Posts Tagged ‘Schiller’

Not enemies, not judges, not so neat…

November 7, 2016


Meanwhile, the exhibit above has been brought to our attention.

Well, no.

It says ‘Traitors to the people, expelled from the German national community.’

The men are leaders of the German Social-Democratic Party.

Mit der Dummheit kämpfen Götter selbst vergebens.

The Robbers New Diorama Theatre 18 November

November 20, 2010


Picture of blackdrop and letter from thefaction FB page

I didn’t know the first thing about The Robbers before attending this performance, and afterwards I had the impression of someone trying to get in references to all of his favourite bits of Shakespeare and at the same time inventing melodrama.  (I guess the Roald-Dahl-flavoured chocolate mention by Franz von Moor was down to translator/adaptor Danny Millar.)

So the idea is that Maximilian von Moor has two sons Franz and Karl.  Franz stays at home and alienates his father from Karl as a result of which the older brother turns his university pals into a band of robbers in the woods of Bohemia.  Then after convoluted plotting he returns in disguise to the ancestral Schloss but cannot free himself from his evil deeds and companions and so his long-lost sweetheart Amalia and almost everyone else end up dead.

Kate Sawyer put in a very strong performance as Amalia and even looked German to me, which is going beyond the call of duty.  She was also very good in their version of Kabale und Liebe,  and surely deserves  to act in front of something more glamorous than black paint–and indeed to act fully clothed.    There was a lovely recognition scene between her and Karl (played by Michael Lindall, though the programme said somebody else).  At that stage, I rather feared a happy ending, but my anxieties were groundless….

The corps de ballet of robbers had some interesting crowd scenes, for instance invading the Schloss von Moor in slow motion–perhaps Diorama means slow motion–and there was an effective directorial coup as the confrontation between Karl and a priest come to talk him out of his wicked ways was plunged into sudden darkness and the interval began.

*I* think this is Michael Tindall as Karl von Moor (from the FB page again)

I had difficulty keeping track of (or caring) which of the robbers was which, and on occasions I also had difficulty in making out what they were saying (especially the uncredited person who was really playing Schweizer).  I would surely have felt some empathy with the coldly-manipulative and finally-ineffective Franz, but Richard Delaney seemed to me neither evil nor pathetic enough.

The black-painted black wall exerted its usual soulsucking effect on me, and the business of chalking correspondence and a ‘Wanted’ poster on it just seemed to take up time rather than adding suspense.  But generally I think thefaction came out ahead in this round of their heavyweight match with Schiller.

Intrigue/Love (Schiller) Southwark Playhouse 24 July

July 25, 2010


Ferdinand (Cerith Flynn) and Louisa (Alice Henley)

The Faction’s new show at the Southwark Playhouse is of course an adaptation of Schiller’s Kabale und Liebe, which also served as the source for Verdi’s Luisa Miller.

The action is as follows. Ferdinand, son of the Chancellor to the Duke of a German duchy (here rendered as Hamburg) is in love with Louisa, the daughter of a musician.  Worm, the Chancellor’s secretary would also like to marry her.  He gets short shrift.  The Chancellor, whose career has been built on crime and deceit, wants Ferdinand to marry Lady Milford, the Duke’s discarded mistress.  After more direct attempts to separate them have failed, Worm suggests they use intrigue:  imprison Louisa’s father and so coerce her into writing what will be taken as a love-letter to another man.

Tableau beginning second half

The second half begins with the characters reading multiple copies of Louisa’s letter, as above.  Lady Milford summons Louisa to try to take her into her service and win Ferdinand from her.  After Louisa will not be tempted, she resolves to leave Hamburg and her life of unearned privilege–also removing from her face the white make-up she has (like the other corrupted characters) been wearing up to that point.  Ferdinand visits Louisa’s family, gives her father a bag of gold, and then poisons her and himself.  Released from her vow by death, Louisa tells him how she was forced to write the letter.  The Chancellor burst in–Ferdinand curses him and dies.  The Chancellor says he will finish Worm and Worm says he will make known the Chancellor’s crimes.

Steven Blake was magnificently evil as the Chancellor, and if possible Gareth Fordred was even more unpleasant as a Worm clad in black leather.  Kate Sawyer did a very good job as Lady Milford–probably the most interesting character in the play–but I’m afraid that Alice Henley as Louisa  didn’t really impress me as a romantic heroine.  While I appreciated the athleticism of Cerith Flynn in running several times round the playing area in his desperate rush to Miller’s house, he struck me as a nice young lad in a bit of a pickle (and given to some lofty outpourings) rather than anything else.

Worm, Louisa and the fatal letter

The production was very sensible and direct, with good use made of chairs (and music) and of costumes to suggest who was who.  There’s a very good video trailer (the source of the images above) here–it’s well-done and it gives you a good idea of what the thing is about.

As I cycled home afterwards, I thought (very much not for the first time) that the idea of drama is to show that people can be better, braver, greater, more beautiful than they are–so I think Schiller would have called this show a success.


I have now corrected a couple of factual errors in the original version of this posting.

Many of these characters also have their equivalents in Don Carlos, I think : Chancellor–Philip II; Ferdinand–Don Carlos; Lady Milford–Eboli; Worm–Confessor/Grand Inquisitor.

Update 29 July

Southwark Playhouse has now announced the following via Facebook and Twitter:  want to see Intrigue/Love for just £10? Use the codeword “INTRIGUE” when booking online or on the phone (020 7407 0234).

There is a remarkable 5-star review in Russian here.  ‘Remarkable’ not because I disagree with it but because it contains absolutely no evidence that the reviewer has seen this production…