Of course a British director doing Tsjechov in the Netherlands makes The Cherry Orchard as watchable as it has ever been – Internationaal Theater Amsterdam’s De Kersentuin proves a real success
“Als ie echt verkocht moet worden verkoop mij er dan bij”
It’s not often that Jimi Hendrix and Creedence Clearwater Revival make their way into Chekhov but it is precisely this kind of refreshing approach that makes this production feel so alive in a way that is rarely achieved (in the UK at least). So it is somewhat perverse that it is a British director responsible, as Simon McBurney directs Internationaal Theater Amsterdam in De Kersentuin, in an adaptation by Robert Icke.
Shifted to the Netherlands in the 1970s, a real sense of liberation permeates the production, and crucial details shine anew to substantively alter the emotional palette. I’ve never felt the presence of Amanda’s drowned son so strongly, which really makes you consider her feelings towards her former home. And as Miriam Buether’s design discards conventional representation, the focus falls as much on the relations of people as it does on property. Continue reading “Review: De Kersentuin, Stadschouwberg Amsterdam”
“In de stilte hoor je de waarheid”
In the name of maximising my time in the Netherlands, I’ve seen a fair few productions in Dutch without any linguistic assistance. Thursday night shows at the Stadschouwberg Amsterdam are regularly surtitled in English but I always want to see more. In the case of plays like Blood Wedding and The Maids, I’ve been able to get away with since I know them; with others, like A Bride in the Morning, it’s been more of a challenge.
And so it was with Uit het leven van marionetten (From the life of the marionettes), the fifth Ingmar Bergman adaptation from Toneelgroep Amsterdam, helmed by film director Nanouk Leopold in her stage debut. I’d hoped to watch the film in advance but I couldn’t track it down in time and so went into the Schouwburg in Rotterdam armed with just a flimsy synopsis and an overwhelming admiration for a company that included the rather fab Eelco Smits. Continue reading “Review: Uit het leven van marionetten, Rotterdamse Schouwburg”
“Hollanders bouwen altijd in baksteen”
Simon Stone’s track-record with Ibsen is strong – his adaptation of The Wild Duck was extraordinarily powerful – and so despite my normal reservations with this playwright, I happily booked myself in for his Ibsen Huis (Ibsen House) for Toneelgroep Amsterdam. The play is a new piece of writing but one which takes minor characters from a range of the Norwegian’s dramas and puts them into their own new ensemble, set in the house that Solness built for Hilde Wangel in The Master Builder.
So over three generations, from the 60s to the current day, new cycles of Ibsen-esque family drama play out – lies and loneliness, isolation and infidelity, passion and pain, all the pain of loving and being loved. It’s a dizzying combination, literally so as Lizzie Clachan’s set spins on its axis, and as the shattered narrative is presented to us in fragments. Visually it is clever, especially as it allows for the smoothest of scene changes to be almost cinematically imposed as the focus slides from room to room. Continue reading “Review: Ibsenhuis, Stadsschouwberg Amsterdam”
“Moeten we hier als op de Wallen in lingerie gaan zitten?”
Time pressures (and priorities) being what they are, when one is on holiday celebrating one’s birthday, my review of Simon Stone’s Ibsen Huis (Ibsen House) for Toneelgroep Amsterdam won’t be ready for a couple of days. So in the meantime, follow the lovely Hans Kesting’s gaze past the break and feast your eyes on some of the production photos from Jan Versweyveld.
|(c) Henri Verhoef
Continue reading “Production shots for Ibsen Huis”
“I arm myself with patience and await the higher powers”
Whilst sitting in the audience for Roman Tragedies on Friday night and before it had even finished, I took advantage of the free wifi and booked myself into Sunday’s show, knowing I couldn’t pass up the opportunity to see this most extraordinary of shows again. And instead of writing another review in which I’d just end up repeating myself, I thought I’d just jot down some of the thoughts that came to me both whilst rewatching and on reflection afterwards. Continue reading “Notes on a second viewing of Roman Tragedies”
“A people who can neither rule nor be ruled”
8 years ago, I’d barely started to blog, I didn’t know who Ivo van Hove was, Andrew Haydon didn’t know who I was, it was an altogether simpler time. And I’d be hard pressed to tell you exactly what it was that made me click on the Barbican’s website to book for a 6 hour long Shakespearean epic in Dutch but I’m glad I did, for it genuinely changed the world for me (in terms of my theatrical life anyway, who knew I’d start going to Amsterdam regularly for theatre!). I ranked the show as the best of the year for me back then in 2009 and I have to say I still think it is the greatest piece of theatre I’ve ever seen.
So going back for seconds was always going to be a risk but it was also something I knew I’d never be able to resist. Not least because in the intervening period, van Hove has become one of the most famous, and arguably influential, directors around. His take on A View From The Bridge was the breakthrough moment but for me, it has been his work with Toneelgroep Amsterdam that has consistently been the most revelatory – Kings of War and Scenes from a Marriage both at the Barbican, Long Day’s Journey into Night and the breathtaking Maria Stuart at the gorgeous Stadsschouwburg. Continue reading “Review: Roman Tragedies, Toneelgroep Amsterdam at the Barbican”
“Samenleven met jou… maakt me minder eenzaam. Het is de enige mogelijkheid te vergeten dat we langzaam afsterven”
Honestly, just look at the photos below, there are just no words to describe how stunning the creative vision of Ivo van Hove, Jan Versweyweld and the rest of the Toneelgroep Amsterdam crew is (co-producing here with Toneelhuis and the Ruhrtriënnale). At a point where I was a little worried that there might be a little van Hove overkill going on (London theatregoers currently have the choice of Hedda Gabler and/or Lazarus), De Dingen Die Voorbijgaan (The Things That Pass) served as the perfect reminder that only a fool would take him for granted in the stunning way that he brings theatre to life.
De Dingen Die Voorbijgaan is an adaptation of a Louis Couperus novel, a Dutch writer from the turn of the last century whose work appears to be undergoing a Rattigan-like re-invigoration as its extraordinary psychological acuity is being rescued from the previously dusty image it has been saddled with. An epic family story, it probes into the legacy of Dutch colonial times and the way in which unresolved bad deeds can infect generation after generation to pernicious effect, depicting the atomisation of the nuclear family long before it became the norm that it is today, something reflected in the austere timeless beauty of Versweyveld’s design. Continue reading “Review: De Dingen Die Voorbijgaan, Stadschouwburg Amsterdam”
“One bottle of gin and the Resistance is ready to die”
Paul Verhoeven’s Zwartboek, known internationally as Black Book, was the Dutch director’s first film made in his home country since establishing his Hollywood career with hits such as Robocop, Total Recall and Basic Instinct, as well as the immortal classic that is Showgirls. Peter Bradshaw detested it but the Dutch public voted it the best Dutch film ever made, so who knows…for my part, I really rather enjoyed it.
Starting in 1944, Black Book tells of life in the Netherlands under Occupation, following the Jewish Rachel Stein as her life in hiding is shattered, her subsequent escape plans with her family foiled by discovery by the Nazis, and her ensuing life as a resistance fighter dogged by ever-present danger. Under the alias Ellis de Vries, she goes undercover at the local Gestapo office but betrayal is a constant worry and threatens to undermine all she’s working for. Continue reading “DVD Review: Black Book (2006)”
“I did not yet know the value of the throne”
It’s well over six years now since Toneelgroep Amsterdam blew open my tiny little mind with their Roman Tragedies. Back at a time when this blog was in its infancy, back when I ‘only’ saw something like 10 shows a month, back when making the decision to see a six-hour-long Shakespearean epic in Dutch was something surprising. Nowadays of course it is second nature, I regularly visit Amsterdam to see this extraordinary company work and I’ve been to New York to see director Ivo van Hove cast his magic on Broadway too in The Crucible. But it is nice to only have to go to the Barbican to see them too and at just the four and a half hours, Kings of War is practically an amuse-bouche!
My spoiler-free review from Amsterdam is here but so much more resonated with me second time around, so we’re going deeper here folks. As with the significantly worthier The Wars of the Roses (more than twice as long in toto, less than half as good), the impetus for the storytelling comes from merging Shakespeare’s first history cycle, only van Hove goes one further and includes Henry V (and arguably a smidgen of Henry IV Part 2 too). So the overarching narrative becomes one of power – the violence of seizing it, the realities of maintaining it, the struggle to keep it – as played out over and over again in this vicious cycle of dynastic tussles. Continue reading “Review: Kings of War, Toneelgroep Amsterdam at the Barbican”
“I could die for you, but I couldn’t and wouldn’t live for you”
It feels almost heretical to say that one wasn’t blown away by an Ivo van Hove production but The Fountainhead managed that. In fact, it’s not even the first time, The Antonioni Project similarly failed to excite me in the same way that the best of his work with Toneelgroep Amsterdam has done. Linking these two shows is my lack of fore-knowledge of either, I’ve yet to see an Antonioni film and likewise, I’d never read Ayn Rand’s 1943 novel (mainly because people had told me it was such hard work).
Which isn’t to say that advance homework is absolutely necessary, there’s a whole world of thinkpieces to be written on enjoying or appreciating a work of theatre on its own merits, but that when that theatre is as multilayered and complex as van Hove is wont to produce (and also in a foreign language, I was at an unsurtitled performance for once), it can only help. As such, this delving deep into the world of anticollectivism was one of the more challenging four hours I’ve spent in a theatre. Continue reading “Review: The Fountainhead, deSingel Antwerpen”