly evidenced this January in most of the ffteen plays I saw. Yet the stagecraft, even without the chorus obligations is a collaboration rather than a compe- tition. Most of the plays would be worthy of full attention in a reader's theatre production or a radio drama, not only for artful use of language, but be- cause the lines are thoughtful and evocative, tightly bound to the human condition. The sets for all their brilliance remain moon to the sun. Playwrights yearn to see their work performed, intentions only really fulflled when an audience hears the lines, sees the actors move, experiences the space and place of the drama. This year, London offered collaborations that enticed audiences deeply into the delights and dan- gers of our human condition. Spectacles? Yes; but most, including the comedies and the play intended to please children got to the bone marrow or nearby. The plays will be discussed not in the order seen, but according in part to relative intensity and complex- ity and in part to highlight certain similarities and contrasts. The Railway Children Playwright Mike Kenny and Director Da- mian Cruden take Edith Nesbit's 1905 story series, The Railway Children to occupy a space psychologi- cally and physically middling between the slapstick humor of The Ladykillers or Noises Off, and the wrenching sorrow of Grief or No More Shall We Part. There was the expected and necessary happy ending to a drama of loss and fear in the turn of the century lead-up to World War I, presented in the closed section of Waterloo Station that used to be the platforms for arriving and departing Eurostar train. The large audience sat on risers arranged on both sides of the track with the station's double staircase and bridge forming one end of the set. For most of the play, platforms pulled back and forth on the track Report from London, January, 2012 LeGrace Benson Mike Kenny's The Railway Children, directed by Damian Cruden. Photo: Tristram Kenton. 40 leading into a stage set tunnel effected changes of time and place, including the journeys of the chil- dren sent away to the countryside after the arrest of their father on charges of espionage. At the climax, the absent father, falsely imprisoned as a spy, returns vindicated in a glorious real train that rolls into the platform. One test of a good children's book or play is an adult response, and this one worked. It would be impossible to assess whether the parents and grand- parents, or their offspring were most thrilled when that gorgeous, steaming, big, shiny engine hooved into view. The Olivier Award for Best Entertainment surely centered on that stunning appearance and Joanna Scotcher garnered the 2011 Whatsonstage Best Set Designer award. For the English audience, the play evoked meaning more ramifed than simple nostalgia. Many there with grandchildren were of an age to have been among the youngsters sent during World War II from cities into the small towns and villages, separated from at least one parent. Conver- sations between grandparents and their grandchil- dren after the play were a fascinating eavesdrop. The real train in the imaginary world was a joy in itself, but the return of an absent father in such a powerful conveyance plucks deeper in the oldest muscles of any heart. Grief The plainest set of the group of plays was for Mike Leigh's Grief, staged in traditional prosce- nium fashion in the National Theatre's Cottesloe. (This theatre, by the way, is to undergo a restruc- turing renovation this summer, adding some ffty seats to increase the revenue from this popular but unproftable venue, and at the same time creating an even more fexible staging space.) Alison Chitty rec- reates a space of a suburban home, still retaining the good couches and armchairs, the crystal and silver of genteel society. Paul Pyant's lighting subtly carries the mood of melancholy over a way of life that have already passed. As is well known, Leigh's plays arise out of situations that he presents in the most rudimentary form and then works for weeks with actors to create the detailed back stories of the lives of every char- acter. Eventually a play emergeseventually. Our theatre group was fortunate to have the playwright discuss this process specifcally during the season of his 2005 Two Thousand Years, also presented at the Cottesloe. In Leigh's plays, lines emerge from what might be called the "inhabited speech patterns" Grief, written and directed by Mike Leigh. Photo: Tristram Kenton. 41 of the characters, but this is raw material. His gift, and that of the actors he works with, is to enhance, sharpen, highlight, and shadow these ordinary sen- tences and cadences. Undertones and overtones of the motivations of both individual characters and their social dynamic carry an audience past the story into an experience. Alison Chitty's quotidian background and costumes for the actions of an upper middle class home of a family, now far less affuent than they were, is properly correct in every detail, and prop- erly recessive. Anything more would have intruded on the tragedies of the back-story of war-widowed sister, Dorothy (Lesley Manville), an older brother, Edwin (Sam Kelly), an offce clerk so undistin- guished that his employers spell his name wrong on the retirement plaque he receives toward the end of the play. And there is Dorothy's troubled daughter Victoria (Ruby Bentall), increasingly alienated from this "family" and especially from her rigidly man- nered mother. There is some relieving laughter in this gloomy play, especially in scenes with Dorothy's friends, the overbearing but hilarious Gertrude (Mar- ion Bailey), and quieter but steely Muriel (Wendy Nottingham). Edwin's one loyal friend, Hugh (David Horovitch), regales the audience but not the players with his dumb jokes. Dorothy Duffy plays the maid who quits in a huff over not receiving her full wages, her presence and then absence establishing the fam- ily's slow fall from grace. Each evening siblings Dorothy and Edwin toast each other with sherry, then nostalgically sing duets of old songs popular in their lost childhoods when Mother and Father were still alive. Their lovely singing creates an astringent punctuation in the descent toward dark ending, pre- cipitated in part by Dorothy's unyielding insistence that Victoria may not partake of the sherry until her eighteenth birthday, less than a week away. Because Leigh's productions come out of sixteen weeks of exploration of individuals and their social milieu expertly fashioned into a drama, they lead us back into vicarious possession by those persons and the milieu. This transaction effects our own explo- ration of who and where we are. It is a challenge to make a deep and all-too-common human failure into "entertainment," but Leigh and company make it happen, generating laughter and tears and refec- tive thought. Chitty's setting is roomlike the living roomsdeeply familiar to nearly everyone in the audience, thus, like the enhanced common language of the emerged script situates us personally inside the unfolding tragedy. The Ladykillers By the time I saw Grief, I had also just seen; thank goodness, Sean Foley's direction of Gra- ham Linehan's adaption of the 1955 Ealing Studios Graham Linehan's The Ladykillers, directed by Sean Foley. Photo: Tristram Kenton. 42 flm, The Ladykillers. It's a killer set. Michael Taylor transformed the Gielgud stage into a towering archi- tectural confection with scarcely a level footing on any of its rickety pile up of kitchen, drawing room, stairs, bedrooms, bathrooms, closets, and garrets. A rotation of the stage enabled a view of attempted es- capes from the house and car chases played out with laugh-provoking manipulations of toy cars set on the faade like a children's game. The audience can relax and enjoy the mayhem: there is a strict safety inspection for every London stage production. Remarks overheard afterwards indicated that for many Taylor's set alone was worth the ticket. But there was admiration too for an award-winning cast who would be capable of carrying off this crazi- ness in a parking lot. Marcia Warren's sweet little old lady, "Mrs. Wilberforce" and Peter Capaldi's "Pro- fessor Marcus" carry the plot line with James Fleet, Ben Miller, Clive Rowe, and Stephen Wright as the clueless criminals. Collaborators Nicholas Hytner directed John Hodge's Collaborators with Bob Crowley's set placing most of the audience looking at or down into a ramped set on three levels in the Cottesloe black box. I sat two feet above the cramped bedroom of the author Mikhail Bulgakov (Alex Jennings) and his wife (Jacqueline Defferary). Steps leading down from that narrow platform gave on the broadest part of the stage, nearly bare throughout most of the play except for Bulgakov's plain desk with typewriter and a cou- ple of chairs. This space slants up to a large closet which served as both a dwelling and hiding place for a peasant servant and as the dramatic entry and exit point for Josef Stalin (Simon Russell Beale). Beale's Stalin evoked the Stalin of Robert Service's biography that presents more human facets of the dictator. (However, playwright Hodge was working with the Simon Sebag Montefore's Young Stalin he had earlier tried to turn into a flm script.) Young theology student Josif Vissarionovich Dzhugash- vili's tender landscape poetry made him a rising star in literary circles before he metamorphosed into the murderous Stalin. But Collaborators is no biography. It is a venture into terrible and terrifying moral dilemmas. Stalin's frst entrance is as Bulgakov's nightmare, bursting forth from the closet upstage in a blaze of light, and accompanied by diabolical creatures with long, blood red fngers, wearing the sharp-nosed masks of Venice carnival turned hell. Hytner's direc- tion and Jon Clark's lighting succeed in creating a moment of felt horror that opens a portal into the John Hodge's Collaborators, directed by Nicholas Hytner. Photo: Alastair Muir. 43 dreadful consequences to come. Intellectual Bulga- kov becomes the offcial who signs off on the deaths of hundreds with Stalin's signature, while Stalin cheerily taps away at a play, Young Stalin, which will bear Bulgakov's name. There is a celebratory moment when a splendid crystal chandelier descends over the place where plain table and typewriter disappear under a white clothed dinner table set with silver, china, and crystal worthy of the Tsars. Bulgakov's com- rade and fellow believer in true freedom (William Postlethwaite) leaves in disgust. He will be among the victims of later purging. Bulgakov himself has become a witting, albeit conficted, participant in the murderous regime. His concession will allow him some small degree of personal freedom, the pos- sibility of seeing his works performed and perhaps enjoying that bit of his life his doctor tells him is remaining. 13 At the Olivier, a grand machine of a stage and expert crews shifted overnight from elaborate sets for another moral and political play, Mike Bartlett's 13, to equally elaborate sets for Shake- speare's comedy. Tom Scutt's design was one of those sets that actyes, act as an unvoiced Greek chorus. Audiences entering saw a completely dark- ened stage with a barely discernable black cube of about a meter (three feet) on an edge suspended in midair. Slowly other panels appeared, LED displays blinking snippets of stock market and political news. These disappear and the central set for the remainder of the play is an enormous black apartment block in severely minimalist architecture. It can ascend and descend, turn, open up to its interior, go totally dark or light up cubicles in which the actors appear and disappear, and have identical nightmares. The large cast, directed by Thea Sharrock, each have their own moral, religious dilemmas as well as intersecting with all the others. Their interlacing compounds a sense of overwhelming vulnerability in the face of decisions that have no right answer and whose con- sequences are unknowable. The malaise affects everyone from the el- derly woman who smashes a shop window during an Occupy demonstration (to quiet cheers from some in the graying audience), to the Tory Prime Minister, skillfully played by Geraldine James, caught in a decision to support or not support a US decision to invade Iran. A charismatic character, John (Trystan Gravelle), returns to the relief, annoyance, and an- Mike Bartlett's 13, directed by Thea Sharrock. Photo: Marc Brenner. 44 ger of his old friends from a place no one ever can identify and he does not disclose. It is John who is the nexus among all the charactersenigmatic, spiritual, perhaps a "John the Baptist" as a voice crying out in the wilderness, but fnally revealed as fawed, ambivalent, and clueless as anyone, intoning contentless platitudes. Stephen (Danny Webb), athe- ist philosopher friend of the Prime Minister, spouts academic diatribes antagonistic to John's message and to the American Protestant Christianity of the American ambassador Dennis (Nick Sidi), his ne- glected wife Sarah (Genevieve O'Reilly), and intel- lectually precocious daughter, Ruby (Grace Cooper Milton and Jadie-Rose Hobson alternating). This triangular tension of Stephen's philosophy much like that of British evolutionary biologist Richard Dawkins (The God Delusion 2006), Dennis's white US American Protestant belief and John's compel- ling but vapid leadership in the widespread contemporary search for "the spiritual" and of spiritual leadership, form the elastic super- structure played out against the rigid albeit moveable set: a black box in every mysterious sense. Tensions of faith and atheism, faith in charismatic fgures versus people who must make decisions with consequences; those protest- ing about everything, revealing an inchoate underlying fearful dis- content, are constant threats of dis- turbances against the public peace. The Prime Minister will go to war as the preferred of two horrible alternatives. Stephen will soon die of disease, no choice in the matter. John disappears, having got off his jail sentence by Mark who thinks he may have been guilty. Dennis will be overcome by the tragedy of his beloved daughter's murder by wife Sarah, who believes she has committed a moral act by cleansing the earth of the learned, thus satanic, daughter. At the end, there is a whole-cast set piece, with all but one character holding a black cube. They give their partly de- spairing, partly self-justifying short speech, and walk off stage. The last to leave is a young man who was only a minor fgure in process of solving a Rubik's Cube. He speaks a few words and carries the brightly colored Rubik's Cube off-stage: puzzle solved. The set has the last word. The Comedy of Errors Staging nearly overcame the words of The Comedy of Errors. It was a joy to hear Shakespeare's lines spoken in delicious accents from the former colonies, but one had to strain to follow it over Gary Yershon's Hungarian musicgood in itself, but why here? Bunnie Christie's set with lighting by Paule Constable and sound by Christopher Shutt came close to being a parallel universe, perhaps ft- ting given the twinships at the heart of the matter. A descending real helicopter, sirens, cars, trucks, and a babbling gaggle of shouts and vituperations intensi- fed the clamor. Mike Bartlett's 13, directed by Thea Sharrock. Photo: Marc Brenner. 45 Director Dominic Cooke and a strong cast managed to assert the play. Lenny Henry, the highly popular comedian, also a success as Othello in his frst venture into Shakespeare, played Antipholus of Syracuse. Lucian Msamati charmingly played his twin servant Dromio. Chris Jarman was Antipholus of Ephesus with Daniel Poysner as the other Dromio. Claudie Blakley was Adriana, the wife of Antipholus of Ephesus,with Michelle Terry as his sister Luciana. They all played broad comedy to the hilt, managing to preserve the Bard through all the mayhem. The brothel district scene was lights and action a stretch too far though it did preserve the bawdiness of the original. (On refection, I think Shakespeare might have enjoyed this production more than I did.) After all the mayhem and confusion of dou- bly mistaken identities, the ending was surprisingly tender and gentle. Elderly Egeon (Joseph Myrdell), old father of the ducal twins, is released from prison where he had been held as an enemy of Ephesus. Egeon places the tale told into a speech that reverses the sad soliloquy of his lines at the beginning of the now resolved errors. Quiet reigned in an audience where many were moved to tears. It was a delight to attend Henry's Platform Talk, which he said was his frst time at doing an on-stage unrehearsed interview followed by an un- predictable Q & A with the public. He claimed to have been more worried about it than for his Shake- speare roles. "I didn't know what was coming." He was memorable. His responses to the interviewer were thoughtful and at the same time spontaneous and humorous. One could tell that this is a comic performer who works from out of himself. He was especially funny and respectful when he answered questions from aspiring drama students in the audi- ence. What a great coach he would be! Huis Clos Like 13 and Collaborators, Reasons to Be Pretty, Haunted Child, and No More Shall We Part, all lead their audiences into the bleakest landscapes of the human experience with the narrowest of vistas. This was painfully true for Huis Clos. De- signer Lucy Osborne used the constricted space of Trafalgar Studio 2 to seat the audience right on the verge of a shabby, stifing room. The sardonic Valet (Thomas Padden) ushers in Garcin (Will Keen), then Ines (Michelle Fairley), and fnally Estelle (Fiona Glascott) through the single door. Osborne's thread- bare furniture in a dull and airless room announces the worn-out pretension of post-war bourgeois soci- ety. Before the actors move into the space, staging introduces Jean-Paul Sartre's grim meditation on the hell-trap middle-class humans create and then are unwilling to escape. The acting was superb, espe- William Shakespeare's Comedy of Errors, directed by Dominic Cooke. Photo: Nigel Norrington. 46 cially by Michelle Fairley who presented a lesbian virago with nuances of emotion that almost elicited sympathy for this unsympathetic character. The choice to use Sartre's original title was a good one. The more usual No Exit is a misleading translation, particularly because there is an exit, sig- nifcantly unused when fnally opened. The French term refers to judicial discussions that take place in camera; that is, in the closed chamber of the judge rather than in open court. The notion of discussion and judgment so critical to this play gets lost if the title is translated to emphasize enclosure over the moral discernment discourse. As staged, enclosure was directly felt in the audience thus supporting the anguished accusations and self-accusations of the entrapped trio. In Katori Hall's new play, Hurt Village, there is a moment in which one of the children living in the projects holds up her science experiment, a jar full of feas. "Well, after 'bout a week the feas stop jumpin' so high cause they know they gone bump they head. The feas could jump out but because they done got tired of hurtin' theyself they won't jump no higher than the lid. Ain't nothin' holdin' them in, but they thank [sic] so." (Quoted in Michael Schulman's "King's Speech," The New Yorker, 19 September 2011.) In a more lavish setting, the elegant dinner guests of Luis Buuel's 1962 flm, El ngel extermi- nador (The Exterminating Angel), trapped behind an invisible barrier that prevents them from leaving, de- scend into revelations of their most grittily obscene physical and moral habits. When the spell is broken, they are reluctant to leave, but then they willingly perhaps do, or perhaps do not, enter a new invisible trap inside the church along with the priest and oth- ers in the congregation. Buuel's surrealistic ending yields no reso- lution. In both Hurt Village and The Exterminating Angel, a young girl or a woman guest know it is pos- sible to escape. In Huis Clos, it is the set itself that announces the potential, the door opening with no apparent agency, though Garcin is pounding on it. It Jean-Paul Sartre's Huis Clos, directed by Paul Hart. Photo: Simon Kane. 47 is Garcin who, after a few moments of vicious trian- gular conversation, closes it, rendering the famous line "Hell is other people" bitterly false. Reasons to Be Pretty Staging Neil LaBute's Reasons to Be Pret- ty, award-winning Soutra Gilmour used corrugated panels like those of container cars opened, closed and turned to become bedroom, security wardroom of a company, a street, a football feld sideline, and a restaurant entrance. Entering the Almeida per- formance space, the audience is confronted by the forbidding panels arranged in the closed format; this "chorus" telegraphing an unmistakable, albeit silent, message of entrapment. The characters unfold their boxed-in stories. After screaming tirades and soured attempts of kiss and make up, pretty Steph (Sin Brooke), insecure about her appearance and severely hurt by lover Greg's (Tom Burke) reported remark that she has "average looks," leaves him and fnds a well-to-do man who adores her, probably temporarily. Greg's coarse-mannered friend Kent (Kieran Bew) constantly brags about his gorgeous wife, Carly (Billie Piper), who, though rather plain, believes she "has always been pretty." Ever in search of greater amorous beauties, Kent abandons pregnant Carly for his latest conquest. Greg and Kent come to blows over the deceitful unfaithfulness. A bit later, Steph, all sweetness now, shows Kent her impres- sive engagement ring and departs. In the end, decent but awkward Greg, alert to the beauties of literature but purblind to those of his beloved, is wretchedly alone. Standing in the wardroom, he closes the clas- sic American novel he'd been reading and gives an outcry of total desertion. The ordinary-looking re- frigerator, the microwave, the sink, the plain table, and chairs are silent. Haunted Child Bunny Christie, a top designer with a wide range of credits and awards, created a two-story set with an imagined attic above that is created in the dialogue and action of Joe Penhall's Haunted Child. A troubled boy and his troubled parents act out their distressed lives in an ambience of budgeted dcor, where ghostly sounds in the night and apparitions of the missing father intensify the loneliness of Thomas (Jack Boulter and Jude Campbell alternating) for the absent Douglas (Ben Daniels). Sophie Okonedo as the distraught Julie tries to cope with a situation that is beyond her (or probably anyone's) control. In contrast to the hyper-active sets of The Ladykillers, The Comedy of Errors or Sound Off, in stillness and silence it represents the unremarkable homeface of Neil LaBute's Reasons to be Pretty, directed by Soutra Gilmour. Photo: Keith Pattison. 48 the terrorizing external social and economic ocean in which this family is drowning. This "haven in a heartless world" cannot protect the father who sum- marily left his stultifying job and his family pres- sures to seek spiritual wisdom and order. It cannot harbor the mother who is stretched fnancially and emotionally to be "All Things" as deserted head of household. It cannot shelter the child who is bullied at school by his classmates most proximately and by the education system in which they are all trapped. The weird noises and apparitions turn out to be the reality of the father, returned, hiding in the attic, sneaking a look at this child in the night. He leaves again to the supposed supportive comfort of an alternative quasi-religious group, but soon he is back, beaten and bloodied. He could not pay for his initiation. He begs to be taken back into his fam- ily from the deceptive hell. His son is in a kind of limbo. His wife, upon whom all now depends, has strength but no wisdom to match the haunting that surrounds them and permeates through the walls of what should have been a fortifcation. Haunted Child joins Grief, Huis Clos, 13, and Reasons to Be Pretty as one more intimate revelation of the malaise and consternations afficting the so-called "developed" world. Temperature, blood pressure, analysis of body fuids, behavioral pathology: the patient is sick, and it is not imaginary. Pippin For some audiences, the retina-attacking, ear-splitting Pippin at the Menier Chocolate Factory would be a relief from the philosophical gravity of so many of the season's theatre offerings. Much of the Menier Chocolate Factory theatre space served as part of the staging. An acrobatic cast popped out of openings, off girders, and up and down poles, lights fashing on and off like a disco or rave party, the actors all dancing through an improbable "spiri- tual" history of Pippin, Son of Charlemagne. Matt Rawle plays an archly demonic narrator contraposed to Pippin (Harry Hepple), embarked on a jejune search for true happiness and fulfllment, frst in war, then in politics, sex, art, and religion. It's rather a sort of failed crossing of Struwwelpeter with Tom Saw- yer, without most of the humor. The performance I attended was relieved by a delightfully funny Louise Gold playing Pippin's worldly-wise grandmother. The setting and the dancing were more like a parallel event than an integral part of the play. Joe Penhall's Haunted Child, directed by Jeremy Herrin. Photo: Elliott Franks. 49 Richard II The frenzy of Pippin was the very oppo- site of the churchly dignity of Richard II, directed by Donmar Warehouse's Artistic Director, Michael Grandage. (This is Grandage's fnal season of an outstanding tenure at Donmar.) Designer Richard Kent created a setting strongly resembling those of Shakespeare's time and place, excepting that the up- per stage, the stairs to it, and the corridor beneath are in Gothic style suitable for a castle or a church. In fact, the architectural motifs strongly resemble those of Richard II's revision of Westminster Hall. During the play this restrained Gothic of the late fourteenth century, symmetrical, and as spare and strict as the King's ecclesiastical and governance pieties, is the quiet and orderly counterpoint to chaos and blood- shed of contested rule and expensive, failed military expeditions. Instead of Pippin's fashing lights and music, there was pervasive incense signaling the role of religion and the medieval moral interpretation of the Divine Right of Kings. The audience entered the Donmar audi- torium to see King Richard II (Eddie Redmayne) seated upon his throne as dead silent, dead still as his portrait in Westminster Abbey. The intensely devout king is strictly observing the Holy Day Epiphany, during which the faithful keep unvoiced vigil. Hav- ing been born on Epiphany, the observance was of special importance to this man who became king when only ten years old. It would be that date again when, after Richard's abdication from the throne, his demoted earls would attempt to restore him in the Epiphany Uprising. (By remarkable coincidence, I saw the play on Epiphany.) The king had a reputa- tion for sitting on his throne in prolonged silence especially on certain holy days, especially Epiphany. From the time theatre doors are opened for the au- dience to be seated and long minutes before other actors enter the stage to begin Shakespeare's opening lines, actor Redmayne and director Grandage initiate a physical awareness of Richard's severe religious and moral tension that will drive the action. Redmayne received the Critics Circle Award for Best Shakespearean Performance for this role, preceded by the 2010 Olivier Award for Best Actor in a Supporting Role for his role in Red as Mark Rothko's studio assistant (viewed last year). The two roles witness the great range of this actor's talent and insight. He was well-matched by a cast comprised of Andrew Buchan, Harry Attwell, Pippa Bennett-Warner, Stefano Braschi, Ron Cook, Daniel William Shakespeare's Richard II, directed by Michael Grandage. Photo: Johan Persson. 50 Easton, Daniel Flynn, Michael Hadley, Sean Jack- son, Phillip Joseph, Michael Marcus, Sian Thomas, Joseph Timms, Ben Turner, and Ashley Zhangazha. Near-mystical restraint of set and King together with the steady metric of the speeches was in sharp con- trast to the disorder of duels, exiles, cabals, and mur- ders of the other characters. The opposition brought out a depth of the play beyond its plot. Grandage's deliberate pacing paralleled the poetry, leaving time and space for contemplating Shakespeare's more profound meanings. And No More Shall We Part A religious and moral dilemma society dealt with in entirely different ways before the advent of modern medicineespecially medical caresince the rapid advances taking place after World War II to the present, is that of helping the greatly suffering to depart their fate willfully and in peace. In dis- cussing his latest play, And No More Shall We Part, author Tom Holloway noted that we have a "wall of silence" around such diffcult issues as euthanasia and assisted suicide. He writes in part to open up that wall. This play is more poignantly personal than the larger mission, though it serves it well. The play, he revealed to us, was response to his own mother's dying which affected him deeply. Cathartically, he wrote it in one day. The slow passing of his mother afforded him the situation he exploits on stage: "We had a chance to say to each other what we wanted, needed to say." The entire play is the long leave- taking conversation between Don, the husband (Bill Paterson), and wife Pam (Dearbhla Molloy) who has arranged to take a terminal dose of pills. They say goodbye to each other in tenderness, anger, and confessions: Pam resolute and frm in her determina- tion, Don, wrestling with inevitable loss, religious confict, and panic. Director James Macdonald staged And No More Shall We Part in the small, downstairs theatre of the Hampstead, using a revolving stage, with designer Hannah Clark's deliberately ordinary ar- rangement of a bedroom and a kitchen-dining room. On either side, stage hands, one a young man, the other a young woman, manage the sounds, lights, effects, and props. They work as unobtrusively as possible, yet are peripherally noticeable. We never meet the son and daughter of Don and Pam, though they fgure in the drama; but the practical actions of the male and female stagehands accidentally echoes each reference to them. When asked about this, Hol- loway averred that the placement of the stagehands William Shakespeare's Richard II, directed by Michael Grandage. Photo: Johan Persson. 51 was necessitated by the space they had to work with, but the happenstance consonance was an interesting notion he'd think about. Holloway hopes that each person in the audience will arrive at an individual understanding but that also is understood to ft one way or another into the larger issues. As for direction and acting, "I like to have some control over interpretation, but only minimally." Sometimes he gives a name in the script but no lines. "I leave this up to the director and the actors." It is no surprise, then, that Mike Leigh is among those (including Sam Shepard, Harold Pinter, Beckett, and Caryl Churchill) who have infuenced his thinking. Holloway took the title itself from Aus- tralian music star Nick Cave's album, No More Shall we Part, with a track list that numbers, "As I Sat Sadly By Her Side," "And No More Shall We Part," and "Darker With the Day" among its twelve tracks. A psychiatrist who has served as a hospice physician remarked that the play all rang true ac- cording to his experiences, a comment that greatly pleased Holloway. While he wants individuals to have their own responses, he is also trying to pres- ent the walled away social issues as realities to be grasped. It seemed to work for most in the opening night performance I saw. This was apparent during the performance and in the solemn, often silent de- parture of the viewers. The quality of a play is not based on how many tears it can jerk or how many laughs it can provoke; but in this case the plain- ness of the setting, the familiar ordinariness of the dialogue confronting the profoundest of all losses moves beyond pathos to a personal experience of existential grief. Holloway's play shifts the ground of the public religious and political issues of the morality and the legality of euthanasia and assisted suicide into the heart and marrow of our short lives together. One Man, Two Guvnors For our frst play of the two week session, we were fortunate to have tickets for sold-out One Man, Two Guvnors. Richard Bean based this slap- stick farce on Carlo Goldoni's 1743 The Servant of Two Masters, in turn based on commedia dell'arte Renaissance style. Director Nicholas Hytner brings this tradition into the moment, returning to the im- provisational techniques of Goldoni's initial version. Richard Bean's One Man, Two Guvnors, directed by Nicholas Hytner. Photo: Tristram Kenton. 52 Returning and embellishing: James Corden's Francis Henshall connected with plants in the audience so convincingly that most of us were fooled for min- utes with each of these seemingly random call-ups. It was their skill as acrobatic actors that fnally gave it away and was yet another source of laughter. But they were all doing a lot of improv. At one point it really appeared that one of them had shot Corden a line he hadn't quite imagined and he briefy broke up on stage. But that too may have been an illu- sion. Whatever the case, it had the house in stitches and in admiration of the virtuosity. Besides stellar Corden as the perennially hungry Francis, the cast were amazing in their display of both physical and dramatic agility. One can suppose a preparation as rigorous as that for winning athletic teams. The cast included Oliver Chris as Stanley Stubbers, Martyn Ellis as Doctor, Trevor Laird as Lloyd Boateng, Claire Lams as Pauline Clench, Fred Ridgeway as Charlie Clench, Daniel Rigby as Alan, Jemima Rooper as Rachel Crabbe, and Suzie Toase as Dolly. Of course there are disguises, mistaken identities, miss-sent letters, and lots of doors in a set consisting of push-on-push-off fats, the moving about of which was often as amusing as the play. Award-winning Mark Thompson has a nomination for the Olivier Award for Best Set Design. And the music: Grant Olding and his skiffe-band engage the audience in renditions of Olding's songs with per- formances that often breach the invisible border to descend directly into the theatre space. They were infectious in their joyous enthusiasm even when confned strictly to the stage. The collaboration of director, actors, musicians, designers fully realized the redeeming graces of great farce. Noises Off The last play of the series was Noises Off, a raucously funny balderdash of silliness with an ingenious set for this play-within-a-play in three acts; all named "Act One." In an opening scene the director tries to drill his incompetent actors who have just muffed a scene: "That's what it's all about, doors and sardines. Getting the sardines on, getting the sardines off. That's farce. That's theatre!" This slapstick, a revival of Michael Frayn's 1982 work, ran from December 2011 to March 2012 at the Old Vic Theatre. This latest version, directed by Lindsay Posner, was nominated for the Olivier Award for Best Revival. It featured Jonathan Coy (as Frederick Fellows), Janie Dee (Belinda Blair), Robert Glenis- ter (Lloyd Dallas), Jamie Glover (Roger Trample- main), Celia Imrie (Dotty Oakley), Karl Johnson (Selsdon Mowbray), Aisling Loftus recreating the Michael Frayn's Noises Off, directed by Lindsay Posner. Photo: Tristram Kenton. 53 Poppy Norton-Taylor role she played in the 1982 production, Amy Nuttall (Brooke Ashton) and Paul Ready (Tim Allgood). The often acrobatic action required precise timing and coordination among cast and the doors, windows and propsthose sardines especially. Designer Peter McKintosh created a clever architec- ture in which the frst Act One set is a large, well- appointed country home, the second Act One turns it inside out to reveal the backstage secrets of both set and cast, and the fnal Act One returns the hilari- ously wretched cast to the original scene. The sets are a hoot to start with and the activation of doors, windows, phones, plates of sardines, and searches for contact lenses by a nimble cast had audiences giggling, chuckling, and belly-laughing through the whole play and then out into the streets. As the fnal play viewed in the two weeks of ffteen, it matched the frst one, One Man Two Guvnors, as side-splitting brackets to the trials, dilemmas and sorrows of most of the other performances. Jerusalem I conclude with Jerusalem: powerful as comedy which would be tragic were it not illumi- nated by an intransigent and rebellious hopefulness. Surpassing the decorous laments implicit in Grief, Huis Clos, Reasons to Be Pretty, 13, Collaborators, and Haunted Child, and even No More Shall We Part, Jerusalem bellows its sermon out of a magi- cal hippie land with real trees and chickens, real dirt and water. Few in the audiences for this play would want to live in a property abutting Johnny "Rooster" Byron's dilapidated trailer or tolerate his all night parties and drugs. Yet this reprobate wins us; we be- gin to sense his outrage in our gut, and his bleeding defeat at the hands of personal and municipal bullies is our own, recognized in the intense moment of si- lence at the end before we put our hands together in applause. There is more packed into this play than in the others, even Collaborators, even Richard II. I found myself going back to books in my library not recently opened: collections of old British folk and fairy tales, William Blake. The "Jerusalem" of the title refers not only to the unoffcial "national an- them," sung before the curtain rises by an adolescent girl in a fairy costume, but also to Blake's Prophetic Books, especially the epic poem Jerusalem: The Emanation of the Giant Albion. An earlier book in the Prophetic series, America a Prophecy, may also have lent seasoning to Jez Butterworth's mythopoeic Jez Butterworth's Jerusalem, directed by Ian Rickson. Photo: Simon Annand. 54 drama. A young woman in a fairy costume sings the familiar "Jerusalem" in a wavering voice in front of a shabby, soiled white canvas curtain painted with the red cross of Saint George, patron of England. The curtain rises on a scene that is part idyllic English forestEngland's "mountains green" and " pleasant pastures" of the Blake anthem. The forest forms a background for a chaotic jumble of beat up chairs and a couch, sagging tables, a refrigerator, a drinks cooler full of booze, a smashed television set, and various other detritus. A raucous bacchanal with heavy metal music has blared into the early morn- ing. It is the day the village festival celebrates Saint George Day. This Christian feast falls either on 23 April or the frst Monday after Easter, but in any case announces Spring, as did the pagan ancestors: longer hours of sun, things growing again. Set designer Ultz placed an American, once-fashy Airstream trailer to command the stage and center all the action. From a klaxon atop this imported aluminum hull issue the high decibel mu- sic and amazing noises shattering the quiet of the overhanging forest trees. Teenage revelers scatter. The local constabulary appends eviction notices to the door (Sarah Moyle as Ms. Fawcett and Harvey Robinson as Mr. Parsons). The van is real. So are the trees. So too a trough of water and the weedy dirt along the front edge of the stage. Chicken wire skirts the van and keeps the real chickens contained for most of the play. Later there will appear a turtle no one wants and a gold fsh in a sack of water, left as a gift by the hapless Lee (Johnny Flynn) who is departing for Australia. Sounds from the distant Saint George's Day village festival, the actuality of earth, air, fre, water, and live animals present a disrupted and con- ficting ecosystem. Suburban tract house expecta- tions of tranquility enforced by law do violence to ancient substances living and insubstantial. "And was the holy Lamb of God" in evidence on these unpleasant pastures now a squatter's haven? Maybe. Camoufaged. Johnny "Rooster" Bryon (Mark Rylance) emerges from the Airstream and into the disarray of his woodland yard after having ignored the knocks and shouts of the eviction offcers. He used to be the biggest daredevil leaper in the festival, famous and infamous for his past feats and his current barroom brawls, always begun by "some other" truculent. He is beloved by the youth, or perhaps only used, because he freely distributes all the mood enhancers they are prohibited from buying. His habitat is also their retreat from home and parents, who adjure them not to smoke, drink, do dope, or "do sex." Johnny re- members quite well their own youthful peccadilloes. Some may be safer in the squatter woods than they would be at home. The set and perhaps even Jez Butterworth's philosophically intricate plot just barely contain this Rooster full of fairy tales, mysteries, horrors, told with a bursting energy of expletives and foul expressions. Just to hear Rooster's stories would be performance enough, but they are densely woven to- gether with allusions from multiple pasts of British literature and philosophy, and arcane folk memories. His tallest tale is one in which he encounters a giant who gives him a protective amulet. He shows it to the kids and dares them to touch it. No one will. The tall tale may be true. Rylance's performance has been honored and praised. It is to be seen, heard, felt in muscle and bone as this crippled prodigy of daring hobbles about almost balletically. He is Johnny Rooster. Who Johnny Rooster is remains mysterious at the end of the play when he is brutally beaten, perhaps defeated by the thugs on one side and oppressive laws and manners on the other. No, not defeated. Is this the Giant Albion who will return to the green and pleas- ant land to fght again "Till we have built Jerusalem/ In England's green & pleasant Land?" An outstanding cast supported Rylance's stunning performance. Mackenzie Crook delicately played his faithful friend Ginger; Alan David was the literature quoting aging Professor who acciden- tally gets high on LSD; Johnny Flynn was Lee, the young man headed for Australia; Danny Kirrane was Danny, the abattoir worker who hopes never to leave the village. Gerard Horan was Wesley, the pub owner pressed by his beer supplier into donning a costume and dancing an ancient folk dance. The bells and footwork of old Albion seem ridiculous to all. Geraldine Hughes was Rooster's estranged wife he almost recaptures. Barry Sloane was the thug Troy Whitworth; Aime-Ffon Edwards was Pha- edra, Troy's step-daughterprobably abusedwho warbles the Jerusalem anthem at the beginning of the two acts and will appear out of the van near the end of the play. Dissolute teens Pea and Tanya were So- phie McShera and Charlotte Mills. Aiden Eyrick and Mark Page (in the performance I saw) alternated in the role of Marky, Johnny Rooster's shy and puzzled son. At the end, Johnny, bleeding from his cross- shaped wounds, makes sure that drops of blood transfer to Marky. It is blood that matters. Johnny 55 Rooster has supported his profigate consumma- tion of booze and drugs and his generous sharing of stashes by selling pints of his rare blood type. "It's Romany blood," he shouts at the last, tying outsid- ers, cryptic magic, otherworldly tales of giants and fairies, the forest remnant, with its wild and domes- tic animal life, and Saint George to a sacrifce that is not a defeat. He raises his voice to the heavens, not to call upon God but upon his Giant, upon a litany of ancient heroes, a pantheon of divinities and the Good People. His fnal act is to start a consuming fre. Skillfully directed by Ian Rickson, the remarkable Rylance and the uniformly strong cast bring out the intensity of Butterworth's play. Did he write a comedy? Oh, yes! Jerusalem is deep comedy with outrageously funny language, "dirty" enough to release the taut fears we all carry around in muscle and bone, and gut. Yes, comedy, even though the wrenching fnale is laced with tragedy. The narrow, secular forces of law and order do not get their way with either Rooster or his property. In the end, he is still in charge of fate. Bring me my Bow of burning gold; Bring me my Arrows of desire: Bring me my Spear: O clouds unfold! Bring me my Chariot of fre! Right now another Johnny Rooster with another cast is unimaginable. But Jerusalem has elaborate internal resonances and gripping relevance to human social constructs. It well may become a top twenty- frst century classic. In Conclusion These ffteen plays displayed the splen- did creativity and power of every aspect of current British theatre: scripts, directing, acting, set design, lighting design, sound, use of theatre spaces, and the theatres themselves; all this despite severe budget cuts of the last two years and the expectation of more to come. Perhaps we are at apogee, especially for technically and visually elaborate stagings. Perhaps the ensemble is so strong, so welcome by the theatre audiences that a suitable portion of the prosperity enjoyed by the top international money earners can be funneled into this necessity of human survival. Right after sex, food, and water, and even before shelter are music, stories, and theatre. The arts are not optional. The seductive pleasure of seeing ffteen fne productions beckons past enjoyment into refec- tion upon the didactics they enclose. The plays were not simply "mirrors of society" but a community conversation. Seeing so many in two weeks, it was possible to discern networks of conversations really occurring in real time among and between all those who produce the shows, between the show and its audiences, between all that and the larger, extended community. The excellence of the work on the London and other stages entertains society while it establishes, modifes, tears away, and re-creates the social contract. Some would say that in this time of often hostile separations theatre is an obligation. I saw evidence of thoughtfulness about this obligation in each of the plays attended, as well as a degree of unattended expressions arising from the human condition unbidden, uncrafted as it is. One Man, Two Guvnors and Noises Off succeed as much as Richard II or Jerusalem; the astounding settings for The Ladykillers or Comedy of Errors succeed as well as those for Huis Clos, or Grief. Theatre is "show" as well as "tell": the stage designs speak as articulately as the lines of script. In this current season the productions individually and collectively repeat the conversationsthe show and tellof the streets and households and centers of power. Repeat and laser beam it back into that social body, probing the murkiness of gathering distress and anger, the effete global leaders who conceive great and wise ideas at Davos but either cannot or will not lead new directions once they are back home. Threading through every one of these London 2012 plays is an awareness of the helplessness of ordinary and ex- traordinary folk in the face of the Beast With Seven Heads whose presence is intuited, not seen. So we arrive to be entertained and instructed. We examine grief, moral dilemma, and foibles. We grow sober, we cry, we laugh until we are breathless. The towering, tottering set of Ladykillers and its radio-controlled toy cars and trains would not have been possible technically on stage in 1955 when the famous Ealing Studio flm appeared. Nor probably would it have been understood. One wor- ried about the bomb or mutually assured destruction, but the middle class was expanding into new homes. In the United States returning GI Joes had flled col- lege classrooms to overfowing with men with little awe for professors. The returning warriors rerouted the direction of higher education and the number of people who expected to attend college. If you had a job with a viable company you had an assured pension and probably health benefts. The Ladykill- ers teetering piled-up architecture would have been merely funny. The set was a technical tour de force, but that is not all. Today one might think, "earthquake," 56 or "this old house is about to collapse," or "the old order is crumbling." W.H. Auden wrote The Age of Anxiety in 1947. The poet saw his whole century, es- pecially from World War I through the Great Depres- sion and World War II that had just ended as fraught with angst. Distanced by wisdom from post-war exuberance, he foreshadowed the continuance of an undercurrent of insecurity. William Blake had preceded with his lines in the 1808 "Jerusalem" in which asks,"was Je- rusalem builded here/Among these dark, Satanic mills?" The lamentation for lost harmonies is one of those long conversations continuing through record- ed history. In 2012, popular distress around the globe deepens and "everyone" knows we can't go on like this. The house, the institutions are near collapse. Huge swathes of people are worrying over what is happening, what may happen, and that they don't know what to do about it. We live in the black box of 13. The container car sets of Reasons to be Pretty evoke memories of the residents of Assisi living in them long after the terremoto; Haitian victims of the goudougoudou fnally grateful to move offces, medical units, and schools into the metal-sided cars: homely and hot, but shelter. The antic sets of One Man, Two Guvnors, with its sliding screen changes of time and place or Noises Off showing frst one face of a set, then the rickety backstage view, then back to the frst, might have been conceivable with clunky, labor-intensive Baroque mechanics, but those would have carried quite other meanings. These architectures create apprehensions an audi- ence can physically feel while we listen to profound or hilarious words from those who have taken on the obligations of theatre. Graham Linehan's The Ladykillers, directed by Sean Foley. Photo: Tristram Kenton. 57 During the summer, I was lucky enough to see Guy Cassiers's production of the ubiquitous Tom Lanoye's Bloed en Rozen: Het Lied van Jeanne en Gilles (Blood and Roses: The Song of Joan and Gilles) at Toneelhuis in Antwerp where Cassiers is artistic director. The production has subsequently gone on the road and was awarded pride of place in the Cour des Contes at the Avignon Festival, re- ceiving extremely laudatory reviews. Cassiers is no stranger to incorporating video in his live theatre productions, but his experimentation with mixing media broke startlingly new ground in this show, both for him and the world. The text of Bloed & Rozen dramatizes the stories of both Joan of Arc and Gilles de Rais. The well-known and oft dramatized story of Joan of Arc's attempt to enter the political sphere, entreating powerful men to invest her with arms, soldiers, and military status so she might restore self-government to France only to wind up roasting on the stake, is revisited here. But in this version it is frst and fore- most to the notoriously rotten de Rais that the pristine maid makes her appeal, and it is the notorious pedo- phile and child-murderer who clears the way to gain her both temporal and ecclesiastical support, giving the plot a perverse twist and presence. The Flemish Guy and IvoTwo Directors, Two Cities, Two Intersecting Paths David Willinger Tom Lanoye's Bloed en Rozen: Het Lied van Jeanne en Gilles, directed by Guy Cassiers. Photo: Koen Broos. 58 text begins with a series of strictly cadenced couplets reminiscent of Medieval dramas, settles into a series of sinister, though witty exchanges, littered here and there with indirect, ironic references to the Catholic Church's recent pedophilia scandalsscandals from which Flanders has not been exempt. Some of the lines spoken by the historical character of Pierre Cauchon, Bishop of Beauvais come straight from the mouth of the contemporary apologist Roger Vanghe- luwe, Bishop of Bruges. The audience who attended when I saw the production were vociferous as they recognized them. The actors represent not only Joan and Gilles, but also various dignitaries such as the aforementioned Cauchon, the Dauphin, the Queen Mother, de la Trmoille, Monseigneur de Mal- estroitindeed a cast list not so very different from those of George Bernard Shaw's or Jean Anouilh's Joan of Arc plays. These actors wear costumes that cross-germinate the historical period with the latest in radical Antwerp clothing design, with the creepy addition that spare clothed arms with tiny bare hands peeking out are eerily draped over the characters' backs and slung around their necks. The capable cast is led by veteran actor, Johan Leysen, playing Gilles with caustic gusto, dripping with leering cyni- cism. The others are equally sober in their acting but make no attempt to hide their personal corruption that seems to ooze through their earth-colored cos- tumes in which black dominates. Abke Haring plays Joan with nave sincerity in a performance that is not iconoclastic, but rings true; she is dressed in a scanty bright red, sleeveless dress. And the quipe is rounded out with the welcome addition of nine ex- traordinarily talented singers comprising Collegium Vocale Gent who provide complex Gregorian chants that are tastefully distributed throughout the produc- tion; they are watchfully present in all scenes in need of crowds. The most startling aspect of this produc- tion lies neither in its text nor its acting, though both are highly competent and strong, but its spectacle. The stage is deceptively empty apart from a gigan- tic screen that spans most of the entire proscenium. More self-effacing, are smaller, human-sized, mov- able screens that "live" downstage on either side of the playing space, perpendicular to the curtain line. As the play progresses, we are startled by a series of ever more stunningly cunning uses of these screens vis--vis the live action. The basic principle is that the actors place themselves in groupings oriented toward the wings, away from the audience, in front of the smaller screens. Actual places (forests, impos- ing castles, etc.) and abstract, colorful patterns are projected onto those screens, but we generally can't see them directly. The actors standing and moving in front of the screens are captured by cameras placed across from them in the opposing wings, and the Tom Lanoye's Bloed en Rozen: Het Lied van Jeanne en Gilles, directed by Guy Cassiers. Photo: Koen Broos. 59 entire imageactors against backgroundsis then projected on the giant coat-of-mail screen in front of and above the live actors. It takes a while to fgure out how Cassiers is managing this optical trick. There is a constant juxtaposition between the unassuming movements and groupings of so- berly costumed live actors on a seemingly naked stage against the lush, overpowering, and pictur- esque flmed version simultaneously appearing on the screen. This literally forces the audience into a double vision between the live and the projected. The entire spectacle, which belatedly realizes the grandeur and scintillation of Gordon Craig's theories of the ber-director and ber-marionette, prevents the audience from subsiding into passivity. Together Lanoye and Cassiers have timed the length of each each scene shiftand along with a change of scene a shift in imageto coincide exactly with the au- dience's appetite for new sensation and often, new conundrum. It is possible that if this text and act- ing were presented without the video effects that it would sustain interest from beginning to end, but the inclusion of them raises the level of fascination to the stratosphere and is that much more engaging for the audience. The video effects coupled with the fact that the actors are speaking into microphones often in soft, intimist tones brings the audience in the bon- bonnire theatre closer, treating them as and turning them into a community, but also overwhelms them with the Hollywood-level and cinemascope-scale images on the screen. The court enters in a simple, but striking way, as the large screen rises high enough off the ground to permit them to stride ominously and di- rectly from upstage, from under the screen to the furthest downstage plane. Lit from below, the small fgures throw giant shadows onto the screen hang- ing over their heads, lending a diabolical tone to the proceedings. Joan, standing out from the black-clad group in her red schmatta, makes her unpromising caseoften on her kneesto be trusted with the military leadership of France. There follows a smaller colloquy between the Dauphin and a few other dignitaries in which Gilles argues convincingly that they should sup- port Joan in her quest. The actors move on the bare stage in an amorphous knot of humanity, oriented not toward the audience but the screen. We infer, once we fgure out the technique, that the image on that screen, which is then re-projected on the giant screen, is an imposing medieval castle. It seems as though the conversation, which has the tone of a high-level conspiracy between CEOs in a modern- day boardroom, is going forward within that medi- eval setting, although we also see the same fgures, small, on a bare stage if we lower our glance. This scene establishes the pattern wherein scenes are played on both planes at once. There follows an urgent scene between the Dauphin, depicted as a grotesque, piggish brat, and the Queen, his mother, an even more grotesque skeletal fgure reminiscent of a Felicien Rops lithograph. They plumb the depths of their sick past which eventually leads to an incestuous entente that intensifes throughout the play. The next time we see this pair, they are deep into spooning on the big screen. This same Queen Mother then attempts to subjects Joan to a verifca- tion of her virginity, which she can't imagine that a girl of Joan's age could have preserved, but which a probing of her privates Joan fnally proves. The Queen kneels before her and does a manual gyne- cological examination. This obstacle to her progress removed, Joan (small, below) ritualistically dons her military uniform. Gilles, small also, appears and speaks, but is magnifed on the large screen. The two, each in military outfts with a large corona of metal spikes attached to their backs rising up behind their heads, seem to ride horses (whose snorting we hear as sound effects.) Joan's and Gilles's upper bod- ies are depicted large on the screen, moving slightly and subtly, with a sylvan forest projected behind them. Although we never see the mounts on which they're perched, they nonetheless give a convincing and astonishing rendition of two people riding on horses in tandem in a movie. Below, all we see is the two actors making their way vaguely and lethargi- cally in one direction across the stage, making the most miniscule progress in a nondescript rhythm and style. The clash between the realism of the projected image with the stark and bare one of the actors mov- ing below is disconcerting and paradoxical. Can that minimal movement of those actors on a bare stage translate into the convincing illusion of Joan and Gilles on horseback riding through a leafy bower? Yet it does. Some shows are stripped of spectacle to force the spectator's imagination to work; others amaze by their literal translation of phenomena. This show manages to have it both ways! Disconcerting in a very different way is the handling of soliloquies. The frst of these internal scenes, rendered with expressionist distortion and unearthly hues which reveal Gilles's twisted per- sonal life, is achieved by flming him with cameras on either side. The two images of halves of his face, in blue, foat over each other and interpenetrate on the large screen, as the spikes from the curling metal 60 fan of his collar foat as well. Doctor Caligari-like music supports the uncanny, unsettling ambiance. Later, the large screen proves useful to reinforce and enable Joan's inner voice as well. Lanoye and Cassiers bypass Joan's military triumphs and cut directly to her trial. This consists of Cardinal Cauchon sitting high up on a platform atop a ladder, with Joan and the others below. In- sinuatingly, almost seductively, he draws a confes- sion from her, or what passes for one. Again, there seems to be a connection being made with the recent pedophilia scandal. Although there is no explicit sex, the lasciviousness address of the churchman is unmistakable. One of the small side screens is wheeled up to Joan who stands in profle center stage. It contains a rear projection of undulating fre, the colors of which may just be gleaned by the audience, as they cast a glow on her face. It seems as if her screen im- age was flmed through the screen and through the fre projection, since we see her face foating through the fre above, large. The sound of fre crackles. The corrupt dignitaries appear above in alternation with her, large, also, surrounded by the licking fames. Joan, depicted white against the redness, is serene as she contacts her beloved angelic voices. While the story of Joan of Arc has become familiar, even vastly over-exposed in endless it- erations, this one justifes itself completely. It brings back all the other versions one has ever seen, at the same time forcing us to reposition ourselves in re- lation to it, as it make us doubt and examine how the strings are being pulled, both emotionally and technically. I rode a late afternoon train south to see Bloed & Rozen in Antwerp, the largest northern Belgian city, having that very morning witnessed a dress rehearsal for Ivo Van Hove's production of De Russen (The Russians) at Toneelgroep Amsterdam, in the capital of the Netherlands. This show by Van Hove, who is also Artistic Director of the company, combined Chekhov's Ivanov with the longer Pla- tonov. And although a great deal of text had already been cut, it still ran six hours. The prolifc Van Hove, who is familiar to New York audiences because of the shows he has staged at New York Theater Work- shop, as well as those he has imported from Holland to the Lincoln Center Festival and BAM, has an ex- tremely wide gamut of interests and stylistic stretch. Those he has done in New York tend to shock audi- ences with his radical, subversive approach, mostly to American classics, but there was little to shock in this highly respectful rendition of Chekhov. Indeed the boldest aspect of the show was the combining of Ivo Van Hove's De Russen. Photo: Jan Versweyveld. 61 the two texts. The playing space was vast and represented in painstaking detail the roof of a contemporary industrial building that has been converted into loft condos. It is an urban and industrial topography alien to the provincial estates Chekhov had in mind. But the set has the virtue of being comprised of a wide variety of different areas, nooks, ledges to perch on, and plenty of upright surfaces on which to project images. Thus, the entire space has a harmonic unity, but keeps opening up, as corners that hadn't earlier struck our attention successively become inhabited. In a very real sense, though they'd always been in plain view in the unit set, they now come to life. The acting by the repertory company, while not brilliant or outstanding, is workmanlike and utterly profes- sional, akin to the level of competence one expects from a British repertory company that has been to- gether for a number of years. The ensemble work is very strong, and a unifed spell is woven from the group's iron focus on telling the story and their unbending commitment to its circumstances. As a consequence, the play(s) manage to remain grip- ping over the course of many hours. It is strange at timesand is meant to bethat characters from the two plays inhabit the same play and sit next to each other on the same and on intersecting sectors of the space. All their intricate stories are thus interwoven, but we manage to follow them nonetheless. By and by, there are large videos projected on the various upright surfaces, much of it cartoon- ish and impressionistic in nature. As opposed to the way Van Hove has used these media in past pro- ductions, such as in Cries and Whispers, which is coming to BAM this fall, they seem more like back- ground material and arbitrarily added to make what is essentially a conventional production seem more daring; but they don't. They really don't amplify the meaning or atmosphere either. And they seem rather pale compared to the extremely pertinent and star- tling impact of Cassiers's videos in Bloed & Rozen. Still, this production is theatre on the grand scale, and manages to catch the essence of Chekhov. What is missing are the revolutionary touches we often get when Van Hove takes a text apart, and reveals both unsuspected values and shortcomings. Here, he has compounded Chekhov by giving us two in one, and has done so with all due respect. What was dizzying and touching about see- ing both these plays in one day, is that I had stumbled Ivo Van Hove's De Russen. Photo: Jan Versweyveld. 62 across both Van Hove and Cassiers thirty-one years ago, when, as young students in theatre school, they had gone out on their own and put on a show called Geruchten (Rumors). Van Hove wrote and directed and Cassiers played the lead, a mental misft, in such a startling way that I was moved to write about it, brimming with enthusiasm, for The Drama Review, which translated and published the translated text, and made sure that infuential people in the Flem- ish theatre scene learned of its existence. Now, these two exceptionally talented people are internation- ally recognized as among the best, most innovative theatre artists in the world today; they are artistic directors of the most important theatres in Amster- dam and Antwerp respectively and their foremost directors, their latest masterworks running the same day in cities four hours apart. Their careers promise to offer many more fascinating developments in the days and years ahead. Bloed en Rozen, directed by Director. Photo: Koen Broos. 63 Llus Pasqual has returned to take over the artistic directorship of the Teatre Lliure this season. As one of the venue's co-founders in 1976, he is part of its DNA. He's also had enough experience of working at choice national and international venuesas director of the Centro Dramtico Na- cional (198389), director of the Oden-Thtre de l'Europe (199096), the theatre program of the Ven- ice Biennale (199596), and as a regular guest di- rector at Milan's Piccolo Teatroto have a tangible sense of how the Lliure fts into the wider ecology of Europe's theatrical landscape. But whereas his predecessor lex Rigola ran the theatre through the "boom" years of the mid-eighties, Pasqual is facing economically harder times. The ajuntament (or City Council) which had been one of the theatre's great supporters is no longer Socialist run. Like the generalitat (Cataln Parlia- n Parlia- n Parlia- ment), it is run by the center-right nationalist party, Convergncia i Uni, who have made savage cuts to culture. As a result, the Lliure has lost 614,000 euros of its total subsidy for the year and been forced to postpone two productions from the present sea- sonAlbert Boadella's Amadeu and Pep Bou and Llus Pasqual's Bombollav. With cuts of ffteen per cent in its grant from the Generalitat, twelve per cent from the Ministry of Culture, and a further three per cent from the City Council, cancelling productions looks to be a standard feature of the programming for some time to come. Bleak times indeed, and bleak times call for culture to take a stand and engage directly with the state of the nation. It is not easy, however, to try and think through how the predicament of a nation-state might be staged when unemployment is running at close to twenty-three per cent (the highest in the Euro zone), a right of center Partido Popular (or People's Party) holds a vast parliamentary majority but no ideas for meeting the pledge to cut the coun- try's defcit to 4.4 per cent of GDP over the next year. The economy is shrinking and a further recession is hovering over the draconian attempts to meet defcit Barcelona Theatre 2012: Mismatched Couples, Capitalism under the Scalpel, and the Ghosts of the Past Maria M. Delgado Peter Handke's Quitt [They Are Dying Out], directed by Llus Pasqual. Photo: Ros Ribas. 64 targets. So it is perhaps not surprising that Llus Pasqual has turned to a desperate play for desper- ate times. Only it is not a contemporary work but a piece of uncompromising political theatre from 1973, They Are Dying Out. Peter Handke's play is presented with a new title, Quittthe name of its central protagonist. Herman Quitt is a reworking of the Everyman fgure refracted as a Mephistopheles for the age of high fnance. A wealthy capitalist in- dustrialist who controls a number of companies, one day Quitt has an idea that will allow him to take over all markets and destroy any rivals. He goes back on his promise to colleagues (who become increasingly desperate as the production progresses), murders a shareholder, and fnally kills himself. Rules go out of the window for Quitt; avarice and control are all that matters. He may destroy his opposition but greed doesn't make him happy and in the end he has to destroy even himself. Corporate capitalism is shown in the play to go crazy: unregulated and untempered, it implodes with terrifying consequences. Peter Stein presented a celebrated absurdist production at the Schaubhne in 1974 with Bruno Ganz as a melancholy but ferce Quitt. Fassbinder's reading, that same year, had an effeminate, playboy Quitt with the entire play read as an embodiment of his state of mind. Here, Pasqual opts for a 1970s environment with Eduard Fernndez's businessman as a slick operatorwith shiny suits, designer track suits, and silver or gold ties. This is a man clad in the trappings of the capitalist dream who wears his wealth on his sleeve. He's combative, opinionated, stubborn, and hard-headed. He has the build of a compact but lethal rugby player. He treats his mis- tress and wife with contempt: they are as disposable as his business associates. He is a man in freefall but unable to articulate his crisisit is embodied by a blues number he presents at the grand piano in the play's second half, a brilliant image of a man defect- ing his anxieties through song. The cast are uniformly excellent. Boris Ruiz is the wily shareholder Kilb: feverish, anxious, ferret-like. Andreu Benito, Jordi Bosch, and Llus Marco are each able to defne the three businessmen that Fernndez's Quitt destroys. Benito is a cleric, adorned with the trappings of religious iconography; Bosch's Lutz is both smug and nervy; Marco's von Wullnow is slightly too comfortable with himself and what he represents. Jordi Boixaderas, with a dis- arming Cheshire Cat-like grin, presents Quitt's but- ler Hans as curt, loyal, and ever so slightly creepy. Marta Marco is a chic, well-groomed mistress with perfectly styled hair, a fxed smile, and foating headscarveswho stands in evident comparison to Miriam Iscla's characterization of his more homely wife. Paco Azorn's set faunts the vocabulary of high fnance. Flashing screens show the fickering and ever shifting fgures of the stock exchange. A lit up logo Q in which Quitt seeks refuge frames him as a tiny boy caught in a giant brand that dwarfs and defnes him. The two pool tables in the frst half sug- gest something of an upmarket working men's club where Quitt and his male cronies shoot balls into the holes with casual disdain. A punchbag at the back of the stage allows Quitt to take out his frustrationa frustration that takes a more desperate course in the fnal scene of the play. In the second half of the pro- duction, it is as if we are all out at sea with Quitt on a cruise liner looking out into an infnite abyss. Quitt watches the crumbling universe from a giant screen like a Big Brother fgure. The eponymous screen could be a PowerPoint demo or a vision of surveil- lance. "I get the feeling my body's not following me," Quitt states. In an attempt to follow everything around him, he loses touch of himself. In Handke's text Quitt kills himself by hitting his head against a rock; here it is a swift and genuinely shocking gunshot that follows his brutal strangling of Ruiz's Kilb. Fernndez places his fngers in his mouth and we hear the sound of a gunshot as the lights go out. The meta-theatrical is a very present motif in Pasqual's production. Fernndez's Quitt watches from a pair of seats that look as if they have taken from the Lliure's tiered seating racks. We are never quite in darkness, never able to sink into anonymity. Pasqual makes us part of this frightening and almost absurdist worldand while some of the furnishings and the cut of the costumes may be resolutely 1970s, the contemporary climate is never terribly absent from the audience's mind. There are references to Buuel's The Discreet Charm of the Bourgeoisie (1972)another devastating interrogation of capi- talism's excesses and the surreal rituals that govern our day to day routines. Mike Leigh's Abigail's Party (1977) also came to mind as I watched the partying businessmen with Marta Marco's Paula Tax. The play is bleak, terrible, and relentless. I can understand Pasqual's reasons for staging it, but Handke's writing always feels like too much of a diatribe, too dryly preachy. It lacks the poetry of Bernard-Marie Kolts, the corrosive magic and sex- ual charge of Genet, the deftness of Martin Crimp. Carol Lpez, the artistic director of Bar- celona's Villarroel theatre, is a deft dramatist but 65 sometimes whimsy takes the better of her. Res no tornar a ser com abans (Nothing Will be as Before) is certainly more substantial than her frothy Boule- vard, but it lacks the punch of Germanes (Sisters), her fnest play to date. The plot could be taken from Alan Ayck- bourn. Andrs (Andrs Herrera) has left his wife for Dolo (Dolo Beltrn), a musician who isn't sure if she wants to stay with Andrs who desperately wants a child with her. Meanwhile Andrs's colleague, Andrew (Andrew Tarbet), and his complacent wife Olalla (Olalla Moreno), have a toddler, Bruno, and a relationship both believe is rock solid. Only Andrew has a roving eye, and when he and Dolo begin an affair both partners are forced to evaluate what they really want. The play has an evident debt to classical farce with a husband knowing his wife has a lover but not knowing it is his best friend. This obviously leads to some priceless moments of humor (and em- barrassment) as with Dolo trying to leave the house for a rendezvous with Andrew when Andrs has pre- pared a romantic evening with champagne and a new DVD of The Wire. Dolo Beltrn is excellent as the restless musician who wants something dangerous to excite her as she tires of life with the dependable, boyish Andrs. Andrs Herrera has an expert sense of comic timing and an ingratiating air of innocence. We root for Dolo and Andrs and will them to stay together. This isn't the case with the second couple, Andrew and Olalla. Andrew Tarbet appears exces- sively vain and preening, with an arrogance matched only by the high-handedness of his waspish wife the "oh so smug," "why can't everyone be as lucky as me?" Olalla Moreno. Lpez juggles scenes with the couplesin different confgurationswith projections showing the four of them in therapy. Confessional mono- logues to the camera on a large screen show each of the four characters flmed individually as well as with their respective partner. The therapy scenes are an effective way of presenting exposition mate- rial on how they met and what has led them to seek therapy, and often present some telling moments of humoras when Andrs and Dolo are asked about the last time they had sex. Cube.bz's set presents two domestic spaces: a dining table and bedroom where Andrew and Olal- la live and a living room and bathroom that func- tions as Andrs and Dolo's quarters. There is spill- age across the different spaces: Dolo and Andrew enjoying secret rendezvous in the bathroom and bedroom; Dolo and Olalla having a girly chat on the Res no tornar a ser com abans (Nothing Will be as Before), directed and written by Carol Lpez. Photo: David Ruano. 66 sofa. There's a particularly good scene when Andrew and Dolo have oral sex as Andrs and Olalla hover in the foreground during a dinner date and another towards the end of the piece as Andrew and Andrs bond over gaming on the PS3 console. As with Lpez's previous works, the dialogue moves effortlessly between Catalan and Spanish with Andrew resorting to Englishhis na- tive tongueat certain key instants. The play wryly observes the middle class mores of a late thirty- something generation hooked on American televi- sion drama. The judiciously dispersed musical mo- ments work well in embodying a mood or a shift in dynamics. Blossom Dearie's "Plus je t'embrasse" is performed as they lay the table and prepare to share a meal, the characters singing along to the song on the record player in Dolo and Andrs's living room. It is a moment of elation as Dolo and Andrs enjoy the frst fings of lust. "Stormy Weather" comes later in the production as Dolo tries to leave for a meeting with Andrew. Lpez has an ear for colloquial dialogue and the play is as light and easy to digest as a perfect souff. Developed through improvisations, it is en- joyable enough on its own terms but it is also wafer thin. It lacks the emotional resonance of Pinter's Be- trayal, which negotiates similar terrain, but is nev- ertheless worth seeing for Beltrn and Herrera's evi- dent onstage chemistry and appealing performances. The writer and actor Ivn Morales has pre- sented a gem of a show at the Espai Brossa's new- est venue, La Secaa former factory right in the middle of the city's hip Borne district. S de un lugar (I Know of a Place), takes its name from a song by the band Triana, from the record El Patio, released in 1975. It is an emblematic song for Sim (Xavi Sez), a thirty-something screenwriter who is hurtling to- wards an emotional crisis as the play begins. He is visited at regular intervals by his ex-girlfriend Br (Anna Alarcn)the chalk to his cheese. Whereas Sim favors meditation and green tea, Br likes to hit the townher visits often come in the aftermath of a heavy night of partying. Br is restless and manic with a new boyfriend (or girlfriend) in tow at each of their encounters. She is completing a dis- sertation to fnish her degree and working at her par- ents' shop to make ends meet. Whereas Sim barely leaves his fat, Br recounts tales of travels to Berlin and Nepal with the German actress with whom she has an affair. Br is always runningfrom Barce- lona to Berlin; from her actress girlfriend Anita to her new boyfriend Vicente, a DJ come lawyer with S de un lugar (I Know of a Place), written and directed by Ivn Morales. Photo: Courtesy of La Seca. 67 a large apartment he's inherited from a grandparent; from the cloying Vicente to another ex, Aleix. Br and Sim have a pastand it has created a bond that leads Br to describe them as companions, practically family. Br cajoles and encourages him, "you've got a gift" she tells him in scene 3, one of a number of smatterings of English gleaned from movies and popular culture that pepper her dialogue. She nevertheless worries about the ever more reclusive Sim. Sim, however, has a Hindu neighbor, Shahrukh, who runs errands for him. One of Morales's inspired touches is having the role of Shahrukh played by an audience memberthe ran- dom spectator who sits in a particular chair in Sim's living space. On the night I saw the performance, it was an elderly gentleman, as far removed physically from the Hundu Shahrukh as it is perhaps possible to get. It is a credit to Morales's production that we never doubt that this audience member is Shahrukh. The conceit is accepted and respected. This is a play where ridicule never comes into the equation. The production's compelling power comes from the space in which it is performed: a long rehearsal room conceived as a studio fat with a kitchen in one corner and a sofa in the center. The audience are scattered through the space, part of the living area inhabited by Sim. There is no attempt by Sez and Alarcn to pretend that they are alone. The audience are asked to move a hand or shift along to another chair by the actors. But it is all done as if it were the most natural thing in the world. We are made to feel part of this world and we will them to fnd a way to stay friends. And so when Br turns up in scene 6 with a bottle of tequila and both be- gin to down shots of the beverage, tongues loosen and confessions spill out. Sim seems disillusioned that his birthday gift to Bre of Triana's El Patio didn't make an impression, unaware of the fact that Shahrukh bought the wrong recordfamenco fu- sion meets children's songs by a certain Triana Pura. Only when Bre brings him Triana's El Patio as a gift does he realize what's happened. The play ends with a shared moment of tenderness and together- ness as the couple listens to the song on Sim's sofa. The production impresses for a series of reasons. Firstly, there is the sense of intimacy gener- ated by having the actors so close by. They sit next to us, we hear their breathing, see and smell their sweat, feel the steam from the kettle when it boils behind us. The piece feels immediate and of the present. Br talks of going to a demonstration in the play's fnal scene; the sense of despair in the air is palpable and shared. Secondly, the dialogue is crisp and ut- terly credible. Morales knows how to craft smart, witty conversations that feel highly resonant. The language never feels forced or pretentious. There is something of the air of John Cassavetes's Shadows (1959) about the production. A poster of Gena Row- lands and Seymour Cassel in Minnie and Moskowitz (1971) and a photograph of a laughing Cassavetes alongside Peter Falk and Ben Gazzarra from Hus- bands (1970) are part of the dcor in Sim's home. Morales creates a theatrical language that may evoke the wordplay of Eric Rohmer but is perhaps more indebted to the cinma vrit of Cassavetes where spontaneity and edginessor at least the illusion of itpredominate. Alarcn is terrifc as the lean, jumpy Br, whose animated state appears fuelled by a cocktail of drugs and alcohol. Always looking for a way out of the predicament in which she fnds herself, Alarcn's performance ensures that Br's vulner- ability and her optimism fnd a productive balance. Sez's Sim is the yin to her yangtrying to "fnd" himself through meditative yoga, green tea, fasting, and reclusion. There's a palpable chemistry here be- tween the performers but it is a chemistry that can't be reduced to simple lust or sexual attraction. Mar- cos Ordez, of the leading Spanish daily El Pas, spoke in his review of a sensation watching the play in one of Buenos Aires's emblematic fringe venues, El Camarn de las Musas or Timbre 4. Morales, as both author and director, succeeds in bringing more than a spirit of Buenos Aires's insistence that theatre directly relates to the world beyond the performance venue to this production. This is a play that speaks to the desperation of a generation of young people left with few hopes in a climate where youth unemploy- ment is dangerously close to ffty per cent. It is also about the thingsfriends, music, hopes, dreams, memoriesthat sustain us at such times. Mismatched couples are also the order of the day in El tipo de la tumba de al lado (The Guy from the Grave Next Door), an adaptation of Katarina Mazetti's novel by Alain Gamas, presented by Josep Maria Pou at the Goya theatre. It's a single premise play: a late thirty-something widow visiting her husband's grave begins to notice the guy visit- ing his mother's grave close by. They are chalk and cheese. She's a bookish librarian; he's a farmer with interests in cows and boosting milk production. She quotes Lacan; he thinks Lacan is a type of bacon. He wants a woman who knows how to dress up and likes to put on a pair of heels and a bit of lipstick before going out. She wants someone to go to the opera with. It is effectively a reworking of the odd 68 couple as they discover a mutual attraction, embark on an affair, and each try to mould the other into their "ideal" partner. Ana Garay provides an undulating set that suggests the eponymous hill from Robert Wise's 1965 flm of The Sound of Music. Two wooden benches are nimbly used to suggest a range of settings from a dining room to a library. Maribel Verd is effectively cast against type as the politically correct (but sexu- ally obsessed) vegetarian librarian whose biological clock is ticking away. Her descriptions of Pablo's house (adorned with his late mother's needlepoint) are witheringly funny. Antonio Molero is credible as the no-nonsense Pablo who tries to impress Laura by showing her pictures of his prized cow. His bemuse- ment at Laura's minimalist white fat also pokes fun at middle class fashions. The production is slickly staged by Josep Maria Pou. He keeps the pace brisk with crisp scene changes and confessionals to the audience that en- sure complicity. It's a piece that has more than a little in common with Neil Simon's The Odd Couple. The empty stage is dominated by a mutating, almost magical sky, suggesting a world beyond the rainbow where dreams can indeed come true. The play is on the leaden side with a number of revelations that come as no surprisePablo, we discover, was an A-grade student who was forced to leave school to run his family farm, Laura's husband was perhaps a little too earnest for his own good and not her soul mate as we are frst led to believe. The play has to carry an audience with it and Pou realizes this, creat- ing a clean, no-nonsense production that prioritizes simple, old-fashioned storytelling. Alfredo Sanzol is back in Barcelona. I re- viewed Delicades (Delicate Women) when it was frst seen in the city at the Grec Festival in 2010 [WES 21.1, Winter 2011] and it is highly deserving of a second outing in the city, playing at the Poliorama for a three-month run as part of an extensive tour of Spain. Sanzol's eighteen vignettes resemble a tasty tapas menu: tiny morsels of digestible theatrical fare. Set largely in the 1930s and 1940s with a few select scenarios occurring in the present, the play offers a charming but politically incisive homage to the generation of his grandparents who lived through the horrors of the Civil War and its aftermath. Its Chekhovian tone belies sharp social observation and Katarina Mazetti's El tipo de la tumba de al lado (The Guy from the Grave Next Door), adapted by Alain Gamas, directed by Josep Maria Pou. Photo: Paco Amate. 69 a willingness to think through a model for political theatre that evades easy political rhetoric or simplis- tic polarized positions. Sanzol's latest play, En la luna (On the Moon) which I frst saw in Madrid at the Teatro de la Abada in December 2011, is a co-production with Teatre Lliure and his most incisive piece of writing, a brave and beautiful play about historical memory, the legacy of Francoism and how we make sense of a past rewritten by highly partisan political parties. Again, Sanzol opts for simplicity and an economy of style, both in his writing and in his sparse, fuid production. Like Delicades, En la luna is a play structured as a series of short vignettes rather than in a linear, chronological mode. It is a piece based on Sanzol's own memories of growing up in the af- termath of the Franco era, althoughbar the fnal sceneit can't be judged autobiographical. Sanzol was born in 1972 as Francoism was in its fnal throes, and the play's tone reminded me a little of the child's view of the world presented in Victor Erice's El esperit de la Colmena (Spirit of the Beehive, 1973) and Carlos Saura's Cra Cuervos (Raise Ra- vens, 1975). The episodic scenes, set in the period between 1975 and 1985, move from social realism to semi-absurdist encounters and parables. The powerful opening scene provides a potent example of the former as an artist, Garrido, who designed a plan sphere for Franco but was never fnancially rewarded for the job, is asked to act as a pallbearer at the late dictator's funeral, much to the irritation of his wife who has similar tales of Franco's wife, Carmen Polo, requesting valuable antiques that she never paid for. The couple's attempts to settle the outstanding debts with Franco's head of household, Colonel Snchez, meet frst with platitudes and then indignation. As Garrido's wife wryly observes, Franco may be dead but Franco-ism is all too alive and kicking. Indeed, the rest of the play sets out to expose the traces of a thirty-six-year dictatorship that remain in the national psyche. Garrido's wife screams out that democracy will bring justice, but these comments ring hollow in a society that has just placed the human rights judge, Baltasar Garzn (who has attempted to bring those responsible for the human rights' crimes of the Civil War and Franco era to account) on trial in what looks like a nasty case of trying to forcefully gag someone who won't buy into the pact of silence that prevailed in the aftermath of Franco's death and still remains a force in Spanish politics. En la luna (On the Moon), written and directed by Alfredo Sanzol. Photo: Ros Ribas. 70 Sanzol's ffteen scenes present stories of the Civil War's losersas with scene 2 in which a woman too poor to buy herself a new coat, thinks she should have moved to France like so many political and economic refugees during the Franco era, and scene 11 with tale of two warring brothers, them- selves an image of a divided nation. Secrets abound. In scene 3, a woman meets the sister of her new boy- friend only to discover for the frst time that he was once a priest. In scene 7 a precocious girl realizes that her father is having an affair with the mother of the young boy with whom she is playing. Corruption and deception remain palpable modes of operation. Scene 10 shows a woman admitting to authoring the erotic fction that her husband clandestinely reads in his secret stash of porn magazines. In scene 4, a policeman comes to interrogate the witness that saw him commit a bank heist. The man, no doubt recall- ing the horrors of the Francoist secret police, is terri- bly afraid of what might happen to him. Democracy in Spain saw its own dirty war with underhand po- lice methods exposed in the dealings of the infamous GAL case, where death squads worked to annihilate Basque nationalist activists and members of ETA in the period between 1983 and 1987. This is a play that isn't afraid to touch on such taboo subjects. In the play's most resonant and moving scene, two sisters search for the grave of their missing parents, brutally killed during the Civil War. Surely, one sister and her husband note, "before 1990 there won't be a single mass grave left in Spain I don't think they'll host the Olympics with the ditches full of corpses." The irony cannot be escaped. With 100,000 bodies thought to still lie in the mass graves that litter the nation, the comment is a telling indictment of a nation unable to come to terms with its own atrocities. The play's scenes provide observations on how easy it was for the wolves to take on sheep's clothing and be allowed into the brave new world supposedly initiated by the transition to democra- cyas with the retelling of the three little pigs fairy tale in scene 6. The relationship of how the past is preserved is also evident in the tale of a fanblow- ing away the cobwebs of an infantilization symbol- ized by the pram that Man 1 wants to sell. Scene 8 also tells of stunted lives, a sulky teenager trying to make sense of a world where her mother offers a malevolent presence, only evident in the scene's fnal moments as the attempted coup d'etat of 23 Febru- ary 1981 demonstrates the community's true colors. On the Moon also captures the euphoria of the transition to democracya time of great change for Spain in so many ways. In scene 12, two pro- gres (progressive) sisters horrify their conservative mother by heading out to a demonstration, refus- ing to take their grandfather's gun as protection. As their mother deprecatingly observes, the high heels they insist on wearing will offer little protection as they totter to escape the police. The daughters may want to join the "democratic" club but the institu- tional structures that nurture them are shown to be deeply conformist. This is a country that wanted to believe anything was possibleshown in scene 9 as a woman is given an elixir that will cure her cancer. The legacy of the past, however, often emerges when least expected. Alejandro Andjar's set evokes a lu- narscape that owes much to Lars von Trier's images of the planet Melancholia. Props are minimal. Plates and glasses for the birthday party of scene 8; a gi- ant antique fan in scene 5; an oversized lollypop in scene 2. Dcor is largely written on and through the bodies of the six performers who embody a series of characters across a broad age range. Perhaps the title, On the Moon, refers to the perspective of the present, allowing us to look back at the past as if it were another planet. All the performers are outstanding, mov- ing from character to character with the simplest of costume changes, a shift of the shoulders, a rais- ing of the eyebrows, a different posture. The acting never feels forced or knowing. Two of the actors (Juan Codina and Luca Quintana) are previous col- laborators of Sanzol's, four more (Palmina Ferrer, Nuria Menca, Luis Moreno, and Jess Noguero) may be "new" to this writer-director's work but they integrate effortlessly to create a wonderfully under- stated aesthetic. It seems churlish to single out any of the sextet, rather it is the collective performance that will remain with me: a vision of the ensemble's power to move beyond age-specifc roles and a close correlation between actor and character, On the Moon is playful, timely, and a corrosive recognition of theatre's role as a repository of cultural memory. 71 Frank Castorf signals his latest deconstruc- tion of a classic by putting after his (and Dumas fls's) title La Dame aux Camlias the words " partir de (based on) the novel by Alexandre Dumas fls, The Mission by Heiner Mller, and The Story of the Eye by Georges Bataille." The third component here, Bataille's most notorious piece of pornography la de Sade, fgures little in the production, which, for the most part, is concerned with Dumas fls's social melodrama and Mller's brutal satire on revolution- ller's brutal satire on revolution- ller's brutal satire on revolution- ary idealism. As usual with Castorf, the production is marked by superb technical work, provided in this case by the Odon's excellent resident quipe technique: set design by Aleksandar Denir, lighting by Deni and Eric Argis, video by Franois Gestin, sound by Dominique Ehret, and photographic mate- rial, Alain Fontenay. Adrianna Braga designed the superb costumes. Besides its state-of-the-art techni- cal support, La Dame aux Camlias is saturated with popular culture and references to world politics that we have also learned to expect from Castorf, along with a thoroughly chaotic, often frenetic action. Ac- cording to the program notes, the word Castorf used most often in directing the actors (through a French translator) was chaotisch. There were also, typically, considerable amounts of physical and sexual vio- lence and nudity, and a good bit of scatology. The curtain opened on a technically marvel- ous set divided into two playing areas, high and low, joined on stage right by a winding staircase. Above, stage left, a typical Parisian garret sous les toits, but here open to the skies, contained a kind of cage which housed the consumptive Marguerite Gautier (Jeanne Balibar), breathing wheezily, and three other courtesans (Anabel Lpez, Ruth Rosenfeld, Claire Sermonne). It has snowed for three days, so Frank Castorf's La Dame aux Camlias at the Odon, Paris, January 7- February 4, 2012 Joan Templeton Alexandra Dumas fls's La Dame aux Camlias, directed by Frank Castorf. Photo: Courtesy of Odon. 72 Marguerite has been unable to contact Armand. The women cluck like chickens and hover around each other, comforting Marguerite. In juxtaposition to this confned, supportive feminine world "on high" is the downstairs area of two men, a cluttered, cheesy- looking living room/kitchen in which Armand (Jean- Damien Barbin) and Antoine (Vladislav Galard) are noisily and frantically cooking on a 1960s era stove. One of them eats from the dish and vomits. A woman descends the stairs to the kitchen to retrieve plates of food which she takes upstairs. The women ex- hibit lesbian affection for each other, defecate in the dishes, and Marguerite mimes her death. The women exit and stagehands fll the cage with actual cluck- ing hens. Downstairs, Marguerite's body is brought in and laid on a couch, after which Antoine and one of the women throw it on to the foor. Suddenly, the action is interrupted as the whole stage revolves and a gigantic blinking globe descends from the fies, sporting a banner marked "Mundi-Anus Global Network" and presenting a huge color photograph of Berlusconi and Gaddaf embracing. The globe appears periodically throughout the performance; in one appearance, the Berlusconi-Gaddaf couple is replaced by Hitler and Franco in a newsreel shot, with the sign "Europe sans Frontires," the motto for the current European Union, superimposed on it, which, not surprisingly, received a huge laugh. The global network's appearance is accompanied down- stairs by a neon-lit night club set in which an actor sings the saccharine "Be Yourself" (in English with an American accent), the frst of the musical inter- ludes that punctuate the action throughout. Then, the stage revolves, and the plot continues: downstairs, at the side of Marguerite's coffn, Armand attempts to embrace one of the women, who rebuffs him, and he then removes Marguerite's plastic-wrapped corpse. The woman leaves announcing that she is going home to read The Genealogy of Morals. Armand takes off the plastic wrap and puts Marguerite's na- ked body in a chair. Then, in a reprise of the frst scene, the two men cook, as Armand describes in detail the physical horrors of Marguerite's rotting corpse. Aided by Antoine, Armand takes off his clothes, covers his private parts, and cries "Mama!" before exiting to return almost immediately in grandmother drag to watch one of the women take a shower (an obvious reference to Hitchcock's "Psy- cho"). Then the stage revolves, the "Mundi-Anus Global Network" appears again, and we are treated to a second night club number, two excellent dancers performing a tango to the 1950s American popular hit "Autumn Leaves." Armand then crashes through a box offce, which has been added to the set, into a loge, where we overhear a sexual conversation in Italian (subtitled in Russian) between Armand and a woman, who turns out to be Marguerite. The meta- theatrical component of the loge, the broad physical comedy, the heavy satire, the nudity, the emphasis on repugnant physical details, the man in drag, the references to contemporary popular cultureall of this transported me back to the 1970s in New York and John Vaccaro's "Theatre of the Ridiculous (a comparison that Castorf might not appreciate). After the frst intermission in the three and a half hour performance, the production is dominated by flm and video. The stage itself has been trans- formed into a flm studio; above, the garret is now a workroom flled with cameras and other technical equipment, and below is a screen on which the flms and videos are projected. The frst video is a "bed- room scene" of the naked Armand and (a very preg- nant) Marguerite. The dialog comes word for word from Dumas fls's novel, from the famous scene in which the lovers declare their undying love with the repeated refrain, "Je vous aime." Dumas fls's text reset in a contemporary context, with post-coital, naked lovers, including a pregnant Marguerite, recit- ing the old, romantic words, and reciting them in a flm, is a cultural tour de force which rescues Du- mas fls's romanticism from the nineteenth century dust bin. This is Castorf at his ingenious best, de- constructing a classic to reconstruct it for our time. But, as to be expected, this is not his fnal word on the subject. The love scene is interrupted by Heiner Mller's The Mission as a woman enters to merci- lessly and tediously harangue Armand, Marguerite, and the other characters (who have now entered the bedroom) on the necessity of a world revolution. She and the other characters then "walk out of" the flm onto the stage (a technical wonder) and disappear. Armand and Marguerite go to sleep, and a decidedly anti-romantic deconstruction of the preceding love scene takes place: Armand snores heavily, and, upon awakening, he and Marguerite quarrel violently, af- ter which they make love. The interesting thing here is that Castorf's second deconstruction of the love scene does not cancel out his frst. And this leads to an important critical point. One might suppose, initially, that Cas- torf's choice to juxtapose Dumas fls's romantic nov- el with Mller's sardonic, even cynical play about the failure of revolutionary ideals was to suggest that romantic love, like political revolution, was illu- sory (a too broad, uninteresting comparison to begin with). But Castorf's two-sided view of the relation 73 between Marguerite and Armand, and, by extension, romantic love, problematizes Mller's relentlessly nihilistic presence. The thread that would tie the two works together is missing. In the next scene, after the night club interval of a woman singing the American song, "St. James Infrmary," a lament for a dead lover that echoes the story of Armand and Marguerite, The Mission reappears in a video in which a naked woman covered in blood addresses a small boy (her son?) and Armand on the necessity of the revolution. Armand and Marguerite then read aloud their old love letters to each other (from the novel). What, if anything, is one supposed to make of the confrontation of revolutionary political vio- lence and deep, personal commitment? To confuse the issue further, during the entire scene, on another screen behind the frst, the visual track of a black- and-white documentary flm on Inca culture runs silently, for what seems like an eternity. (Mller has stressed the importance to him of his trip to the Inca ruins in Mexico, but beyond this, the purpose of the documentary in Castorf's production is unclear.) A woman wearing a death's head mask, from the docu- mentary, enters the video of Armand and Marguerite to put the mask on Marguerite. Armand then puts her body into a large trash can (perhaps a reference to Beckett), rolls it around, and then departs. Another live entertainment follows as the woman with the death's head and another woman hilariously parody Armand's preceding action by singing the Dusty Springfeld popular hit, "You Don't Have to Love Me, Just Be Close at Hand." After the second intermission, two and a half hours into the production (half the audience had now disappeared the night I saw it), flm and video completely dominate. The frst, very long video shows close-ups of the actors "hanging out" in what looks like an underground bunker. They eat, smoke pot, urinate in trash cans, and smile enigmatically at each other. The scene may be meant as an image of naive social collectivity, but, as often in the pro- duction, it is impossible to judge the tone. Behind the video on another screen runs a newsreel of the Romanian revolution of 1989, subtitled in French, while live, at stage center, an actor yells out revo- lutionary slogans. A silent, extremely slow-moving La Dame aux Camlias. Photo: Courtesy of Odon. 74 documentary which might be called "A Matador Prepares for the Ring" follows the newsreel. This, in turn, is followed by a succession of images in a flm montage, which owes much to The Mission, of vari- ous wars and revolts, including Napoleon in uniform, with the superimposed text "Napoleon turned France into a barracks and Europe into a battlefeld," and depictions of the eighteenth to nineteenth century Haitian slave revolt, with the message, "We haven't had the last of slavery; there are different forms of it that we don't yet know," the long series ends with the repeated proclamation "Putain de (the whore of) lib- ert, putain d'galit, putain de fraternit." Live ac- , putain d'galit, putain de fraternit." Live ac- , putain d'galit, putain de fraternit." Live ac- galit, putain de fraternit." Live ac- galit, putain de fraternit." Live ac- , putain de fraternit." Live ac- , putain de fraternit." Live ac- ." Live ac- ." Live ac- tion follows, in which a woman proclaims "Treason! Treason!" as Armand ritually washes her feet, then her body, to the music of "The International." The tone of this action does not even hint at parody and seems a curious contrast to the preceding repetitive images of and messages about the evils of Western civilization. A recording of French pop singer Mi- chel Sardou's "J'tais un bateau," in which the ocean liner "The France" complains of being abandoned by her country to end up as a cruise ship in California, blasts through the theatre. Clearly, the ship and its destiny are a metonymy for the Americanization of France (and Europe). We now see a new Romanian newsreel; this time, the populace is jubilantly cel- ebrating the fall of Ceausescu. The last scene of the production, the fnal live performance in the night- club, is composed of a lavishly costumed Las Vegas showgirl dancing an exuberant mambo. Is this the ultimate fruit of the Romanian revolution? The frst part of Castorf's productionsur- prising, intelligent, amusingwas by far the most successful of the three "acts," but even it had its lon- geurs. The third act was message-ridden, and since the messages were offered up literally and directly, rather than springing from any dramatic action, they amounted, in the end, to slogans. Whether this rep- resents a new, more politically radicalized Castorf remains to be seen. But if the too-long, often repeti- tive production was sometimes tedious, the set was spectacular, the action was innovative throughout in its juxtaposition of live actors with flm and video, the musical "numbers" were all wonderfully done, and the "Anus-Mundi Global Network" was simply brilliant. Mainly, the production was a fne example of the teamwork of a daring, no-holds-barred post- modern director and the fne actors and technical wizards of a richly subsidized national theatre. 75 Paris has long been famous for its Boulevard comedies, and the spring of 2012 was no exception. During my week there, just before Easter, I saw three excellent pieces that succeeded in mak- ing their audiences laugh heartily: Les 39 marches (The 39 Steps), winner of the 2010 Molire Prize for best comedy and adaptation; Th la menthe ou t'es citron ? (Tea with Mint or Are You a Nut?), win- ner of the 2011 Molire for best comedy; and Les Conjoints (Couples). All were playing to full or al- most full houses. The 39 Steps is well known in the US. The stage play by Patrick Barlow opened in London in 2006 and reached New York City in 2008. In London it received the Olivier Award for best comedy and in the U.S., directed by Maria Aitken; it won Tony and Drama Desk Awards. It opened in Paris in 2009. Inspired by a 1915 Sherlock Holmes-style British novel by John Buchan, it became one of Alfred Hitchcock's earliest movies (1935). In the from page to screen to stage version, the Broadway smash comedy in 2010-11 was the most staged play across the country in playhouses belonging to the Theatre Communications Group. Its success here, as in Paris, continued into the current season. The 39 Steps as a stage play is not a faithful transformation of the Hitchcock movie despite keep- ing the dialogue almost verbatim because the tone, values, imagery, and rhythm have been changed. Rather than a thriller like the flm, it is a madcap comedy, and audiences love it. In Paris it ran through the 2010-11 season, reaching 450 performances, and then was brought back in September 2011. It was still going strong when I saw it at the Saturday mati- nee on 31 March at the 335-seat Thtre Bruyre. A Spanish friend, who decided to spend her pre-Easter vacation in Paris, attended four play productions with me; she enthusiastically declared The 39 Steps to be the best of that group. The adaptation by Grald Sibleyras is di- rected by Eric Mtayer, who also plays seventy of almost 150 characters. Jean-Philippe Beche portrays another seventy. Christophe Laubion, in the lead role of Richard Hannay, is the only member of the cast to create a single character. All three men, who have been in the production since its premiere, have extensive stage, screen, and television credits. The one woman cast member, who has three roles, has been played by different actors over time: Andra Bescond, Herrade von Meier and, by spring 2012, Laura Presgurvic. I had previously seen Presgurvic, a relative newcomer to the French stage, in Jaime Parisians Love to Laugh Phyllis Zatlin Patrick Barlow's The 39 Steps, directed by Eric Metayer. Photo: Lot. 76 Salom's Les Demoiselles d'Avignon [see WES 20.2, Spring 2008]. She obviously has fun handling all of her roles and, after being shot, takes particular de- light in her comic, leg-twitching death on Hannay's lap. Rather than one character in multiple dis- guises, as in the novel or flm, in the play the four- member cast takes on multiple roles, including a male actor who plays female roles. Such doubling is facilitated by rapid costume changes, particularly caps and wigs. All four actors performed impeccably, with amazing energy. It is hard to imagine how they could follow up the nonstop action of the Saturday matinee with an evening performance. Absent from this staging, however, was the breathtaking display of acrobatic skills by the lead actor in New York who was seen swinging from a "bridge" (a ladder swung between two step ladders). In that I had seen the New York staging in the fall of 2010, it was diffcult for me to watch the Paris production without trying to make comparisons from memory. My friend's reaction, as someone un- familiar with either the playscript or the Hitchcock movie, was therefore helpful. She pointed out that the French actors succeeded in carrying the show with minimal expense and cleverly-constructed props. One example of the latter is a doorway that when spun around, reveals a Murphy bed. In gen- eral, the New York production was more elaborate. I now realize that each of the many stagings of this blockbuster farce will doubtless have varied from all the others. Standard strategies for translating a movie to comic theatre are the use of stick puppets, silhou- etted upstage, and of projections to represent charac- ters and locations from the flm that would otherwise be omitted from the play. Use of these devices in this Paris production is limited, although stick puppets appear once for characters and also for airplanes cir- cling overhead. On the other hand, the Metayer stag- ing creatively introduces wide strips of blue cloth, held by two actors, to simulate water when Hannay and his woman companion must escape by swim- ming. An actor in a blue coat becomes the mud that could entrap them on the moor. Twice there is a wide projection, behind a scrim, to reveal women danc- ers; one of the male actors enters the flmed scene, thus merging flm and theatre. The projection is used for both metatheatrical scenes in a theatre where Hannay sees Memory Man (Beche) perform. A tiny train that crosses downstage sug- gests one of the means of transportation incorporated in Hannay's frantic escape from the bad guys, but railroad cars and automobiles are more frequently represented by theatricalist means: the motion of seated actors prompting the spectators to use their imaginations. Such is the case when a sign from a politician's podium is turned into a steering wheel and the actors sit in a "moving car." Tributes to various Hitchcock movies that entertained New York audiences were not present in the Paris production, but Mtayer added a sight gag that delighted all, except perhaps those in the front row: Hannay is rolled in a chair right to the edge of the stage and one expects him to land in the laps of those seated below. He stops in time. In addition to fog rising on the moor, as one would anticipate, there is also a tremendous windstorm when Hannay has taken refuge in a farmhouse; we hear and see the wind each time the outside door is opened. We also hear sheep and dogs; those effective animal sounds are created by the ac- tors. The Metayer production of The 39 Steps is an impressive, entertaining, theatricalist tour de force. Th la menthe ou t'es citron? is another, long-running, riotous comedy. Its humor starts with the enigmatic title. Phonetically, one hears "th citron," hence "Mint or Lemon Tea?" When the ser- vant in the play within the play repeatedly asks this question, that is what the audience will hear. But the written words literally are not lemon tea but "Are you lemon?" Lemon is slang, but the meaning here escapes my native informants in Paris; they suggest the device is intended to get our attention, not to provide meaning. My dictionaries state that lemon means head, or headache, or nut. I'd mint a new title, but would that be a lemon? Patrick Haudecoeur began his acting career at the age of twelve and then turned to playwrit- ing some twenty years ago. He wrote his greatest success, Th la menthe, with his wife, Danielle Navarro-Haudecoeur; from 1991 to 1993; it ran for more than 700 performances at the Caf de la Gare and then at the Thtre des Varits. For its cur- rent, prize-winning revival at the 621-seat Fontaine, Haudecoeur both directed and played the male lead. The new production opened on 16 September 2011 and was scheduled to run through 30 June 2012. The only seats available at the last minute on Wednesday, 4 April were the foldaway strapotins in the center aisle; people seated next to us in regular seats said they'd reserved their tickets in January. Th la menthe is a highly theatricalist metaplay that parodies bedroom farce. Act 1 is a disorganized rehearsal of a comedy that will subse- quently be badly staged in act 2. Haudecoeur plays 77 an inexperienced, untalented actor who has been given the lead role because his father is the pro- ducer. He portrays the would-be lover of Nathalie Cerda, whose husband, Jean-Luc Porraz, is away on business. Haudecoeur's inaptitude in rehearsal is enhanced by the chaos caused by the stage manager (Jean-Pierre Lazzerini), who enters frequently to work on the set, and the costume designer (Isabelle Spade), who repeatedly confronts the actors with tape measure in hand. Only the butler (Edouard Pretet) is in costume; but at the "performance" he is ill and cannot appear, so the director (Sandra Biadalla) takes over his role. The last-minute switch from male butler to female servantwearing inappropriate attireis only one of the modifcations that give rise to comic er- rors in the "real" performance of the play within the play. The actors are repeatedly confused by props that have changed place, including a portrait that is now stage left rather than stage right. Baptiste Cipriani's set design is particularly effective in cre- ating contrast between the improvised look of the rehearsal scene and the polished appearance of the production. The play within the play, as a tribute to Georges Feydeau, is a period piece marked by a delightful, rose-colored victrola and Natalie Cerda's wig and elegant red dress. Upstage center, covering the entranceway, is an armoire that allows the would-be lover to hide when the husband makes an unexpected return. In the latter role, Jean-Luc Porraz gives a delightfully deadpan performance. Adding to elements of slap- stick is a cane chair with a false bottom; sitting on it can be perilous. Th la menthe ou t'es citron? is pure, timeless, fun, for both the cast and the audi- ence. Somewhat more cerebral than the two comedies already discussed is ric Assous's Les Conjoints. Directed by Jean-Luc Moreau, who also played one of the two male roles, it opened at the 400-seat Tristan Bernard on 31 August 2011 and was scheduled to close on Saturday, 7 April. When I saw it on Friday evening, the day before the fnal performance, the orchestra seats were flled and so was half the balcony; the closing may not have been related entirely to declining attendance but to the end of the early Spring season. Born in Tunisia in 1956, Assous arrived in France at a young age and has become a well-known writer of radio and stage plays as well as a flm direc- tor. He is particularly known for exploring the reality of modern couples with caustic humor. In 2010, his L'Illusion conjugale was awarded the Molire Prize for a Francophone author. The Haudecoeur comedy is metatheatre in the most obvious sense of being a play about put- ting on a play. The Assous piece, by revealing how we all assume roles in order to deceive others and ourselves, is somewhat more subtle. The author has affrmed that he intended to write a boulevard farce but one that would make spectators think. Two couples became acquainted at their joint wedding, a double event that took place because of a scheduling mistake. They subsequently have been good friends for years but now Bob (Jean-Luc Moreau), who has just won the lottery and can afford Th la menthe ou t'es citron?, directed by Patrick Haudecoeur. Photo: Lot. 78 alimony and child support, has decided to divorce his wife and replace her with a much younger wom- an (Anne-Sophie Germanaz). The latter has been the secretary of the other man, Xavier (Jos Paul). At the outset, Xavier's wife Delphine (Anne Loiret) expresses dismay that her husband has invited the new couple over for a visit; as a result, he is the one preparing drinks and food for the guests. Much of the surface action is rapid-fre, complete with the sound of breaking dishes in the offstage kitchen, but little by little the audience learns that Xavier has been carrying on an affair with his secretary and that Delphine and Bob have also had a romantic relation- ship. The two couples are "conjoined" more ways than one. For some spectators the structure of the Assous comedy, as well as the theme of self-decep- tion, may recall Harold Pinter's Betrayal (1978). Assous does not develop an entire play based on reverse chronology, but he does introduce a series of fashbacks and a fash forward. Thus we learn that Bob knew about Xavier's affair with his future second wife because he saw her coming down his friend's stairs wearing only a man's pajama top. Bob's own interest in both the young secretary and in his friend's wife is revealed through two scenes, at different points in time, when he offers each of the women a bright red box containing a ring. When Bob and Delphine emerge from the wine cellar with exaggeratedly tousled hair, we understand that their relationship is not just verbal. The breakup of Xavier and Delphine's marriage is visualized when we see that the husband of this supposedly stable couple has been sleeping on a chaise lounge in the living room. At play's end, the fash forward reveals that the couples indeed have swapped partners. Their decision is noted by tossing house keys onto a coffee table downstage center. The success of the comedy may be attrib- uted in part to the simple, predominantly white set designed by Charlie Mangel. Minimal furniture fa- cilitates the rapid action. The upstage, open stairway, the entrance to an offstage kitchen, and the outside door that also leads to the basement, provide for surprises associated with bedroom farce. The wall behind the stairway is sometimes a bright blue and sometimes amber; it suggests a wall painting that is changed over time. Also effective in establish- ing temporal fuidity is the lighting, designed by Galle de Malglaive. Divisions between the numer- ous scenes are marked by fadeouts and bright white lights, moving in a semicircular fashion behind the set like fashes of lightning. Good comedy is the lifeblood of theatre. While there are laments in Paris as elsewhere about the health of the stage today, spectators and critics alike have found much to enjoy in the excellent performance in works like Les 39 marches, Th la Menthe ou t'es citron? and Les Conjoints. ric Assous's Les Conjoints, directed by Jean-Luc Moreau. Photo: Courtesy of the Tristan Bernard. 79 During December 2011, Iceland's theatre scene was best represented by its two largest state theatre organizations: The Reykjavik City Theatre (RCT) and the National Theatre of Iceland. The- atre Akureyri, the other nationally funded theatre, struggled to regroup following a fnancial crisis and the theatre at Hafnarfjur, formerly a candidate to become the fourth state funded theatre in Iceland, worked to reestablish itself after a change of lead- ership. Iceland's private theatre groups, such as Vesturport Theatre, Mindgroup, and Kviss Boom Bang, were in preparation for Spring productions both in Reykjavik and abroad, but unfortunately none of them were showing productions in Iceland during December 2011. Having received the presti- gious European Grand Prix Award in October 2011, Vesturport's international profle had grown steadily with productions abroad in Russia, Korea, and Ger- many, and the company had received an invitation to take its production of Faust to Brooklyn's Next Wave Festival in December 2012. Having survived the fnancial crisis of 2008-2009, Icelandic theatre maintains strong levels of state funding, and this small nation of just over 300,000 saw record-break- ing numbers in attendance at theatrical events during the 2010-2011 season. Since around seventy percent of the coun- try resides in and around Reykjavik, the theatre scene there is understandably the most prolifc in the nation and the bulk of national arts funding which is quite high in Icelandgoes to theatres in Iceland's capital city. The Reykjavik City Theatre, under the leadership of Magns Geir rarson, experienced an incredible period of artistic growth and community support during the four-year-period of 2007-2011. All productions seen as part of this re- Theatre in Iceland, Winter 2011 Steve Earnest Jess Litli (Little Jesus), directed by Benedikt Erlingsson. Photo: Sigtryggur Ari Jhannsson. 80 view were virtually sold out, extraordinarily varied in style, and represented the companies' eclectic mix of world theatre and Icelandic works. Though only one original Icelandic play was in repertory in De- cember 2011, according to rarson, the company typically features about ffty percent Icelandic works and ffty percent works from other countries. As the nation's oldest continuing production company, the Reykjavik City Theatre prides itself in presenting the best of Icelandic and world theatre. Jess Litli (Little Jesus) featured a trio of performersvirtually the same cast as The Deadly Sins, which was reviewed in the Winter 2009 issue of Western European Stages [WES 21.1, Winter 2009]. The actor-writers-production team of this workBenedikt Erlingsson, Bergur r Inglfsson, Halldra Geirharsdttir, Kristjana Stefansdttir, and Snorri Freyr Hilmarssonhave collaborated to produce a unique performance style, heavily infu- enced by the renowned physical theatre specialist Mario Gonzalez who previously coached the team on The Deadly Sins. The work is set in Palestine in the year zero after Herod had issued the edict that all boys two years and below would be killed. Clowns pose the question "Who would give birth to a baby in that situation?" The performance style of Jess Litli is a mixture of physical theatre, audience inter- action, and contemporary social-political dialogue. Jess Litli added layers of looking at the birth of Jesus from a comic medical perspectiveinclud- ing scenic elements such as hospital beds, medical screens, and equipment with characters clothed in medical scrubs. The performance also questioned the possibility of an immaculate conception based on contemporary standards of medicine, which tend to be highly practical and less accepting of fantasti- cal events. The presentational action of the clowns typically involved heavy interaction with the audi- ence based on reactions to the events that happened in the theatre during the performance. For example, at one point a spectator coughed loudly and the clowns halted the action, rushed up to the specta- tor, and offered water to confrm that everything was going to be alright. Building on that bit of business, they then produced cups and water for other takers making sure that no one else was thirsty or about to cough. They took numerous opportunities to engage the audience in their dialogue and in typical Mario Gonzalez fashion, looked for opportunities to react to unexpected moments. Sold out for nearly every performance that played in the small theatre of RCT, Ray Cooney's Nei, rherra! (Out of Order), directed by Magns Geir rarson. Photo: Courtesy of the Reykjavik City Theatre. 81 Jess Litli won the coveted Grimn Award in 2011 in both the categories of production of the year as well as playwright of the year. Nei, rherra! (literally "No, Minister") is the Icelandic title for Ray Cooney's classic British farce Out of Order. Directed by Artistic Director Magns Geir rarson, this production succeeded on all levels. Nei, rherra! featured many of the company's leading performers, such as rstur Le Gunnarsson, Bergur r Inglfsson, Lra Jhanna Jnsdttir, and Gujn Dav Karlsson. Accord- nsdttir, and Gujn Dav Karlsson. Accord- ing to Geir rarson, farce has typically been extremely popular in Reykjavik and this sold out production exhibited amazing skill as far as both pacing and physical action were concerned. The unit set with the critical upstage window (used for knock- ing people in the head) was enhanced by carefully timed sound effects that were achieved to perfection. Percussive underscoring was used in certain sections to accentuate the fast paced action and also empha- sized the scenes in the upstage closet where much of the play's critical actionsuch as the hanging of the "dead" body and the hiding of various scantily clad womentook place. Of particular note was the por- trayal of the Detective/Dead Body by rstur Le Gunnarsson who was greatly used and abused before regaining consciousness just before the end of act 1. Gunnarson's wild physical mannerisms were critical as the Minister and his aide George were trying to convince the authorities that he was not dead, but merely drunk. Gyllti drekinn, a new Icelandic translation of German playwright Ronald Schimmelpfennig's Der Goldene Drache (Golden Dragon), played in the New Theatre. Schimmelpfennig's work has been featured with great success in theatres across Europe and this production gave Reykjavik audiences the chance to witness a truly unique writing style. Gyllti drekinn is an extraordinarily challenging work. In Brechtian fashion the play mixes storytelling with dialogue and presents unique challenges for the ac- tors who were required to portray numerous char- acters, though for the most part they only "quoted" them. The action of the play took place at a Thai/Chi- nese/Vietnamese restaurant located anywhere in the world among characters from different parts of the globe that were forced to deal with a young Chinese man suffering from a toothache. Schimmelpfennig's play comments on issues surrounding the challenges of an increasingly globalized society. Matching the Ronald Schimmelpfennig's Gyllti drekinn (Golden Dragon), directed by Kristn Eysteinsdttir. Photo: Courtesy of the Reykjavik City Theatre. 82 fragmented text was a set made up entirely of sym- bolscases of beer, bags of rice, stacks of dishes, and other elements found in Asian restaurant kitch- ens. A tremendous example of ensemble work in the tradition of devised theatre, Gyllti drekinn was a towering achievement in contemporary performance aesthetics. Elsku barn (Taking Care of Baby) by Brit- ish playwright Dennis Kelly was perhaps the hardest hitting of works playing on Reykjavik stages dur- ing December 2011. A mixture of Brechtian style and docudrama, the play centers around the case of Donna McAuliffe, a mother convicted of the mur- ders of her two children Jake and Megan. The open- ing stage directionsprojected onto the back wall in this productionstate that all textual material had been taken word for word from notes and corre- spondence regarding the case, though some editing had taken place. None of the names were changed in Kelly's text, which presented the events surround- ing the McAullife trial in a straightforward manner but with a decided lack of sympathy for the persons involved. Directed by Icelandic actor-director Jn Pll Eyjlfsson and designed by Ilmur Stefnsdttir, the work featured a glass wall mid-stage that served as a refective surface as well as a barrier between past and present realities. Elsku barn featured heavy use of projected text throughout as well as a "big brother" voice that interacted with the characters creating the theatrical aesthetic of the interview pro- cess. Kelly's work, however, was not about the guilt or innocence of McAuliffe or whether the facts of the case were true or not, but rather how stories are pulled apart and put back together for the personal gain of others via tabloid newspapers and sensation- alized by national television. Perhaps the most exciting production in the city of Reykjavik during December 2011 was one that possibly caused the greatest controversy. Galdrakarlinn Oz (The Wizard of Oz) had been heralded as both a commercial success and a failed production that refected the decay of traditional Ice- landic values in favor of cheap American entertain- ment. Completely sold out for the majority of its run at Reykjavik City Theatre, it had generated a literal goldmine for the theatre with souvenir posters, T- Dennis Kelly's Elsku barn (Taking Care of Baby), directed by Jn Pll Eyjlfsson. Photo: Courtesy of the Reykjavik City Theatre. 83 shirts, DVDs, and other produc- tion related materials to rival any Broadway or West End house. From the standpoint of an American critic accustomed to lavish Broadway musicals, the production was nearly fawless. Utilizing numerous theatrical technologies such as advanced fying devices (Foy could learn from the Icelanders), video pro- jection, stage automation, and smoke and wind machinery, the production yielded a level of technical success somewhere be- tween Broadway and Germany's best productions. Directed by leading company member Ber- gur r Inglfsson and featuring recent Listahskoli islands gradu- Listahskoli islands gradu- ate Lra Jhanna Jnsdttir in the title role as Dorothy, it was clear that Galdrakarlinn Oz was something of a phenomenon in December 2011 with practically every family in the country tak- ing a pilgrimage to Reykjavik to see the production. Jnsdttir brought forth a Dorothy that ri- valed Judy Garland in her truth- fulness, innocence, and raw sing- ing and acting ability. Curiously, the production, which was based on the John Kane/RSC adaptation of 2001 included the interpolated Garland classics "The Man Who Got Away," and "Get Happy." Most impressive was the use of video rear projection for both the tornado scene as well as the con- frontation scenes with the Wizard. The National Theatre of Iceland, the most heavily funded performing arts organization in Iceland, featured a number of extremely strong works during December 2011, but much of the "buzz" around the theatre centered on the upcom- ing Icelandic premiere of the Schnberg musical Les Miserables. The January 2012 production had already generated the same type of discussion as The Wizard of Oz at Reykjavik City Theatre, though perhaps to an even greater degree given the National's mission as the chief producer of works that feature Icelandic national characters as well as the fact that the National Theatre remains the most heavily funded artistic entity in Iceland. Proponents had defended the choice as one being rooted in the best of world musical theatre as well as one that con- siders world revolution (important to Icelanders), while opponents objected to the huge budget and talent resources required to mount a work that was essentially one already seen in commercial touring houses throughout the world. However controversial the choice, the Icelandic public seemed to embrace the concept of the British and American musical canon as a legitimate part of their national repertory. Despite the questions raised by the inclusion of Les Frank Baum's Galdrakarlinn Oz (The Wizard of Oz), directed by Bergur r Inglfsson. Photo: Sigurgeir Sigursson. 84 Miz, the National Theatre's 2011-12 season featured a total of twenty-four works, seventeen of which had been written by Icelandic writers. Svartur Hunder Prestsins (The Priest's Black Dog) marked the stage debut of Icelandic writer Auar vu lafsdttur, a graduate of the Icelandic Academy of the Arts who gained promi- nence in France and later Canada, winning the 2011 Kanada Prix des libraries in Quebec. Presented in the Kassine, smaller of the two major spaces at Ice- land's National Theatre, Svartur Hunder Prestsins dealt with a family reunion that brought together a number of diffcult situations and issues. While there were no black dogs or priests in the play, the title referred to an Icelandic saying "a eru feiri hun- dar svartir en hundur prestsins", that literally means "There are more black dogs than the priest's dog," usually said when someone is accused of something but other suspects come to light. The matriarchal fgure Steingerdur, portrayed by veteran Icelandic actress Kristbjrg Kjeld, was confronted by numer- ous issues such as her son's suspected homosexual- ity, her daughter's alcoholism, and the vying of the children to collect the seventy year old matriarch's inheritance. Directed by the award winning Kristn Jhannesdttir, the production style was character- ized by movement (subtitled "a dance theatre play in two acts") as each of the characters had developed a unique style of movement and dance to distinguish their character and tell their own personal story. Hreinsun (Purge) by Finnish author-play- wright Sof Oksanen, is a powerful story of abandon- ment, torture, personal reconciliation, and forgive- ness staged on the National's main stage by Stefn Jnsson, head of the acting program at the Icelandic Academy of the Arts. An international bestselling novel, Hreinsun began as a play, was later extended into a bestselling novel by Oksanen and in late 2011/ early 2012 had begun making its mark worldwide. The story centers around two womenAliide Truu, an older woman living in a remote portion of Estonia and her estranged niece Zara, who appears on her doorstep one day having escaped from the sex trade of the Russian Mafa. Their interaction forces Aliide to confront the horrors of her own past, including the Soviet occupation of her homeland. Ultimately, she makes the choice to harbor Zara instead of turning her over to two ruthless bounty hunters who come looking for her. Oksanen's brutal work was well realized by the production team, with outstanding performances given by Margrt Helga Jhannsdttir as Alide and Arnbjrg Hlf Valsdttir as Zara. A bril- Sof Oksanen's Hreinsun (Purge), directed by Stefn Jnsson. Photo: Courtesy of the National Theatre of Iceland. 85 liant set design was provided by Ilmur Stefnsdttir, one of Iceland's most prolifc scene designers (also the designer of Elsku barn at RCT). The cavernous set was marked by a series of extremely long timbers that seemed to lead into a voidrepresenting the connection between the present and past, according to director Jnsson. The National Theatre, the Reykjavik City Theatre and other Icelandic theatrical institutions have maintained a commitment to the production of children's theatre. In fact, according to statistics pro- duced by the Ministry of Culture, nearly 100 percent of all Icelandic children age two and above attend at least one performance each year. This extremely impressive statistic partially explains the fact that, according to attendance fgures collected by the Ministry of Culture, all Icelanders attend a mini- mum of two productions yearly, with many citizens attending several more. Two children's productions were playing at the National Theatre in December 2011Leitin a jlunum and Litla skrmsli og stra skrmsli leikhsinu. Both works were very simply told and presented in alternative areas of the National Theatre. Leitin a jlunum allowed the audience to go on a journey through the lobby and other spaces of the large theatre. As audience members were led by elves to eight different playing areas, a story was told of a poor family struggling through Christmas until they realize that the value of being together outweighs material possessions. Litla skrmsli og stra skrmsli leikhsinu was based on an Icelandic comic book series by writer slaugu lafsdttur geared towards very young children. The cleverly staged and conceived work basically dealt with the overall theme of a younger bear learning to say "no" to his much older friend, also a bear. Great costumes and a fexible stage featuring video rear projections allowed for the seamless communica- tion between onstage and offstage characters as Litla Skrmslid (the younger bear) made his decisions to say no" and not be infuenced by the older bear. Hilarious physical action in the oversized costumes characterized the work that was presented in a third and smaller rehearsal space in the lower area of the National Theatre. Finally, Jarskjlftar London (Earth- quakes in London) was presented by the second year students of the Listahskoli islandsIceland's only training program for actorsin the downstairs the- atre of the Academy's performing arts space. Having premiered in 2010 to generally favorable reviews in London, Mike Bartlett's play proved an excellent testing ground for actors in training as the cast of twelve was required to embody forty different roles in an episodic play that spanned from 1968 until the year 2525. An apocalyptic cabaret as it has been called, Jarskjlftar London included a great deal of music and dance in a surreal tale of urban survival by three sisters who had been abandoned by their ul- tra conservative, fear mongering father. Fears of an impending environmental disaster drive the nearly hysterical tone of the work, forcing the student actors to grapple with diffcult stylistic choices. A boldly challenging (yet overly long) work, Jarskjlftar Thorvaldur Thorsteinsson and Arni Egilsson's Leitin a jlunum (The Search for Christmas), directed by rhallur Sigursson. Photo: Courtesy of the National Theatre of Iceland. 86 London demonstrated the high quality level of talent of training at the Icelandic Academy of the Arts. According to the numerous actors, direc- tors, technicians, and playwrights with whom I spoke during the month of December 2011, the Icelandic theatre system is in superb health. Most in- dividuals in Icelandic society, both those involved in the arts as well as those outside of it, understand and agree with the great wealth of state funding given to Icelandic artists on a yearly basis, and feel that the freedom to pursue artistic endeavors is an important right that should be given to certain qualifed indi- viduals. The small island nation has a strong tradi- tion of theatre production during the Winter season, which, according to Rakel Gardarsdottir, producer at Vesturport Theatre, has its genesis in the following custom: Icelanders get together during the long, dark winter months and tell important stories about their lives and culture. It is certain that the Icelandic the- atre, though now refecting a greater world vision in its repertoire, successfully embraces that ideal. 87 The light is turned down in the auditorium and the members of the audience are lowering their voices. The performance is about to begin. The mo- ment of darkness is just a little bit too long so that you start to wonderis something wrong? The next moment there is a hint of light, a little beam of light. Someone enters the stage, fnding his way with a fashlight. As he walks across the stage, he starts talking with another person through his head- set, making reports on what he sees. He is obvi- ously some kind of technician, reporting to the stage manager. He wants water, a voice commands over the loudspeaker. This, of course, must be the voice of Godor the director! The person on the stage answers to the demand by fetching a small basin of water. Two other persons appear. They're all abiding to the commands of Godor the director. What we hear through the loudspeakers is the very frst verses The BibleNow a Play in Three Acts Charlott Neuhauser Niklas Rdstrm's Bibeln (The Bible), directed by Stefan Metz. Photo: Foto Aorta. 88 of the book of Genesis. God demands, his helping hands, as I now understand them, are three angels who interpret and then decide to give him a basin of water. Artistic freedom, as well as the freedom and responsibility of man to create against the command of a demanding God is established with humorous lightness at the very beginning of the performance. The Bible opened on 17 February, 2012, at the Gothenburg City Theatre, located on the western coast of Sweden. Gothenburg is the second largest city of Sweden and some theatre critics claim that the theatrical center of Sweden moved there from Stock- holm as Lars Norn took over the artistic directorship at The People's Theatre (Folkteatern) in Gothenburg a number of years ago. The success of the City The- atre since the artistic director and former actor Anna Takanen and director-artistic director Ronnie Hall- gren took over in 2006 is a fact. With artistic director and much acclaimed playwright Mattias Andersson at the youth theatre Backateatern (he just fnished directing a modern Dream Play with raving reviews at the City Theatre of Stockholm), Gothenburg is a serious challenge to Stockholm as the frst theatre city of Sweden. The split artistic directorship at the City Theatre of Gothenburg has proven to be suc- cessful in many ways. It prides itself in being the frst Swedish theatre with a plan for equal opportunity, and gender-conscious policies, which should affect all levels of work in the theatre, including the artistic choices. The theatre has made a commitment to new playwriting since 2006. The Bible is the largest pro- duction so far with a ffteen person strong ensemble and a duration of close to fve hours. The Swiss director Stefan Metz, formerly Niklas Rdstrm's Bibeln (The Bible), directed by Stefan Metz. Photo: Ola Kjelbye. 89 an actor with the world famous French-British com- pany Thtre Complicit, and whose last production at the Gothenburg City Theatre was Henrik Ibsen's Peer Gynt a couple of years ago, was asked to put the Bible on stage together with his celebrated set designer Alex Tarragel Rubio. Niklas Rdstrm, an acclaimed Swedish playwright and also a novelist and a poet, was offered the opportunity to dramatize the book of all books. Staging the Bible may seem like an impossible endeavor. Niklas Rdstrm may have hesitated at frst, but with the previous experi- ence of having dramatized Dante's Divine Comedy, also for the City Theatre in Gothenburg; he was encouraged to take on the challenge. Rdstrm is re- nowned for dealing with deep and diffcult questions in his work, from a play such as Hitler's Childhood (1984) to Monsters (2005), based on the court hear- ings of the boys who murdered baby James Bulger in 1996. Monsters opened at the Arcola Theatre in London a couple of years ago and has been staged in Sweden, Denmark, and Croatia. Back in the theatre, the creation of the world goes on and the angels continue to fulfll God's wishes, while shrugging their shoulders, signaling disbelief. What kind of show is he going to put up, anyway, they seem to ask. Is he just another one of these strange directors with strange ideas, frequent- ing the theatre? References to rehearsal talk and the practical life of the theatre amuse the audience. Then Adam and Eve enter, two giant babies in giant dia- pers, chasing each other across the stage. They are really only kids. Then, the Exegete enters, comment- ing on the text, doing a close reading of sorts while explaining to us the alternative Genesis. You could read the creation of man as made side by side with the woman, not that woman was made by Adam's rib, he reads. Metz and Rdstrm are giving the dark story of the relation between God and humanity a warm touch with humorous references to the theatre and with references to the current social world. And who says God isn't a woman? The set is sparse, using giant projections and light effects to create different locations and moods. A three-level high construction is rolled in center stage, helping to create the image of Noah's Ark. It is subsequently used as other key places during the course of the performance as it is being moved around, sometimes off stage. The Ark is staged as a ship flled with animals, that we can hear but see only as shadows. The Ark is turned into a cargo boat with the help of giant projections and two refugees, a man and a woman, who manage to hide there in order to save their lives from the food. With the help of projections, the origin of mankind becomes a spectacular, grand, blood-flled nebulaor wombpictured on a backdrop sur- rounding an actor curled up on the foor. The mag- nifcent ending of act 2 is a projection of Leonardo da Vinci's Last Supper on a group of actors sitting down at a table, covered in white cloth which evokes the swaddling cloth of the body of Jesus. The pro- jected image of the painting tells its own story of its mythologized history as the image of the last meal of Jesus with the apostles. Of course, the painting is made from da Vinci's fantasy, but it has become identical with the image of the "real event" for gen- erations after da Vinci. The picture of The Last Sup- per also functions as a reminder of artistic creation in the wake of Christianity and religion. The perfor- mance puts the text of the Bible on stage, right in front of your eyes. The religious message, however, is upstaged by the actual struggle of humanity with Author's Title, directed by Director. Photo: Ola Kjelbye. 90 a demanding God. In the play, God is incomprehen- sive and unpredictable, not the image of a forgiving father. At times, God and his angels turn out to be all too human. In the end one of the angels turns into a devil. In playwright Niklas Rdstrm's and di- rector Stefan Metz's stage version of the Bible, the word is getting center stage, its holiness can be un- derstood in terms of its mythical quality. The man and the woman take refuge on Noah's Ark, and in the pre-Babylonian time animals and all human beings understand each other's language. The destruction of the tower of Babylon becomes the starting point and the frst real break with God. Nobody can re- ally tell why he interferes with the building of the tower. Suddenly the Bible appears to be flled with different strategies of disciplining crowds of people. (Could the Bible be interpreted as a manual of man- agement?) Given the possibility that we ourselves create our God, what does the God we have created tell us about ourselves? Furthermore, God appears irrational, as irrational as humans act, while we long for the love, as in the love song told by an captured Jeremiah, borrowing the words of the "Song of Solo- mon." How do you present a text that has been interpreted for hundreds of years? Perhaps the alle- gory of God creating and the director and playwright putting up a play isn't that far-fetched after all? God creates, shows the world to humanity; God teaches by example. God demands actions for which we don't know the reasons. The Bible text must, in some sense, always be interpreted in order to be meaningful. Nik- las Rdstrm describes the work with the material: "My frst plan when I started working on the dramatization of the book of all books was to ap- proach the texts in a similar way as when we read the old Greek dramas in the theatre. There we try to fnd the urgency of text, how it addresses us today, we ask what is relevant and meaningful in the text for us today. At the same time, I wanted to keep the respect for the original text, also in the places where it felt anachronistic and dated () questions of life and death, power and submission, love and hatred, jus- tice and righteousness which we never are fnished investigating and are showing, on stage and in our daily lives. The texts of the Bible have, regardless of what we believe in or not believe in, been crucial for our images of ourselves, our societies, our culture." The similarities between the church and the theatre are not only allegorical. Here, the theatre ac- tually is the church where we are asked to encounter the myths onthis seems the best descriptiona pre-narrative level. We encounter what comes before the story of the infuence of the Bible on Western culture. The words of the Bible are made fesh, they come to life. The archetypal fgures and situations invite interpretations to become fctionalized. It is as if the staging of the Bible promised that fction will come, there will be more art coming out of this Book, which we, of course, already know. The effect is, that while sitting in the audience watching, you experi- ence the need for artistic work in the world. We need fction to fll the void after the word has been laid down. Rdstrm in that sense, while making a play out of the Bible, uses the Bible to tell us about the function of art and the purpose of life. Theatre, artistic creation, and the condition for man on earth are woven together to a tribute to the theatre (and the arts). Theatre, where this show The Bible is told, is also at the core of the living conditions of mankind. And so is putting on stage, to share a story as well. In the biblical stories, culture is created out of war, struggles, birth, death, love. The performance tells the story that life itself needs stag- ing to refect and be part of the disparate, desperate community we call earth. We watch the stage come to life with the help of the book of creation, but it is not a naturalistic representation of nature, rather a minimalistic version invoking the theatricality of the situation. As the Exegete says in the play: "Every- thing here is make-believe. The carpenter who just entered, he was planned and not real. You know it, I know it. But that we're here, that we live, that is real. And however you believe the world was cre- ated, whatever idea you have about the origin of creation, whatever you think about the beginning of time we do not escape the fact that we exist, that we are alive, that life exists and that it is something we haven't created ourselves. It is a gift, something to cherish, to be grateful for, perhaps... All this is make-belief, but that we are here, together, that right now we are alive. That is true." Rdstrm's text creates art out of negating the artifce, the make-believe, making us understand the here and now by poetic imagination and shows us, again, how art is intertwined with life. The one does not exist without the other. 91 Abbey Theatre, Dublin ............................ 23:2, 512 Abel, Yves ................................................... 23:3, 61 AbdelMaksoud, Nora ................................ 23:3, 17 Acevedo, Esther ............................................ 23:2, 5 Adeva, Chema ............................................. 23:3, 78 Aeschylus Agamemnon .............................................. 23:3, 7 The Persians..................................... 23:3, 1089 Prometheus ............................................... 23:1, 5 Afsin, Erol ................................................... 23:3, 17 Ahedo, Javier ........................................ 23:2, 2930 Ahr, Kenrik ................................................. 23:2, 56 Aiken, Charlie ............................................. 23:2, 22 Aime, Chantal ....................................... 23:2, 164 Aixal, Mireia ................................ 23:2, 25; 23:1, 6 Aksizoglu, Amre ......................................... 23:3, 17 Aladrn, Jess ............................................. 23:3, 84 Alagna, Roberto .................................... 23:2, 17, 20 Alamo, Roberto ........................................... 23:3, 46 Alberdi. Begoa .......................................... 23:2, 16 Albinyana, Queralt ...................................... 23:2, 16 Alcaiz, Munsta ...................................... 23:2, 134 Alfons, Gerd ................................. 23:1, 64; 23:3, 54 Altan, Sohel ................................................. 23:3, 17 Alvarez, Roberto ..................................... 23:3, 823 Andre, Julie Not Waterproof, Rouge ........................... 23:1, 15 Andueza, Juana ....................................... 23:1, 356 Andjar, Jordi .............................................. 23:1, 10 Archambault, Hortense ............................... 23:3, 25 Archibald, Jane ........................................... 23:2, 53 Arco, Miguel del ..................................... 23:2, 279 Ardiente, Espuela ........................................ 23:3, 80 Arestegui, Alejandro .................... 23:1, 33; 23:2, 33 Arvalo, Ral ............................... 23:2, 27; 23:3, 80 Arias, Cristina ............................................. 23:3, 85 Armiliato, Marco ......................................... 23:1, 59 Arnold, John ................................................ 23:2, 46 Arquillu, Pere .......................................... 23:1, 78 Arnaud-Kneisky, Romain ........................... 23:3, 41 Armengol, Maria ......................................... 23:2, 24 Armio, Mauro ........................................... 23:2, 26 Artaud, Antonin ........................................... 23:2, 59 Arto, Aurelia ............................................... 23:1, 29 Avignon Festival ................................... 23:1, 1530 Arrivabeni, Paolo ........................................ 23:3, 60 Arslan, Tamar .............................................. 23:3, 17 Ashford, Rob ............................................... 23:3, 46 Audick, Janina ............................................. 23:2, 58 Aug, Marc ................................................. 23:1, 21 Austria, theatre in ................. 23:1, 636; 23:1, 404 Auyanet, Yolanda ........................................ 23:3, 84 Avignon Festival, Festival..................... 23:3, 2544 Ayuste, Fernando ........................................ 23:3, 84 Azcona ........................................................ 23:1, 10 Aznar, Josep ........................................ 23:1, 4, 124 Azorlin, Paco ............................................... 23:1, 14 Bachler, Klaus ............................................. 23:3, 60 Bachmann, Stefan ................................. 23:3, 1820 Banacolocha, Jordi ...................................... 23:2, 22 Bannwart, Patrick ........................................ 23:1, 60 Barba, Lurdes .......................................23:2, 4, 112 Barbal, Maris Pedra de tartera ............................23:2, 5, 1112 Barber, Marina ...........................................23:2, 11 Barbier, Mathieu ......................................... 23:3, 44 Barbusca, Serge ........................................... 23:3, 41 Barcelona, theatre in ............ 23:2, 826; 23:1, 514 Barlow, Patrick The 39 Steps ....................................... 23:1, 356 Barrando, Jsus ........................................... 23:3, 81 Barrault, JeanLouis ................................... 23:3, 39 Barth, Michela ............................................. 23:1, 54 Bassas, Angels ............................................... 23:1, 9 Baudriller, Vincent ...................................... 23:3, 25 Bauer, Michael ............................................ 23:1, 60 Baumbauer, Frank ....................................... 23:1, 33 Baumgarten, Sebastian ................................ 23:2, 58 Bauer, Falk .................................................. 23:3, 59 Bauer, Torsten ............................................. 23:3, 15 Baumgarten, Sebastian ................................ 23:3, 61 Boyn, Eliana .............................................. 23:2, 18 Bayreuth Festival, Germany ............. 23:3, 53, 612 Beatus, Otto ................................................. 23:3, 16 Bebel, Sergei Fura de Joc .......................................... 21:1, 5, 9 Beckett, Samuel Forasters ............................................... 23:1, 10 First Love ............................................ 23:1, 78 Waiting for Godot ................................... 23:3, 45 Beckmann, Lina ...........................................23:3, 11 Beheshti, Shaghayegh ................................. 23:1, 41 Behr, Victoria .............................................. 23:3, 15 Beier, Karen ........................... 23:1, 312; 23:3, 48 Beisswenger, Sonja ..................................... 23:3, 13 Bel, Pepe ..................................................... 23:2, 22 Belbel, Sergi ............................................ 23:2, 213 Bell, Emma ................................................. 23:3, 56 Bellini, Vincenzo I Capuleti e I Montecchi .................. 23:3, 5960 Index to Western European Stages, Volume 23 92 Bellugi-Vannuccini, Duccio ........................ 23:1, 42 Benaksy, Ralph, Hans Mller, Erik Charell Im Weien Rl .................................. 23:2, 578 Bene, Carlo ........................................... 23:3, 69, 71 Benedicto, Sonsoles .................................... 23:3, 81 Benet I Jornet, Josep ..................................... 23:2, 1 Dues dones que ballen ....................23:2, 5, 811 Benito, Andreu ............................................ 23:2, 13 Bengtsson, Maria ........................................ 23:3, 63 Berge, Sylvia ............................................. 23:3, 106 Bergman, Ingmar ........................................ 23:3, 71 Berlanga, Luis Garca ................................. 23:1, 34 Berlin, theatre in .......23:1, 3159; 23:2, 538; 23:3, 424, 8790, 97100 Berlin Group Tagfsh ................................................. 23:3, 103 Bernedo, Diana ........................................... 23:2, 29 Berndt, Fred ................................................ 23:2, 53 Bernhardt, Thomas Ritter, Dene, Voss ................................ 23:1, 89 Bertolini, Francesco Dante ...................................................... 23:3, 23 Bialik, Haim Naham ................................... 23:1, 29 Bianchi, Renato ......................................... 23:3, 107 Bieito, Calixto ..........23:1, 8; 23:2, 1620; 23:3, 47 Bigonzetti, Mauro Caravaggio ........................................ 23:2, 556 Binoche, Juliette .......................................... 23:3, 37 Binswanger, Hans Christoph ....................... 23:3, 68 Bizet, Georges Carmen ............................................. 23:2, 1620 Blaga, Calin ................................................. 23:3, 43 Blaise, Pierre Le Dernier Cri de Constantin ................ 23:1, 29 Bluthart, Jan ................................................ 23:3, 20 Boada, Xavier .......................... 23:1, 123; 23:3, 51 Boadella, Albert .......................................... 23:2, 26 Bodhum, theatre in ................................ 23:3, 1012 Bod, Viktor ............................................ 23:1, 404 Bsch, David ............................................... 23:1, 60 Bolliger, Stefan ........................................... 23:3, 65 Bondy, Luc ........................... 23:1, 5960; 23:3, 108 Bonitatibus, Anna ........................................ 23:1, 59 Borchers, Anna ............................................ 23:2, 56 Bosch, Paula ................................................ 23:1, 13 Bosse, Jan .................................................... 23:1, 34 Boucicault, Dion ArrahnaPogue ................................ 23:2, 512 Bourcier, Franois ....................................... 23:3, 42 Boussard, Vincent ....................................... 23:3, 60 Braunschweig, Emmanuelle ....................... 23:3, 41 Braunschweig, Stphane ......................... 23:2, 456 Brecht, Bertolt Threepenny Opera ............ 23:1, 60; 23:3, 1055 Breedt, Michelle .......................................... 23:1, 63 Bregenz Festival, Austria ..... 23:1, 636; 23:3, 536 Breslick, Pavol ............................................ 23:1, 60 Bresson, Robert ........................................... 23:3, 43 Breth, Andrea .......................................... 23:3, 5, 14 Breuer, Lee .......................................... 23:3, 10710 Bri, Gemma ............................................... 23:2, 25 Broche, Marie ............................................. 23:3, 44 Broggi, Oriol ....23:1, 5, 123; 23:2, 26; 23:3, 502 Brook, Peter ........................... 23:2, 17, 20; 23:3, 45 Brossa, Sebasti .......................................... 23:3, 50 Brottet Michel, Sebastien ............................ 23:1, 41 Bruckner, Anton .......................................... 23:1, 25 Bruns, Reyna ............................................... 23:1, 56 Bchner, Georg Woyzeck .................................................... 23:2, 5 Bunchschuh, Matthias ..................................23:3, 11 Burgtheater, Vienna ............................... 23:3, 1820 Burkina Faso, theatre in .......................... 23:3, 224 Busch, Alexander ........................................ 23:1, 56 Busuttil, Diane ...................................... 23:2, 5960 Buzalka, Nora ............................................. 23:3, 16 Caballero, Ernesto Oratorio para Edith Stein .................... 23:2, 56 Santo ........................................................ 23:2, 5 Cadafalch, Rosa .......................................... 23:2, 12 Cadiot, Olivier ............................................. 23:3, 45 Caldern, Pedro El galn fantasma .................................. 23:2, 33 El gran teatro del mundo ....................... 23:3, 47 La vida es sueo ..................................... 23:2, 34 Calot, Juan .................................... 23:1, 33; 23:2, 34 Campione, Sebastian ................................... 23:1, 62 Camus, Albert Caligula............................................ 23:3, 6976 Camus, Albert ............................................. 23:1, 25 Canetti, Elias ............................................... 23:3, 19 Cnova, Elena Rumbo a Guachafta .......................... 23:2, 313 Canturri, Marc ............................................. 23:2, 18 Capitani, Cesare .......................................... 23:1, 29 Capitanucci, Fabio Maria ............................ 23:1, 60 Carneiro de Cunha, Juliana ......................... 23:1, 42 Capdevielle, Jonathan ........................... 23:2, 60, 62 Carreras, Joan .......................................... 23:2, 134 Carsen, Robert ....................................... 23:3, 5960 CartierBresson ........................................... 23:2, 17 Carydis, Constantinos ................................. 23:3, 58 Casablanc, Pedro ......................................... 23:3, 80 Casamajor, Roger .........................................23:2, 11 Casanovas, Alex .......................................... 23:3, 46 Casasayas, Querlt ........................................ 23:1, 10 93 Castan, Annabel .......................................... 23:2, 12 Castells, Lluc ............................................... 23:2, 24 Castellucci, Romeo ..................................... 23:3, 45 Sul Concetta di Volta nel Figlio di Dio . 23:3, 25, 313 Castorf, Frank ...................... 23:1, 42; 23:3, 8, 134 CastrilloFerrer, Alberto ............................. 23:3, 45 Cavestany, Juan and Juan Mayorga Alejando y Ana ......................................... 23:2, 7 Penumbra ............................................. 23:2, 57 Cerri, Carlo ................................................. 23:2, 55 Cervantes, Miguel de Entremeses ............................................. 23:2, 33 Chaizew, Jean .............................................. 23:3, 10 Charmatz, Boris Flip Book, La danseuse malade ............. 23:1, 15 Chekhov, Anton The Cherry Orchard ..................... 23:3, 101, 71 Platanov ................................................. 23:3, 10 The Seagull ............................................... 23:1, 6 Three Sisters .............................. 23:2, 5; 23:1, 20 Chreau, Patrice .......................................... 23:3, 45 Csaire, Aim Cahiers dun retour au pays natal ......... 23:1, 28 Cheli, Vinico ............................................... 23:2, 27 Choi, Souk................................................... 23:3, 40 Cister, Mrcia ............................................ 23:3, 51 Cixous, Hlne Les Naufrags du Fol Espoir ........... 23:1, 3942 Clamer, Raphael ...................................... 23:1, 456 Clavier, Franois Cieavec vue sur la mer ........................... 23:3, 40 Claudel, Paul LEchange .............................................. 23:1, 29 Clemente, Cristina ....................................... 23:1, 10 Cloos, Peter ............................................. 23:1, 434 Cohen, Leonard ........................................... 23:2, 26 Coliban, Sorin ............................................. 23:1, 66 Cologne, theatre in .......................... 23:3, 58, 101 Comas, Antoni............................................. 23:2, 16 Compagnie Salticidae Nijinsky 1919 ......................................... 23:3, 44 Cornejo, Juan Gmez .................................. 23:3, 46 Connors, Kevin ........................................... 23:1, 59 Conrad, Joseph Heart of Darkness .................................. 23:1, 63 Cooper, Dennis ............................................ 23:2, 60 Copper, Kelly .............................................. 23:1, 39 Corbella, Lloren ........................................ 23:2, 10 Cordero, Juana ............................................ 23:1, 36 Cort, Ester ................................................... 23:2, 13 Coso, Angel ............................................. 23:3, 467 Courvoisier, Franpose ............................... 23:1, 26 Crete, theatre in ........................................... 23:3, 44 Criado, Ana ................................................. 23:2, 16 Crimp, Martin ............................................... 23:1, 6 Cristi, Estel ...........................................23:2, 11, 21 Cuerda, Ricardo .......................................... 23:3, 82 Currentzis, Teodor ....................................... 23:1, 63 Cuvelier, Brigitte ..........................................23:3, 11 Dairou, Bruno ............................................. 23:3, 41 Dalal, Gregor ............................................... 23:1, 62 DArcangelo, Ildebrando ............................ 23:1, 59 Damovsky, Bernd ........................................ 23:3, 87 Darge, Fabienne .......................................... 23:1, 15 Dargent, Sabine ........................................... 23:2, 51 Dasch, Annette ............................................ 23:1, 52 Daulte, Javier .............................................. 23:3, 46 Daum, Heike Susanne ................................. 23:1, 62 Debacker, Griet ........................................... 23:1, 22 Dedler, Rochus ............................................ 23:1, 70 De Keersmacker, Anne Teresa .................... 23:3, 26 De la Boetie, Etienne Discours sur la servitude volontaire ...... 23:3, 40 Delavan, Mark ....................................... 23:3, 8890 De Sarabia, Arantxa ...................................... 23:2, 7 Dillon, Hugo ............................................... 23:1, 29 Dippe, Yorck ............................................... 23:3, 10 Di Stephano, Donato ................................... 23:1, 59 Dobreva, Diana ............................ 23:1, 29; 23:3, 44 Domingo, Marta .......................................... 23:1, 12 Donizetti, Gaetano The Elixir of Love .................................. 23:1, 60 Lucia di Lammermoor............................ 23:2, 53 Lucrezia Borgia ................................ 23:3, 5960 Donmar Warehouse, London ...................... 23:3, 46 Dorn, Dieter ................................................ 23:1, 58 Doutey, Mlanie .......................................... 23:1, 44 Dowd, Jeffrey .............................................. 23:1, 56 Draxl, Mariam ............................................. 23:2, 56 Dreissigacker, Thomas ................................ 23:1, 33 Dresden, theatre in .......................... 23:3, 124, 102 Dueso, Manel .............................................. 23:3, 51 Dupont, Charles .......................................... 23:1, 27 Durozier, Maurice ................................. 23:1, 3942 Durringer, Xavier La Conqute ........................................... 23:3, 40 Exvoto .................................................. 23:3, 40 Surfers .................................................... 23:3, 40 Une envie de tuer ................................... 23:3, 40 Dvorak, Antonin Rusalka ............................................... 23:3, 567 Echanove, Juan Desaparecer ........................................... 23:3, 47 Ellert, Gundi ................................................ 23:1, 36 El Mountassir, Abdel Aziz .......................... 23:2, 17 94 Els Joglars, Barcelona ................................. 23:2, 26 Engel, Maria Luisa ...................................... 23:3, 83 England, theatre in ................................ 23:2, 4750 Erdman, Nicolai The Suicide ........................................... 23:3, 269 Ernst, Norbert .............................................. 23:1, 55 Erod, Adrian ................................................ 23:1, 55 Erpulat, Nurkan ................................. 23:3, 168, 97 Escribano, Olalla .......................... 23:1, 34; 23:2, 34 Ese, Dario .................................................... 23:2, 29 Espert, Nuria ........................................... 23:2, 269 The Rape of Lucrece .......................... 23:2, 279 Estebam, Jos Luis ........................................ 23:2, 5 Esteras, Emilio .............................................. 23:2, 6 Etchells, Tim ......................................... 23:2, 4750 Ethadab, Yael .............................................. 23:1, 25 Euripides Alceste .................................................... 23:3, 44 Medea ........................................ 23:1, 7; 23:3, 44 Everding, August ..................................... 23:2, 534 Evin, Franck ................................................ 23:2, 56 Fabisch, Dagmar ......................................... 23:3, 13 Falco ............................................................ 23:3, 19 Fallada, Hans Kleiner Mannwas nun? .................... 23:1, 356 Fassbinder, Rainer Werner Katzelmacher ......................................... 23:1, 25 Feinmann, Jose Pable Cuestions con Ernesto Che Guevara ..... 23:1, 28 Fenollar, Marta El extrao viaje .................................. 23:2, 336 Ferdane, MarieSophie ............................. 23:3, 106 Fernandez, Dominique ................................ 23:1, 29 FernndezShaw, Guillermo ....................... 23:3, 83 Feudeau, Georges ........................................ 23:2, 46 Fielding, David ........................................... 23:3, 54 Fiennes, Ralph ............................................... 23:1, 8 Filippo, Eduardo di Natale in Casa Cupiello ........................ 23:1, 12 Questi fantasmi ............................... 23:1, 1214 Finland, theatre in ................................. 23:2, 6366 Fischbach, Frdric ..................................... 23:3, 37 Flores, Alfons .......................................... 23:2, 178 Flotats, Josep Maria ................................ 23:2, 267 Flubacher, Sandra ........................................ 23:1, 48 Folk, Abel ................................................ 23:2, 212 Fons, Antoni Parera Amb els peus a la lluna ........................ 23:1, 14 Font, Amelia ................................................ 23:3, 84 Fontanales, Francisco .................................... 23:2, 6 Forced Entertainment The Thrill of It All ........................... 23:2, 4750 Fosse, Jan I am the Wind ......................................... 23:3, 45 Foucault, Michel ......................................... 23:3, 44 Fragas, Francisco ...................................... 23:1, 38 France, theatre in ...................... 23:1, 3946, 1530; ................................................. 23:3, 2544, 10510 Frank, Pierre ............................................ 23:1, 434 Frigerio, Ezio .............................................. 23:2, 27 Fritsch, Herbert ............................. 23:3, 810, 146 Forsch, Kathrin ........................................... 23:3, 10 Frey, Cornel ................................................. 23:1, 62 Friedel, Christian ......................................... 23:3, 13 Friedrich, Eberhard ................................. 23:1, 545 Frittoli, Barbara ........................................... 23:1, 59 Fura dels Baus .................... 23:2, 26, 2930; 23:1, 7 Furlan, Massimo 1973 .................................................... 23:1, 201 Fussy, Raimund ........................................... 23:1, 71 Gadebois, Gregory .................................... 23:3, 107 Grtnerplatz Theater, Munich ................. 23:1, 602 Galn, Eduardo Curva de felicidad .................................. 23:2, 33 Lazarillo de Tormes ............................... 23:2, 33 Maniobras .......................................... 23:2, 314 Los viernes, tutorial ............................... 23:2, 33 Galcern, Jordi Fuga ......................................................... 23:2, 8 El mtodo Grnholm ................................ 23:2, 8 Palabras encadenadas ............................. 23:2, 5 Gallardo, Manuel ......................... 23:1, 33; 23:2, 33 Garca, Camilo ............................................ 23:3, 51 Garvin, Bradley ........................................... 23:1, 66 Gas, Mario ................................ 23:2, 5, 26; 23:3, 46 Gaspar, Juan Pedro de ................................. 23:3, 84 Gatell, Pep ................................................... 23:2, 29 Gatti, Daniele .............................................. 23:1, 54 Gaud, Laurent Cendres sur les mains ............................ 23:3, 42 Gavan, Miro Creon's Antigone .................................... 23:3, 44 Gelabert, Cesc and Frederic Amat Ki .............................................................. 23:1, 5 Genardire, Philippe de la Simples mortels ...................................... 23:1, 25 Genebat, Christina .................. 23:2, 245; 23:1, 67 German, Montse .......................................... 23:2, 22 Germany, theatre in ........... 23:2, 538; 23:1, 3172; ................................................... 23:3, 424, 87104 Gibbons, Scott ............................................. 23:3, 32 Gil, Ariadna ................................................. 23:3, 46 Gil, Jos Luis ................................................ 23:2, 8 Gil, Maife .................................................... 23:2, 22 Gillard, Franoise ...................................... 23:3, 108 Giordano, Umberto 95 Andrea Chenier ................................. 23:3, 536 Girard, Philippe .......................... 23:2, 46; 23:3, 109 Giraudoux, Jean Les Anges du Pch................................ 23:3, 43 Giroutru, Frdrick ................................... 23:3, 109 Giua, Cartes Fernndez ............................... 23:3, 45 Glaenzel, Max ..................................23:2, 11, 14, 21 Gockley, David ........................................... 23:3, 61 Gbel, Wolfgang ......................................... 23:1, 66 Goethe, Johann Faust .................................................. 23:3, 678 Gogol, Nicolai ............................................. 23:1, 64 Gollesch, Jrg................................................ 23:3, 7 Gmez, Fernando Fernn ............................ 23:1, 34 Gmez, Pedro .............................................. 23:2, 33 Gonon, Christian ....................................... 23:3, 108 Gonzlez, Elena .......................................... 23:3, 50 Gonzlez, Marco Antonio ........................... 23:1, 38 Goos, Maria Cloaca (Baraka) ................................. 23:2, 234 Gordin, Igor ................................................. 23:3, 70 Grriz, Miquel ........................................... 23:1, 78 Gould, Stephen ............................................ 23:3, 65 Gowen, Peter ............................................... 23:2, 52 Grser, Olivia .............................................. 23:1, 38 Grail, Valrie ............................................... 23:1, 28 Grandinetti, Dario ................................... 23:2, 234 Granovsky, Nora ......................................... 23:3, 43 Grassian, Stanislas Mystre Pessoa ...................................... 23:3, 42 Gravina, Carla ............................................. 23:3, 71 Grec Festival, Barcelona ......................... 23:1, 514 Gridley, Anne .............................................. 23:1, 40 Gttzinger, Heike ........................................ 23:1, 59 Gruber, Carola ............................................. 23:1, 55 Grudzinsky, Marie ....................................... 23:1, 29 Guallar, Montse ........................................... 23:2, 25 Guillain, Gilles ............................................ 23:3, 44 Guiltiaeva, Nadezhda .................................. 23:3, 70 Guinart, Oriol ................................................ 23:1, 6 Guinnane, Matt ........................................... 23:2, 51 Guiraud, Ernest ........................................... 23:2, 20 Guitry, Sasha Beaumarchais ..................................... 23:2, 267 Guth, Claus ............................................. 23:3, 624 Guyard, Alain Outlaw in Love ....................................... 23:3, 42 Gygax, Jonas ............................................... 23:3, 20 Haas, Jean ................................................... 23:1, 44 Hackl, Heidi ................................................ 23:3, 57 Haenel, Yannick .......................................... 23:3, 26 Hall, Lee La Cuisine d'Elvis .................................. 23:1, 30 Halttu, Kristina ............................................ 23:2, 64 Hancissse, Thierry ................................. 23:3, 1056 Handke, Peter Die Stunde, da wir nichts wuten ...... 23:1, 404 Hanly, Peter ................................................. 23:2, 52 Hanus, Toma .............................................. 23:3, 57 Hardy, Rosemary ........................................... 23:3, 5 Harmes, Kirsten .................................... 23:3, 8790 Harquet, Sebantien ...................................... 23:3, 41 Hass, Katya .................................. 23:1, 48; 23:3, 57 Haug, Helgard ........................................... 23:3, 103 Hauptmann, Gerhart Der Biberpelz ............................... 23:3, 810, 14 Hause, Philipp ............................................. 23:1, 49 Hebbel, Friedrich The Nibelungen ...................................... 23:1, 34 Hbertot Thtre, Paris ........................... 23:1, 434 Helf, Oliver ................................................. 23:1, 48 Henkel, Alexandra ....................................... 23:3, 18 Henkel, Karen ......................................... 23:3, 101 Herbstmeyer, Mireille ............................... 23:3, 109 Herheim, Stefan .......................................... 23:1, 53 Herlitzius, Evelyn ........................ 23:1, 52; 23:3, 65 Hernndez, Natalia ...................................... 23:3, 49 Herold, Falko .............................................. 23:1, 60 Herwig, Paul ............................................... 23:1, 36 Heyman, Barbara ........................................ 23:1, 38 Hillje, Jens Verrcktes Blut ........................ 23:3, 168, 978 Hillito, Carlos ........................................ 23:3, 456 Hinrichs, Momme ....................................... 23:1, 54 Hitchcock, Alfred ........................................ 23:1, 35 Hochmair, Philipp ....................................... 23:3, 68 Hoevels, Daniel ..................................... 23:1, 38, 47 Hoffmann, Constance.................................. 23:3, 55 Hofmann, Judith .......................................... 23:1, 38 Hofmannsthal, Hugo von ............................ 23:3, 59 Jedermann .............................................. 23:3, 66 Hollandia ..................................................... 23:1, 33 Holmes, Sean .............................................. 23:2, 24 Homberger, Christoph ................................. 23:1, 46 Homrich, Martin ......................................... 23:2, 53 Hoppe, Catherine ........................................ 23:3, 13 Horvth, dn von Kasimir und Karoline ......................... 23:1, 335 Houellebecq, Michel Elementarteilchen .................................. 23:1, 33 Hoy, Mar del ............................................... 23:1, 35 Platform ................................................. 23:3, 48 Huarte, Natalia .............................................. 23:2, 7 Hbner, Charly ............................................ 23:3, 10 Hbner, Lutz The Company Abdicates......................... 23:3, 98 96 Hugo, Victor ................................................ 23:3, 59 Hungary, theatre in ...................................... 23:1, 41 Hunger-Bhler, Robert ................................ 23:3, 20 Hyvnen, Ville ............................................ 23:2, 65 Ibsen, Henrik A Doll's House (Nora)............. 23:3, 146, 813 Hedda Gabler ......................................... 23:3, 14 The Master Builder ............................ 23:1, 434 Insausti, Maria Lpez .................................. 23:1, 37 Ionesco, Eugene Rhinoceros ............................................ 23:3, 39 Ireland, theatre in .................................... 23:2, 512 Isemer, Sonja ................................................. 23:3, 9 Isermeyer, Jrg Ohne Moos nix los ................................. 23:3, 99 Italy, theatre in ...................................... 23:3, 6976 Jambet, Pauline ........................................... 23:3, 41 Janiska, Mirko ............................................. 23:2, 56 Jankowski, Rahel Johann ............................ 23:3, 16 Jartti, Tero ............................................. 23:2, 63, 65 Jelinek, Elfriede Die Kontrakte des Kaufmanns ............. 23:1, 50; ............................................................... 23:1, 32, 50 Das Werk/Im Bus/Ein Sturz ................. 23:3, 48 Winterreise ......................................... 23:3, 945 Jenisch, Georg ............................................. 23:1, 61 Jesatko, Thomas .......................................... 23:1, 54 Jimnez, Ikerne ........................................... 23:1, 36 John, Markus ......................................... 23:1, 32, 35 Josa, Marissa ............................................... 23:3, 51 Jung, Abdr .................................. 23:1, 36; 23:3, 95 Junges Ensemble, Stuttgart Nach Schwaben, Kinder! ............... 23:3, 99100 Kacimi, Mohamed 1962........................................................ 23:1, 28 Kaegi, Stefan ............................................. 23:3, 103 Kampwirth, JanPeter ..................................23:3, 11 Kandy .......................................................... 23:3, 22 Karamazov, Vlado ....................................... 23:1, 29 Kassies, Sophie The Child of the Soul............................ 23:3, 100 Katzer, Dorothea ......................................... 23:3, 87 Kaufmann, Jonas ................................... 23:1, 52, 59 Kaune, Michaela ......................................... 23:1, 55 Kebour, Fabrice ........................................... 23:1, 64 Keersmaker, Teresa de En attendant .......................................... 23:1, 15 Keil, Hartmut .............................................. 23:1, 56 Keller, Marthe ............................................. 23:3, 27 Kellesidi, Elene ........................................... 23:1, 63 Kelly, Dennis Love and Money ................. 23:1, 32, 478, 378 Kelsey, Quinn .............................................. 23:1, 66 Kempson, Sibyl ........................................... 23:1, 40 Kessler, Anne ............................................ 23:3, 108 Ketelsen, Hans Joachim .............................. 23:1, 52 Kimmig, Stephan ........................................ 23:3, 57 Kirsch, Simon ............................................. 23:3, 18 Klein, Katrin ............................................... 23:1, 38 Klimt, Gustav .......................................... 23:3, 889 Kluck, Oliver Warterraum Zukunft ............................... 23:3, 99 Knaack, Peter .............................................. 23:3, 18 Koch, Wolfgang .......................................... 23:3, 65 Koek, Paul ................................................... 23:1, 33 Kpf, Markus .............................................. 23:1, 71 Kpplinger, Josef ........................................ 23:1, 61 Kohi, Seear .................................................. 23:1, 41 Korea, theatre in .................................... 23:3, 3940 Korn, Artur .................................................. 23:1, 55 Kowalewitz, Andreas .................................. 23:1, 62 Kramer, Hans .............................................. 23:1, 37 Kreigenburg, Andreas ............................. 23:1, 378 Kreusch, Julia .............................................. 23:3, 20 Krger, Fabien ............................................ 23:1, 40 Kuhl, Manja ................................................ 23:3, 15 Kuhn, Alfred ............................................... 23:1, 59 Kupfer, Harry .......................................... 23:3, 623 Kurzak, Aleksandra ..................................... 23:3, 65 Kuej, Martin .............................................. 23:3, 57 Kwahule, Koff Jaz .......................................................... 23:3, 45 Kwiecien, Mariusz ...................................... 23:1, 59 Labory, Marie .............................................. 23:1, 15 LaBute, Neil Romance, the Furies, HelterSkelter ... 23:1, 67 Lacroix, Christian ....................................... 23:3, 60 Lacrois, Thibault ......................................... 23:1, 44 Ladet, Bruno ............................................... 23:1, 29 Lagarce, Jean-Luc Le Bain ................................................... 23:3, 41 Courbet Model Proudhon ...................... 23:3, 41 Jetais dans la maison ............................ 23:3, 41 Les Rgles du svoirvivre ...................... 23:3, 45 Lagarde, Ludovic Un Mag en t ..................................... 23:3, 45 Laim, Stphane .......................................... 23:3, 21 LaMendola, Julie ......................................... 23:1, 40 Landau, Bernhard ........................................ 23:1, 45 Langhoff, Shermin ...................................... 23:3, 16 Larraaga, Amparo Carlos ............. 23:1, 34; 23:2, 8 Larregla, Moreno-Torrebo Luisa Fernanda .................................. 23:3, 835 Latorre, Gabriel ........................................... 23:1, 38 Laudadie, Tony ............................................ 23:1, 12 Lauke, Dirk 97 Alles Opfer ........................................... 23:3, 102 Alter Ford Escort dunkelblau .......... 23:3, 1012 Le Bras, Laurent .......................................... 23:3, 44 Lecat, Jean Guy ............................................. 23:2, 5 Lecca, Marie Jeanne .................................... 23:1, 64 Leiacker, Johannes ...................................... 23:3, 65 Leloutre, Alicia ........................................... 23:2, 24 Lembke, Andreas .......................................... 23:3, 9 Lemtre, Jean-Jacques ................................ 23:1, 42 Letts, Tracy Augist:Osage County ......................... 23:2, 213 Leyrado, Juan .......................................... 23:2, 234 Liberati, Cristina ......................................... 23:3, 71 Liddell, Angelika El Ano de Ricardo ................................. 23:1, 19 La Casa de la Fuerza ................ 23:1, 15, 1920 Maldito sea el hombre .................. 23:3, 25, 335 Lieshout, Joep van ...................................... 23:3, 61 Lima, Andres ............................ 23:2, 6; 23:3, 7781 Lima, Felype de .......................................... 23:1, 35 Linehan, Conor ........................................... 23:2, 52 Liska, Pavol ................................................. 23:1, 39 Lizaran, Anna .................................23:2, 811, 213 Ljebek, Carlo ............................................... 23:1, 34 Llamas, Antonio ........................... 23:1, 34; 23:2, 34 Lliure Theatre, Barcelona ........... 23:2, 8, 1314, 24 Loaysa, David de ......................... 23:1, 34; 23:2, 34 Lbel, Gregor .............................................. 23:3, 17 Loher, Dea Diebe .................................................. 23:1, 378 Lomba, Almunda ......................................... 23:2, 22 Lolov, Sava ................................................. 23:1, 44 London, theatre in ................................. 23:2, 4750 Long, Esa-Matti .......................................... 23:2, 64 Lpez, Carol .................................................. 23:1, 5 Lorca, Federico Garcia Bodas de sangre ..................................... 23:3, 50 Losier, Michle ........................................... 23:3, 63 Loy, Christoph ................................... 23:3, 60, 656 Lucchetti, Francesc ..................................... 23:1, 10 Lucena, Carlos ............................................ 23:3, 50 Luchini, Fabrice .......................................... 23:3, 37 Ludig, Peter ................................................. 23:1, 44 Lcker, Michael ...........................................23:3, 11 Lukka, Kati ................................................. 23:2, 65 Lumbreras, Juan Antonio ............................ 23:3, 50 Luna, Borja ................................................... 23:2, 5 Luthringer, Christophe ................................ 23:3, 40 Macaigne, Vincent Au moins jaurai laiss un beau cadaver .... 23:3, .........................................................................2931 Machaidze, Nino ......................................... 23:1, 60 Machi, Carmen ......................... 23:1, 9; 23:3, 78, 80 Mackic, Namic Salting the Tail ................................. 23:2, 5961 Maclean, Susan ........................................... 23:1, 54 Madrid, theatre in ................. 23:2, 58; 23:3, 7786 Maeder, Stphane .......................................... 23:3, 9 Maestri, Ambrogio ...................................... 23:1, 60 Maestro, Manuel ......................................... 23:1, 14 Magre, Judith .............................................. 23:1, 26 Magomedgadzjeyev, Timur ......................... 23:1, 22 Mahler, Gustav ............................................ 23:3, 88 Matre, Fabienne ......................................... 23:1, 25 Makovskiu, Maika ...................................... 23:3, 47 Malakhov, Vladimir .................................... 23:2, 55 Maltman, Christopher ............................. 23:3, 634 Mamet, David ............................................. 23:2, 24 Manet, Edouard ........................................... 23:1, 34 Manrique, Julio .......................... 23:2, 246; 23:1, 6 Manteiga, Rosa ........................................... 23:3, 82 Manuel, Clment ..................................... 23:1, 278 Manzel, Dagmar .......................................... 23:2, 58 Marchand, Jacques ...................................... 23:1, 44 Mars, Silvia ........................................... 23:3, 823 Margolis, John ........................................... 23:3, 107 Marrale, Jorge ......................................... 23:2, 234 Marsol, Toni ................................................ 23:2, 16 Marthaler, Christoph ................................... 23:1, 41 Papperlapapp ..................................... 23:1, 156 Riesenbutzbach .................................. 23:1, 446 Schutz vor der Zukunft ....................... 23:1, 178 Martn, Carlos ......................................... 23:1, 378 Martinez, Jordi ......................... 23:1, 123; 23:3, 50 Martinez, Miguel ......................................... 23:3, 82 Martinez, Norbert .......................................... 23:1, 6 Martirossian, Tigran .................................... 23:1, 66 Matadero, Madrid ......................................... 23:2, 6 Mattila, Karita ............................................. 23:1, 59 May, Ignacio Garca Los coleccionistas ................................ 23:2, 5, 7 Mayenburg, Marius von Der Hliche .......................................... 23:3, 42 McDonagh, Sean ......................................... 23:3, 20 McVikar, David ........................................... 23:2, 17 Mecklenburg, theatre in ................................ 23:3, 8 Medvedev, Alexander ................................. 23:1, 63 Menoret, Laurent ......................................... 23:1, 29 Mesa, Raquel ................................................. 23:2, 7 Messian, Olivier .......................................... 23:3, 44 Mestres, Josep Maria ................................ 23:1, 89 Meyer, Henry .............................................. 23:3, 15 Meyer, Markus ............................................ 23:1, 40 Michels, Thomas Schulte ............................ 23:1, 62 Micol, Pino .................................................. 23:3, 71 Mikisch, Stefan ........................................... 23:1, 52 98 Milanov, Zinka ............................................ 23:1, 59 Millar, Kristopher ........................................ 23:2, 55 Miller, Arthur All My Sons ........................................ 23:3, 456 The Crucible ....................................... 23:3, 923 Death of a Salesman ........... 23:2, 34; 23:3, 202 Miller, Jonathan .......................................... 23:2, 17 Minchmayr, Birgit ....................................... 23:3, 66 Minkowski, Marc ........................................ 23:3, 63 Mir, Pau..................................................... 23:1, 13 Mironov, Yevgeny ....................................... 23:3, 70 Mirovna, Maria ........................................... 23:3, 70 Mishima, Yukio ............................................. 23:1, 5 Mitchell, Katie .............................. 23:3, 256, 357 Mnouchkine, Ariane .............................. 23:1, 3942 Moe, Jon Refsdal ........................................ 23:2, 59 Molaro, Sandrine ......................................... 23:3, 40 Molire The Miser ............................................... 23:1, 34 Molina, Oscar .............................................. 23:2, 22 Monaghan, Aaron ........................................ 23:2, 52 Moncls, Sandra ....................................... 23:2, 205 Montero, Rebecca ....................................... 23:3, 78 Montesinos, Guillermo ........................... 23:1, 346 Mooshammer, Helmut ................................ 23:1, 38 Moral, Ignacio del Mientras dios duerme .............................. 23:2, 5 Morales, Mara ............................................ 23:3, 78 Moreno, Anabel ........................................... 23:3, 47 Moreno, Pedro ............................................. 23:3, 84 Moss, Bernd ................................................ 23:1, 38 Mousselet, Anne .................................... 23:2, 60, 62 Mozart, Wolfgang Amadeau Cos fan tutte ...................................... 23:3, 624 The Marriage of Figaro .................... 23:1, 589 Mhleck, Sonja ........................................... 23:1, 56 Mlheim Theatre Days........................ 23:3, 92100 Mller, Heiner Prometu ................................................... 23:1, 5 Mller, Michael ber die Grenze ist nur ein Schritt .... 23:3, 967 MuellerBrachmann, Hanno ....................... 23:2, 54 MllerElmau, Markwart ........................... 23:1, 38 Munich, theatre in .............. 23:1, 5760; 23:1, 356 Munich Festival, Germany .................... 23:3, 5661 Munn, Pep ................................................. 23:3, 82 Muoz, Gloria ............................................. 23:3, 46 Murf, Mikel ................................................ 23:2, 52 Murnau, F.W. Faust .................................................. 23:3, 423 Murray, Mary .............................................. 23:2, 52 Muto, Robert ................................................. 23:2, 7 Mller, Torge ............................................... 23:1, 54 Nadj, Joseph ................................................ 23:1, 15 Naidu, Ann Katrin ....................................... 23:1, 62 Nrquez, Aurea ............................................23:2, 11 Natrella, Laurent ....................................... 23:3, 106 Nature theatre of Oklahoma Life and Times ............... 23:1, 3940; 23:3, 378 Romeo and Juliet .................................... 23:1, 39 Nauzyciel, Arthur Jan Karski ......................................... 23:3, 258 Neilson, Anthony Penetrator ............................................. 23:1, 25 Nekroius, Eimuntas ............................. 23:3, 6976 Nelsons, Andris ........................................... 23:1, 52 Neuenfels, Hans ....................... 23:1, 57; 23:1, 512 Neumann, Bert ............................. 23:1, 48; 23:1, 42 Niel, Nathalie .............................................. 23:1, 44 Niepel, Ulrich .............................................. 23:1, 54 Nitsch, Hermann ..................................... 23:3, 578 Nolan, Rory ................................................. 23:2, 52 Norn, Lars Bobby Fischer Lives in Pasadena .......... 23:3, 43 Norway, theatre in ................................. 23:2, 5962 Nyffer, Cristina .......................................... 23:2, 56 Oberammergau Passion Play ................ 23:1, 6772 O'Brien, Ciaran ........................................... 23:2, 52 Ochandiano, Amelia ............... 23:3, 81223:3, 803 Oest, Johann Adam ..................................... 23:1, 49 Ofczarek, Nicholas ...................................... 23:3, 66 Olivares, Gabriel ......................................... 23:1, 34 Olivier, Flavio ............................................. 23:2, 16 Olivier, Laurence ........................................ 23:3, 71 Olle, Alex .................................................. 23:1, 78 Oll, Joan .................................................... 23:3, 45 Olmos, Luis ................................................. 23:3, 83 Omedes, Mariona ........................................ 23:3, 84 Ordez, Marcos ......................................... 23:1, 12 Orff, Carl Trionfo di Afrodite .................................. 23:1, 61 Osborne, John Look Back in Anger ................................ 23:3, 94 Oslo, theatre in ...................................... 23:2, 5962 Osten, Manfred ........................................... 23:3, 68 Ostermeier, Thomas .................................... 23:3, 43 Otto, Anne Sophie von ................................ 23:2, 17 Pabst, Peter .................................................. 23:3, 59 Palo, JukkaPekka ................................ 23:2, 63, 65 Paris, theatre in ............... 23:1, 3946; 23:3, 10510 Pasqual, Llus ..................23:1, 5; 23:2, 22; 23:3, 50 Patio, Baltasar ........................................... 23:3, 48 Paulmann, Annette ...................................... 23:1, 34 Pawlotsky, Marie ......................................... 23:1, 44 Payne, Andrew Squash ................................................ 23:1, 278 99 Peduzzi, Riccardo ....................................... 23:1, 59 Pedrero, Paloma El color de agosto .................................... 23:2, 7 En la otra habitacin ............................... 23:2, 7 Pelly, Laurent ........................................ 23:3, 1056 Pea, Vicky ................................................. 23:3, 46 Perea, Fran .............................................. 23:3, 456 Perceval, Luc ............................................... 23:1, 34 Prez, Alcia .............................................23:2, 811 Peters, Brigitte ............................................... 23:3, 9 Peters, Ulrich ............................................... 23:1, 61 Petersamer, Alexandra ................................ 23:1, 56 Pet, Kata .................................................... 23:1, 44 Petras, Armin We Are Blood ...................................... 23:3, 934 Petrement, Jean ........................................... 23:3, 42 Petritsch, Barbara ......................... 23:1, 49; 23:3, 18 Philipe, Grard ............................................ 23:3, 71 Picault, Adeline Bats denfance ........................................ 23:3, 41 Pietiinen, Pietu .......................................... 23:2, 65 Piollet, Marc ................................................ 23:2, 20 Pineau, Patrick ........................................ 23:3, 269 Pirandello, Luigi Six Characters in Search of an Author .. 23:2, 27 Pla, Pilar ...................................................... 23:1, 13 Plana, Raffel ................................................ 23:2, 14 Planas, Kiko ................................................ 23:2, 22 Platel, Alain ................................................. 23:1, 22 Platte, Ozgr ................................................. 23:3, 9 Plou, Alfonso........................................... 23:1, 378 Poe, Edgar Allen ..................................... 23:3, 478 Poelnitz, Christine von ................................ 23:1, 49 Pogner, Veit ................................................. 23:1, 55 Pohjola, Verneri ........................................... 23:2, 65 Poitreneau, Laurent ..................................... 23:3, 27 Poland, theatre in ........................................ 23:1, 63 Poleymat, Manuel ....................................... 23:2, 46 Pollesch, Ren ............................................. 23:1, 42 Pommerat, Jol Cercles/Fictions ..................................... 23:3, 45 Le Petit Champeron Rouge .................... 23:3, 45 Ponnelle, JeanPierre .............................. 23:3, 623 Poplavskaya, Marina ................................... 23:2, 17 Portacelli, Carne Prometeu .................................................. 23:1, 5 Portail, Laurence ......................................... 23:1, 30 Pou, Josep Maria ..................................... 23:2, 234 Pountny, David ............................................ 23:1, 64 Poza, Nathalie ............................................... 23:2, 7 Pratt, Manuel Algrie, Contingent 1956 ....................... 23:1, 27 Prieto, Alejandra ......................................... 23:1, 35 Prieto, Joel ................................................... 23:3, 65 Prohaska, Anna ..................................... 23:3, 63, 65 Prokofev, Sergei The Love of Three Oranges ................ 23:2, 578 Puccini, Giacomo Tosca ............................................... 23:1, 5960 Pucher, Stefan ......................................... 23:3, 202 Pucnik, Andrea ............................................ 23:3, 44 Py, Olivier ........................................... 23:3, 10910 Pye, Tom ..................................................... 23:3, 55 Quesne, Philippe Big Bang ............................................. 23:1, 234 RablStadler, Helga .................................... 23:3, 62 Raczkowski, Krzysztof ................................. 23:3, 8 Rafaelli, Bruno .......................................... 23:3, 105 Rfols, Mingo ............................................... 23:1, 8 Rambert, Pascal Clture damour ..................................... 23:3, 25 Ramon, Clara de ...................................... 23:2, 212 Ramos, Philipe ............................................ 23:3, 82 Randes, Diogenes ........................................ 23:1, 54 Ra, Ferran ................................................ 23:2, 25 Ratjen, Jrg ................................................. 23:3, 18 Rauda, Doa ................................................ 23:3, 78 Rawls, Arnold ............................................. 23:1, 66 Real, Griselidis Les Combats dune Reine ....................... 23:1, 26 Recklinghausen Theatre Festival, Germany .... 23:3, .............................................................................101 Rehbert, Peter .............................................. 23:2, 62 Reichert, Marek ........................................... 23:1, 56 Reichwald, Matthias ................................... 23:3, 13 Rjon, Chlo ............................................... 23:2, 46 Remy, Greg ................................................. 23:1, 27 Renom, Rosa ............................................... 23:2, 22 Ress, Ulrich ................................................. 23:1, 59 Rezenbrink, Ursula ..................................... 23:3, 65 RiberaVall, Xavier ..................................... 23:3, 84 Ribos, Josep .......................................... 23:2, 18, 20 Ricci, Renzo ................................................ 23:3, 71 Ricart, Santi ................................................. 23:2, 13 Ricart, Xavier ................................. 23:2, 25; 23:1, 6 Richter, Angelika ........................................ 23:1, 34 Rigola, Alex ................23:1, 5; 23:2, 134; 23:3, 45 Tragdia ................................................. 23:3, 45 Riippa, Joonas ............................................. 23:2, 65 Rimini Protokoll...................................23:3, 11, 103 Rissanen, Aki .............................................. 23:2, 65 Rittberger, Kevin Kassandra .......................................... 23:3, 956 Rivas, Jos Luis .......................................... 23:2, 28 Rizzi, Carlo ................................................. 23:1, 66 Rocamora, Valenti ......................................... 23:3, 8 100 Rocha, Victor Ullate ................................ 23:1, 346 Rockstroh, Falk ........................................... 23:1, 49 Rodrguez, Juan ........................................... 23:3, 84 Rggla, Kathrin Die Beteiligten ................................. 23:3, 1820 Rttgerkamp, Anja ................................ 23:2, 60, 62 Rschmann, Dorothea ................................. 23:3, 65 Rojas, Fernando de La Celestina ........................................... 23:2, 33 Rome, theatre in .................................... 23:3, 6976 Romero, Constantino .................................. 23:2, 27 Romero, Federico ........................................ 23:3, 83 Rose, Jrgen ................................................ 23:1, 58 Rosich, Marc ................................ 23:2, 11; 23:3, 77 Ross, Felice ................................................. 23:2, 54 Roth, Detlef ................................................. 23:1, 54 Rousseau, Anne ........................................... 23:3, 42 Rubbins, Raphal ........................................ 23:2, 60 Ruata, Toms ............................................... 23:1, 38 Rucinski, Artur ............................................ 23:1, 63 Rudolph, Sebastian ..................................... 23:3, 68 Ruegemer, Stephan ..................................... 23:2, 53 Ruhr Triennale, Germany .......................... 23:3, 101 Rutherford, James ....................................... 23:1, 54 Salzburg Festival, Austria ....................... 23:3, 628 Sa, Alexandro ...................................... 23:3, 78, 80 Sacc, Roberto ............................................ 23:1, 63 Senz, Miguel ............................................... 23:1, 8 Saks, Gidon ................................................. 23:2, 55 Salino, Brigitte ............................................ 23:1, 15 Snchez, Ricardo ........................................... 23:2, 8 SnchezGrcia, Aitana ................................ 23:2, 5 Sandu, Adrien .............................................. 23:1, 62 Sangar, Bakary ........................................ 23:3, 108 San Juan, Beatriz ........................................... 23:2, 7 Sanjust, Filippo ........................................... 23:2, 53 Sanmarti, Alex ............................................. 23:2, 20 Santos, Carles Chicha Montenegro Gallery .............. 23:2, 146 Sanz, Juan ............................................... 23:3, 467 Sanzol, Alfredo Delicades ............................. 23:1, 102; 23:3, 48 Dias estupendos ............................... 23:3, 4850 Sarkiss, Jrgen ............................................ 23:3, 15 Sbragia, Gioacarlo ....................................... 23:3, 71 Scaparro, Mauricio ...................................... 23:3, 71 Schad, Stephan ............................................ 23:1, 48 Schade, Michael .......................................... 23:2, 53 Scheele, Heike ............................................. 23:1, 53 Scheumann, Markus .................................... 23:3, 20 Schiano, Giampiero ................................. 23:1, 123 Schiller, Friedrich Don Carlos ......................................... 23:3, 124 Kabale und Liebe ................................... 23:3, 17 Die Ruber ............................................. 23:3, 17 Schimmelpfennig, Roland The Golden Dragon .......... 23:1, 489; 23:3, 101 Schinkel, Karl Friedrich .......................... 23:2, 534 Schlingensief, Christoph ..................... 23:3, 1, 224 Via Intolleranza II ............................. 23:3, 224 Schmeltzer, Bjrn ........................................ 23:3, 26 Schmidt, Christian ....................................... 23:3, 64 Schneider, Claudia ...................................... 23:2, 16 Schn, Ludwig ............................................ 23:2, 46 Schories, Hartmut ....................................... 23:1, 48 Schrader, Alex ............................................. 23:3, 63 Schrott, Erwin ........................ 23:2, 18, 20; 23:3, 65 Schubert, Franz ........................................... 23:3, 94 Schtz, Johannes ........................................... 23:3, 5 Schuster, Michela ........................................ 23:3, 65 Schwanewilms, Anne .................................. 23:3, 65 Schwaninger, Wolfgang .............................. 23:1, 62 Schwartz, Lena .............................................23:3, 11 Schweintek, Siggi ....................................... 23:3, 20 Scob, Edith .................................................. 23:1, 44 Scola, Ettore ................................................ 23:1, 31 Secuencia 3, Spain .................................. 23:2, 336 Sguin, JeanClaude ................................... 23:1, 29 Sellent, Joan ................................................ 23:2, 22 Selvas, David .............................................. 23:2, 25 Serrano, Mariano de Paco ........................... 23:1, 33 Sevenich, Stphen ......................................... 23:1, 62 Sevilola, Toni .............................................. 23:1, 10 Shakespeare, William .................................. 23:3, 47 Hamlet ................23:1, 12; 23:2, 26; 23:3, 2931 Henry IV l and 2, Henry V ............... 23:3, 7781 King Lear ............................................23:3, 112 A Midsummer Nights Dream .... 23:1, 31; 23:3, 5 Romeo and Juliet ...................................... 23:3, 5 Titus Andronicus............................... 23:2, 2930 She She Pop Testament ............................................23:3, 112 Shjema, Adrian ............................................ 23:1, 62 Short, Kevin ................................................ 23:1, 66 Simaga, Lonine ............................... 23:3, 106, 109 Simons, Johan ............................................. 23:3, 95 Sinisterra, Jos Sanchez ................. 23:1, 33; 23:1, 7 Siri, Maria Jos ........................................... 23:1, 66 Sitruk, Olivier ............................................. 23:1, 29 Skovhus, Bo ................................................ 23:3, 63 Smeds, Kristian ....................................... 23:2, 636 Solbah, Maik ................................................23:3, 11 Soler, Ann ...................................................... 23:1, 7 Soler, Cristbal ............................................ 23:3, 83 Soler, Esteve Contra la democrcia ............................ 23:3, 45 101 Soler, Llus .................................................. 23:3, 50 Sollich, Robert ............................................ 23:1, 54 Sophocles Antigone ................................................. 23:3, 44 Sotnikova, Evgeniya ................................... 23:1, 59 Spain, theatre in ................ 23:1, 538; 23:2, 1138; .................................................. 23:3, 4552, 7786 See also Barcelona, Madrid, Zaragoza Spuck, Christian Sleepers' Chamber ................................. 23:1, 61 Squarciapino, Franco .................................. 23:2, 27 Stazinger, Elizabeth .................................... 23:2, 56 Steiger, Michaela ........................................ 23:3, 20 Stein, Peter .................................................. 23:3, 14 Steffens, Tilo ............................................... 23:1, 54 Stemann, Nicolas ..................... 23:1, 50; 23:3, 678 Stolzing, Walther von .................................. 23:1, 54 Strauss, Johann Ariadne aux Naxos ........................... 23:3, 5960 Die Frau ohne Schatten ..................... 23:3, 656 Strauss, Richard Die Liebe der Danae ........................ 23:3, 8790 Stravinsky, Igor The Rake's Progress ........................... 23:2, 545 Strehler, Giorgio .......................................... 23:3, 71 Strindberg, August Miss Julie ................................. 23:3, 256, 357 Stuttgart, theatre in .............................. 23:3, 99100 Sundermann, Laura ......................................23:3, 11 Swandsale, Lois .......................................... 23:2, 55 Szcesniak, Malgorzata ................................ 23:2, 54 Szwarcer, Ricardo .......................... 23:1, 5; 23:3, 45 Taillet, Pascal Presence ................................................. 23:3, 44 Talbach, Katharina ........................................ 23:3, 5 Tamar, Iano ................................................. 23:1, 66 Tamayo, Jos ........................................... 23:3, 501 Tarbet, Andrew .............................................. 23:1, 6 Tars, Ramon .............................................. 23:2, 29 Terzian, Sesede ........................................... 23:3, 17 Thalheimer, Michael ................................... 23:1, 34 Thannen, Reinhard von der ......................... 23:1, 52 Thevenot, Benoit ......................................... 23:1, 30 Thomas, Indra..23:1, 66 Thomas, Jess ............................................... 23:1, 58 Tietjen, Marie Rosa ......................................23:3, 11 Tilling, Camilla ........................................... 23:1, 59 Timar, Alain ................................. 23:1, 25; 23:3, 39 Tkachuk, Yevgeny ....................................... 23:3, 70 Trauttmansdorff, Victoria ............................ 23:1, 48 Toledo, Guillermo ......................................... 23:2, 7 Torres, Jacob ............................................... 23:3, 51 Totcachir, Claudio ....................................... 23:3, 45 Townsend, Tamzin ........................................ 23:2, 8 Triola, Albert ............................................... 23:2, 22 Tuma, AnneSofe ....................................... 23:3, 64 Turga, Ana Isabel ........................................ 23:3, 78 Tusell, Anna ................................................ 23:1, 36 Twist, Basil ............................................... 23:3, 107 Uhl, Manuela ............................................... 23:3, 88 Ulloa, Doa Ins ......................................... 23:1, 38 Uria-Monzn, Batrice ............................... 23:2, 20 Valchua, Juraj .............................................. 23:1, 59 Valle-Inclan, Ramn Luces de Bohemia .............................. 23:3, 502 Valtinoni, Pierangelo The Snow Queen ................................ 23:2, 567 Van Acker, Cindy ........................................ 23:1, 15 Van Durme, Vanessa Gardenia ........................................... 23:1, 223 Van Horn, Christian .................................... 23:1, 59 Van Laeke, Frank ........................................ 23:1, 22 Vargas, Ral ................................................ 23:2, 29 Vas, Francisco ............................................. 23:2, 18 Vzque, Pablo ............................................. 23:3, 49 Velasco, Manuela ........................................ 23:3, 46 Velat, Carles ................................................ 23:2, 21 Vella, Vronique........................................ 23:3, 105 Ventris, Christopher .................................... 23:1, 54 Verdi, Giuseppe Aida ................................. 23:1, 646; 23:3, 545 A Masked Ball ........................................ 23:3, 54 Verne, Jules ........................................... 23:1, 3942 Veronese, Daniel ............................ 23:1, 5; 23:3, 46 Verrue, Stphane ......................................... 23:3, 40 Vicente, Sandra ........................................... 23:2, 27 Viebrock, Anna ............................ 23:1, 45; 23:1, 15 Vienne, Gisle I Apologize ....................................... 23:2, 5962 Jerk ......................................................... 23:2, 60 This is How You Will Disappear ............ 23:1, 23 ViennePollak, Dorothe ............................ 23:2, 60 Vierboom, Moritz ........................................ 23:1, 40 Vila, Oriol ................................................... 23:2, 25 Villa, Ana .................................................... 23:1, 35 Villamil, Vando ........................................... 23:2, 24 Villarasau, Emma .................................... 23:2, 213 Villazon, Rolando ....................................... 23:1, 60 Villegas, Ernest ............................................. 23:1, 7 Vincent, Gilles ............................................. 23:3, 40 Vitello, Giovanni ......................................... 23:1, 29 Vivarium Studio Big Bang ................................................ 23:1, 15 Vogt, Florian................................................ 23:1, 55 Vllm, Gesine ............................................. 23:1, 53 102 Vrtler, Felix ............................................... 23:1, 34 Voltaire Oedipe .................................................... 23:1, 29 Vontobel, Roger ...................................... 23:3, 124 Voss, Manfred ............................................. 23:3, 59 Wagner, Friedericke .................................... 23:3, 20 Wagner, Katharina ............................... 23:1, 3, 537 Wagner, Richard Lohengrin ........................................... 23:1, 512 Der Meistersinger ............... 23:1, 546; 23:3, 53 Parsifal ............................................... 23:1, 523 Tannhuser .............23:1, 567; 23:3, 6123:3, 60 Wagner, Wieland ......................................... 23:1, 56 Walsh, Jack.................................................. 23:2, 52 Warner, Keith .......................................... 23:3, 536 Warlikowski, Krzysztof .............................. 23:2, 55 Warner, Leo Kristin, nach Frulein Julie ..... 23:3, 256, 357 Warsaw, theatre in ....................................... 23:1, 63 Watson, Claire ............................................. 23:1, 57 Webb, Philip ................................................ 23:1, 66 Weber, Jacques ............................................ 23:1, 44 Wedekind, Frank Lulu .................................................... 23:2, 456 Wehlisch, Kathrin.......................................... 23:3, 7 Weigle, Sebastian ........................................ 23:1, 55 Weill, Kurt ................................................. 23:3, 105 Aufstieg und Fall der Stadt Mahagonny 23:1, 612; ..................................................................... 23:3, 88 Weinberg, Mieczyslaw Die Passagierin ................................. 23:1, 624 The Portrait ........................................... 23:1, 64 Weirs, Judith Achterbahn ......................................... 23:3, 556 Weiss, Isa ...................................................... 23:3, 9 Weiss, Othmar ............................................. 23:1, 68 Weisz, Rachel .............................................. 23:3, 46 Wetzel, Daniel ........................................... 23:3, 103 Wexler, Zohar .............................................. 23:1, 29 Willi, Magda ......................................... 23:3, 13, 16 Williams, Tennessee Cat on a Hot Tin Roof ........................ 23:2, 135 A Streetcar Named Desire .... 23:2, 5; 23:3, 467, 10710 Windfuhr, Ulrich ......................................... 23:3, 89 Winter, Olaf ................................................. 23:3, 64 Wittenborn, Michael ................................... 23:1, 34 Wolf, Susanne ............................................. 23:1, 47 Worral, Kristin ............................................ 23:1, 39 Yang, Guang ................................................ 23:1, 66 Yeses ....................................................... 23:2, 313 Yourcenar, Marguerite................................. 23:3, 70 Youn, Samuel .............................................. 23:1, 52 Zadek, Peter ................................. 23:1, 35; 23:2, 45 Zapata, Jos Manuel .................................... 23:3, 84 Zaragoza, theatre in ......... 23:1, 367; 23:2, 30.368 Zeh, Julie Corpus Delecti ..................................... 23:3, 101 Zehetgruber, Martin .................................... 23:3, 57 Zeller, Felicia .......................................... 23:3, 923 Zeppenfeld, Georg ...................................... 23:1, 52 Ziolkowska, Patrycia ................................... 23:3, 68 iek, Slavoj ............................................... 23:3, 20 Zorilla, Jos Don Juan Tenorio ............................... 23:1, 378 Zurich, theatre in ..................................... 23:3, 202 Zweig, Stefan .............................................. 23:1, 41 103 MARVIN CARLSON, Sidney C. Cohn Professor of Theatre at the City University of New York Graduate Center, is the author of many articles on theatrical theory and European theatre history, and dramatic literature. He is the 1994 recipient of the George Jean Nathan Award for dramatic criticism and the 1999 recipient of the American Society for Theatre Research Distinguished Scholar Award. His book The Haunted Stage: The Theatre as Memory Machine, which came out from University of Michigan Press in 2001, received the Callaway Prize. In 2005 he received an honorary doctorate from the University of Athens. His most recent book is Theatre and Performance in Algeria, Tunisia, and Morocco, with Khalid Amine. LEGRACE BENSON is Professor Emerita of the State University of New York and currently directs the Arts of Haiti Research Project. She is Associate Editor of Journal of Haitian Studies and has published numerous articles and book chapters on the arts of Haiti, receiving the Award for Excellence from the Haitian Studies Association in 2008. With a PhD in visual perception and the arts, she is especially interested in how performances are created and perceived in theatrical spaces. Her forthcoming book is Arts and Religions of Haiti: How the Sun Illuminates Under Cover of Darkness (Randle 2012). MARIA M. DELGADO is Professor of Theatre & Screen Arts at Queen Mary University of London and co- editor of Contemporary Theatre Review. Her books include "Other" Spanish Theatres: Erasure and Inscription on the Twentieth Century Spanish Stage (MUP 2003), Federico Garca Lorca (Routledge, 2008), Contemporary European Theatre Directors (Routledge, 2010), three co-edited volumes for Manchester University Press, and two collections of translations for Methuen. Her co-edited volume, A History of the Theatre in Spain, has recently been published by Cambridge University Press. STEVE EARNEST is a Professor of Theatre at Coastal Carolina University in Myrtle Beach, South Carolina. He has previously published articles and reviews in Western European Stages, Theatre Journal, Theatre Symposium, New Theatre Quarterly, and Opera Journal. A practitioner as well as a writer, he is a member of AEA, SAG, and SSDC. ROY KIFT is a playwright, currently living in Dsseldorf (on which he has also written a travel guide: Dsseldorf, Aachen and the Lower Rhine). His holocaust play "Camp Comedy" (in The Theatre of the Holocaust, vol. 2, ed. Robert Skloot, University of Wisconsin Press) is well-known throughout the academic world. Plans are afoot for a production in Canberra, Australia in late 2012 and Paris in 2013. It has been translated in German, French, and Polish. One of his latest works is an adaptation of Janne Teller's "Nothing." For more see: www.roy-kift.com. CHARLOTT NEUHAUSER has been working as a dramaturg at several institutional theatres in Sweden such as Riksteatern and Helsingborgs Stadsteater, Dalateatern, and Regionteatern Blekinge Kronoberg. She is currently working on her dissertation in Performance Studies about new Swedish playwriting. She holds an MFA in dramaturgy from the Yale School of Drama. BRIAN RHINEHART is the recipient of a 2012-2013 Fulbright Scholar Award to conduct research and develop a co-production in Braunschweig, Germany. He has worked as a freelance theatre director in Florida and New York for the last seventeen years. In the summer he works with the company "Forum for Arts and Culture" on their annual production in Heersum, Germany, titled Heersumer Sommerspiele. In 2007, Brian assistant-directed the frst national tour of the Broadway musical The Wedding Singer, as well as its Atlantic City production in Harrah's Casino, 2008. He was named "Best Director" of the 2001 New York International Fringe Festival for the play Einstein's Dreams, was a member of the 2006 Lincoln Center Theater Directors Lab, and a Resident Artist of the Kraine Theater from 2002 to 2005. As an actor he has performed in over ffty productions, and the plays he has written or co-written have been seen in the New York International Fringe Festival and a variety of Off-Off Broadway venues. Brian is an internationally published scholar on the subject of contemporary German theatre, and is co-author of a book, titled All Joking Aside: The Art and Craft of Comedy, to be published in 2012. He holds an M.F.A. in Directing from The Actors Studio Drama School, and a PhD in English from the University of Contributors 104 Florida. Brian teaches and has taught acting, directing, script-Analysis, and playwriting at various schools in the New York City area, such as The Actors Studio Drama School at Pace University, Baruch College, Marymount Manhattan College, Eugene Lang College (New School University), and Kean University. JOAN TEMPLETON is Professor Emerita of Long Island University. She has also taught at the University of Paris (Sorbonne), the University of Tours, and the University of Limoges. She has published articles on Ibsen and other modern dramatists in PMLA, Modern Drama, Scandinavian Studies, Ibsen Studies, and other journals and is the author of three books, including Ibsen's Women (Cambridge UP, 1997; paperback 2001) and Munch's Ibsen: A Painter's Visions of a Playwright (University of Washington Press, 2008). She has served as the President of the International Ibsen Committee and the President of the Ibsen Society of America and edits Ibsen News and Comment. She has been an NEH Research Fellow, a two-time Fulbright Fellow, and a two-time American- Scandinavian Foundation Fellow. PHILIPPA WEHLE is the author of Le Thtre populaire selon Jean Vilar, Drama Contemporary: France and Act French: Contemporary Plays from France. A Professor Emerita of French and Drama Studies at Purchase College, SUNY, she writes widely on contemporary theatre and performance. She has translated numerous contemporary French language plays. Her most recent translation is of Alexis Ragougeneau's "Kaiser," February 2012, thanks to a grant from Beaumarchais/SACD. She is a Chevalier of the Order of Arts and Letters. DAVID WILLINGER is Professor of Theatre at The City College, CUNY, and is also on the faculty of the PhD Program in Theatre at the CUNY Graduate Center. He is author of many anthologies of Belgian drama translated to English, all with extensive critical introductions, including: An Anthology of Contemporary Belgian Drama, 1970- 1984 (Whitston), Hugo Claus: Works for the Theatre (CASTA), Ghelderode (Host), Three Fin-de-Sicle Farces (Peter Lang), Theatrical Gestures from the Belgian Avant-Garde (Peter Lang), and The Sacrament and Other Plays of Forbidden Love by Hugo Claus (Susquehanna), and A Maeterlinck Reader in collaboration with Daniel Gerould. He is currently working on a book about Ivo Van Hove. His articles have appeared in many encyclopedias and such publications as The Drama Review, The Contemporary Theatre Review, Symposium, and Textyles. He has received awards from the B.A.E.F., the N.E.A., the N.E.H., the Fulbright Foundation, Drama-Logue, the Jerome Foundation, a Rifkind Center Award, as well as an award for Rayonnement des Lettres l'Etranger from the Belgian Ministry of Culture. He is also a theatre director, playwright, and recently put on Hanoch Levin's Winter Wedding at TNC. PHYLLIS ZATLIN is Professor Emerita of Spanish and former coordinator of translator-interpreter training at Rutgers, the State University of New Jersey. She served as Associate Editor of Estreno from 1992-2001 and as editor of the translation series ESTRENO Plays from 1998-2005. Her translations that have been published and/ or staged include plays by J.L. Alonso de Santos, Jean-Paul Daumas, Eduardo Manet, Francisco Nieva, Itziar Pascual, Paloma Pedrero, and Jaime Salom. Her most recent book is Theatrical Translation and Film Adaptation: A Practitioners View. See www.rci.rutgers.edu/~zatlin 105 Four Plays From North Africa Translated and edited by Marvin Carlson As the rich tradition of modern Arabic theatre has recently begun to be recognized by the Western theatre community, an important area within that tradition is still under-represented in existing anthologies and scholarship. That is the drama from the Northwest of Africa, the region known in Arabic as the Maghreb. We hope that this rst English collection of drama from this region will stimulate further interest in the varied and stimulating drama being produced here. It engages, in a fascinating and original way, with such important current issues as the struggle for the rights of women and workers, post-colonial tensions between Maghreb and Europe, and the challenges faced in Europe by immigrants from the Arab world. This volume contains four plays based on the Oedipus legend by four leading dramatists of the Arab world. Tawq Al-Hakim's King Oedipus, Ali Ahmed Bakathir's The Tragedy of Oedipus, Ali Salim's The Comedy of Oedipus, and Walid Ikhlasi's Oedipus as well as Al-Hakim's preface to his Oedipus on the subject of Arabic tragedy, a preface on translating Bakathir by Dalia Basiouny, and a general introduction by the editor. An awareness of the rich tradition of modern Arabic theatre has only recently begun to be felt by the Western theatre community, and we hope that this collection will contribute to that growing awareness. The Arab Oedipus Edited by Marvin Carlson Price US $20.00 each plus shipping ($3 within the USA, $6 international) MARTIN E. SEGAL THEATRE CENTER PUBLICATIONS This volume contains four modern plays from the Maghreb: Abdelkader Alloula's The Veil and Fatima Gallaire's House of Wives, both Algerian, Jalila Baccar's Araberlin from Tunisia, and Tayeb Saddiki's The Folies Berbers from Morocco. Please make payments in US dollars payable to : The Graduate Center Foundation Inc. Mail Checks or money orders to: The Circulation Manager, Martin E. Segal Theatre Center, The CUNY Graduate Center, 365 Fifth Avenue, New York, NY10016-4309 Visit our website at: www.www.thesegalcenter.org Contact: mestc@gc.cuny.edu or 212-817-1868 106 Quick Change: Theatre Essays and Translations Written and translated by Daniel Gerould Quick Change is full of surprises. It is a nicely seasoned tossed-salad of a book concocted by an ironic cookmeister with a sometimes wild imagination. And how many quick changes has he wrought in this book of 28 pieces. The writ- ings range from translations of letters and plays to short commentaries to fully- developed essays. The topics bounce from Mayakovsky to Shakespeare, Kantor to Lunacharsky, Herodotus to Gerould's own play, Candaules, Commissioner, Gorky to Grotowski, Shaw to Mroek, Briusov to Witkacy. From ancient Greeks to Renaissance and Enlightenment Europe, from pre-revolutionary Russia to the Soviet Union, from France and England to Poland. From an arcane discussion of medicine in theatre a "libertine" puppet play from 19th century France.
Richard Schechner Quick Change: Theatre Essays and Translations, a volume of previously uncollected writings by Daniel Gerould from Comparative Literature, Modern Drama, PAJ, TDR, SEEP, yale/theater and other journals. It includes essays about Polish, Russian and French theatre, theories of melodrama and comedy, historical and medical simula- tions, Symbolist drama, erotic puppet theatre, comedie rosse at the Grand Guignol, Witkacy's Doubles, Villiers de L'Isle Adam, Mrozek, Battleship Potemkin, and other topics. Translations include Andrzej Bursa's Count Caglio- stro's Animals, Henry Monnier's The Student and the Tart, and Oscar Mtnier's Little Bugger and Meat-Ticket. MARTIN E. SEGAL THEATRE CENTER PUBLICATIONS Please make payments in US dollars payable to : The Graduate Center Foundation Inc. Mail Checks or money orders to: The Circulation Manager, Martin E. Segal Theatre Center, The CUNY Graduate Center, 365 Fifth Avenue, New York, NY10016-4309 Visit our website at: www.thesegalcenter.org Contact: mestc@gc.cuny.edu or 212-817-1868 Price US $20.00 each plus shipping ($3 within the USA, $6 international) 107 Barcelona Plays: A Collection of New Works by Catalan Playwrights Translated and edited by Marion Peter Holt and Sharon G. Feldman The new plays in this collection represent outstanding playwrights of three generations. Benet i Jornet won his rst drama award in 1963, when was only twenty-three years old, and in recent decades he has become Catalonia's leading exponent of thematically challenging and structurally inventive theatre. His plays have been performed internationally and trans- lated into fourteen languages, including Korean and Arabic. Sergi Belbel and Llusa Cunill arrived on the scene in the late 1980s and early 1990s, with distinctive and provocative dra- matic voices. The actor-director-playwright Pau Mir is a member of yet another generation that is now attracting favorable critical attention. Playwrights Before the Fall: Eastern European Drama in Times of Revolution Edited by Daniel Gerould. Playwrights Before the Fall: Eastern European Drama in Times of Revolution contains trans- lations of Portrait by Sawomir Mroek (PL); Military Secret by Duan Jovanovi (SI); Chicken Head by Gyrgy Spir (HU); Sorrow, Sorrow, Fear, the Pit and the Rope by Karel Steigerwald (CZ); and Horses at the Window by Matei Viniec (RO). martin e. segal theatre center publications Please make payments in US dollars payable to : The Graduate Center Foundation Inc. Mail Checks or money orders to: The Circulation Manager, Martin E. Segal Theatre Center, The CUNY Graduate Center, 365 Fifth Avenue, New York, NY10016-4309 Visit our website at: www.thesegalcenter.org Contact: mestc@gc.cuny.edu or 212-817-1868 Price US $20.00 each plus shipping ($3 within the USA, $6 international) 108 Claudio Tolcachir's Timbre 4 Translated and with an introduction by Jean Graham-Jones Claudio Tolcachir's Timbre 4 is one of the most exciting companies to emerge from Buenos Aires's vibrant contemporary theatre scene. The Coleman Family's Omission and Third Wing, the two plays that put Timbre 4 on the international map, are translated by Jean Graham-Jones and Elisa Legon. Four Works for the Theatre by Hugo Claus Translated and Edited by David Willinger Hugo Claus is the foremost contemporary writer of Dutch language theatre, poetry, and prose. Flemish by birth and upbringing, Claus is the author of some ninety plays, novels, and collections of poetry. He is renowned as an enfant terrible of the arts throughout Europe. From the time he was afliated with the international art group, COBRA, to his liaison with pornographic lm star Silvia Kristel, to the celebration of his novel, The Sorrow of Belgium, Claus has careened through a career that is both scandal-ridden and formidable. Claus takes on all the taboos of his times. MARTIN E. SEGAL THEATRE CENTER PUBLICATIONS Please make payments in US dollars payable to : The Graduate Center Foundation Inc. Mail Checks or money orders to: The Circulation Manager, Martin E. Segal Theatre Center, The CUNY Graduate Center, 365 Fifth Avenue, New York, NY10016-4309 Visit our website at: www.thesegalcenter.org Contact: mestc@gc.cuny.edu or 212-817-1868 Price US $20.00 each plus shipping ($3 within the USA, $6 international) 109 Czech Plays: Seven New Works Edited by Marcy Arlin, Gwynn MacDonald, and Daniel Gerould Czech Plays: Seven New Works is the rst English-language anthology of Czech plays written after the 1989 "Velvet Revolution." These seven works explore sex and gender identity, ethnicity and violence, political corruption, and religious taboos. Using innovative forms and diverse styles, they tackle the new realities of Czech society brought on by democracy and globalization with characteristic humor and intelligence. Jan Fabre Books: I am a Mistake - 7 Works for the Theatre The Servant of Beauty - 7 Monologues Flemish-Dutch theatre artist Jan Fabre has produced works as a performance artist, theatre maker, choreographer, opera maker, playwright, and visual artist. Our two Fabre books include: I am a Mistake (2007), Etant Donnes (2000), Little Body on the Wall (1996), Je suis sang (2001), Angel of Death (2003), and others. Jan Fabre: Servant of Beauty and I am a Mistake - 7 Works for the Theatre Edited and foreword by Frank Hentschker. MARTIN E. SEGAL THEATRE CENTER PUBLICATIONS Please make payments in US dollars payable to : The Graduate Center Foundation Inc. Mail Checks or money orders to: The Circulation Manager, Martin E. Segal Theatre Center, The CUNY Graduate Center, 365 Fifth Avenue, New York, NY10016-4309 Visit our website at: www.thesegalcenter.org Contact: mestc@gc.cuny.edu or 212-817-1868 Price US $20.00 each plus shipping ($3 within the USA, $6 international) 110 roMANIA After 2000 Edited by Saviana Stanescu and Daniel Gerould Translation editors: Saviana Stanescu and Ruth Margraff This volume represents the first anthology of new Romanian Drama published in the United States and introduces American readers to compelling playwrights and plays that address resonant issues of a post- totalitarian society on its way toward democracy and a new European identity. includes the plays: Stop The Tempo by Gianina Carbunariu, Romania. Kiss Me! by Bogdan Georgescu, Vitamins by Vera Ion, Romania 21 by tefan Peca, and Waxing West by Saviana Stanescu. This publication produced in collaboration with the Romanian Cultural Institute in New York and Bucharest. BAiT epitomizes true international theatrical collaboration, bringing together four of the most important contemporary playwrights from Buenos Aires and pairing them with four cutting-edge US-based directors and their ensembles. Throughout a period of one year, playwrights, translator, directors, and actors worked together to deliver four English-language world premieres at Performance Space 122 in the fall of 2006. Plays include: Women Dreamt Horses by Daniel Veronese; A Kingdom, A Country or a Wasteland, In the Snow by Lola Arias; Ex-Antwone by Federico Len; Panic by Rafael Spregelburd. BAiT is a Performance Space 122 Production, an initiative of Saln Volcn, with the support of Instituto Cervantes and the Consulate General of Argentina in New York. Buenos Aires in Translation Translated and edited by Jean Graham-Jones MARTIN E. SEGAL THEATRE CENTER PUBLICATIONS Please make payments in US dollars payable to : The Graduate Center Foundation Inc. Mail Checks or money orders to: The Circulation Manager, Martin E. Segal Theatre Center, The CUNY Graduate Center, 365 Fifth Avenue, New York, NY10016-4309 Visit our website at: www.thesegalcenter.org Contact: mestc@gc.cuny.edu or 212-817-1868 Price US $20.00 each plus shipping ($3 within the USA, $6 international) 111 Josep M. Benet i Jornet, born in Barcelona, is the author of more than forty works for the stage and has been a leading contributor to the striking revitalization of Catalan theatre in the post-Franco era. Fleeting, a compelling "tragedy-within-a-play," and Stages, with its monological recall of a dead and unseen protagonist, rank among his most important plays. They provide an introduction to a playwright whose inventive experiments in dramatic form and treatment of provocative themes have made him a major gure in contemporary European theatre. Josep M. Benet i Jornet: Two Plays Translated by Marion Peter Holt MARTIN E. SEGAL THEATRE CENTER PUBLICATIONS Witkiewicz: Seven Plays Translated and Edited by Daniel Gerould This volume contains seven of Witkiewicz's most important plays: The Pragmatists, Tumor Brainiowicz, Gyubal Wahazar, The Anonymous Work, The Cuttlefish, Dainty Shapes and Hairy Apes, and The Beelzebub Sonata, as well as two of his theoretical essays, "Theoretical Introduction" and "A Few Words About the Role of the Actor in the Theatre of Pure Form." Witkiewicz . . . takes up and continues the vein of dream and grotesque fantasy exemplified by the late Strindberg or by Wedekind; his ideas are closely paralleled by those of the surrealists and Antonin Artaud which culminated in the masterpieces of the dramatists of the Absurd. . . . It is high time that this major playwright should become better known in the English-speaking world. Martin Esslin Please make payments in US dollars payable to : The Graduate Center Foundation Inc. Mail Checks or money orders to: The Circulation Manager, Martin E. Segal Theatre Center, The CUNY Graduate Center, 365 Fifth Avenue, New York, NY10016-4309 Visit our website at: www.thesegalcenter.org Contact: mestc@gc.cuny.edu or 212-817-1868 Price US $20.00 each plus shipping ($3 within the USA, $6 international) 112 Theatre Research Resources in New York City Sixth Edition, 2007 Editor: Jessica Brater, Senior Editor: Marvin Carlson Theatre Research Resources in New York City is the most comprehensive catalogue of New York City research facilities available to theatre scholars. Within the indexed volume, each facility is briefly described including an outline of its holdings and practical matters such as hours of operation. Most entries include opening hours, contact information and websites. The listings are grouped as follows: Libraries, Museums, and Historical Societies; University and College Libraries; Ethnic and Language Associations; Theatre Companies and Acting Schools; and Film and Other. This bibliography is intended for scholars, teachers, students, artists, and general readers interested in the theory and practice of comedy. The keenest minds have been drawn to the debate about the nature of comedy and attracted to speculation about its theory and practice. For all lovers of comedy Comedy: A Bibliography is an essential guide and resource, providing authors, titles, and publication data for over a thousand books and articles devoted to this most elusive of genres. Comedy: A Bibliography Editor: Meghan Duffy, Senior Editor: Daniel Gerould MARTIN E. SEGAL THEATRE CENTER PUBLICATIONS Please make payments in US dollars payable to : The Graduate Center Foundation Inc. Mail Checks or money orders to: The Circulation Manager, Martin E. Segal Theatre Center, The CUNY Graduate Center, 365 Fifth Avenue, New York, NY10016-4309 Visit our website at: www.thesegalcenter.org Contact: mestc@gc.cuny.edu or 212-817-1868 Price US $10.00 each plus shipping ($3 within the USA, $6 international) 113 The Heirs of Molire Translated and Edited by Marvin Carlson This volume contains four representative French comedies of the period from the death of Molire to the French Revolution: The Absent-Minded Lover by Jean-Franois Regnard, The Conceited Count by Philippe Nricault Destouches, The Fashionable Prejudice by Pierre Nivelle de la Chausse, and The Friend of the Laws by Jean- Louis Laya. Translated in a poetic form that seeks to capture the wit and spirit of the originals, these four plays suggest something of the range of the Molire inheritance, from comedy of character through the highly popular sentimental comedy of the mid-eighteenth century, to comedy that employs the Molire tradition for more contemporary political ends. This volume contains four of Pixrcourt's most important melodramas: The Ruins of Babylon or Jafar and Zaida, The Dog of Montargis or The Forest of Bondy, Christopher Columbus or The Discovery of the New World, and Alice or The Scottish Gravediggers, as well as Charles Nodier's "Introduction" to the 1843 Collected Edition of Pixrcourt's plays and the two theoretical essays by the playwright, "Melodrama," and "Final Reections on Melodrama." Pixrcourt furnished the Theatre of Marvels with its most stunning efects, and brought the classic situations of fairground comedy up-to-date. He determined the structure of a popular theatre which was to last through the 19th century. Hannah Winter, The Theatre of Marvels Pixrcourt: Four Melodramas Translated and Edited by Daniel Gerould & Marvin Carlson MARTIN E. SEGAL THEATRE CENTER PUBLICATIONS Please make payments in US dollars payable to : The Graduate Center Foundation Inc. Mail Checks or money orders to: The Circulation Manager, Martin E. Segal Theatre Center, The CUNY Graduate Center, 365 Fifth Avenue, New York, NY10016-4309 Visit our website at: www.thesegalcenter.org Contact: mestc@gc.cuny.edu or 212-817-1868 Price US $20.00 each plus shipping ($3 within the USA, $6 international)