“En de ziel begreep dat dat kleine stukje genoeg was”
Completing a trilogy of Louis Couperus adaptations for Toneelgroep Amsterdam, Klein Zielen (Small Souls) is the kind of magisterial theatre on which reputations – such as Ivo van Hove’s – are sustained. Couperus is a Dutch writer with a kind of Rattigan-like status as his work is revived here and Klein Zielen is no exception, a study of a family living under the same roof but shattered by the neuroses and traumas of the past that haunt every moment of their existence.
This is about as lo-fi as van Hove gets, just the one video insert betraying any technological leanings, recalling the stark intensity of A View From The Bridge. And here again, you see the razor precision that he instils in his company and the way they relate to each other, interact with each other. As they each move around the wide open space of the Rabozaal carpeted in a ginormous rug, so much is said about their relationships in the juxtapositions they create. Continue reading “Review: Klein Zielen, Stadschouwberg Amsterdam”
“There’s more to this magical life than the love of the ladies”
It has been impossible to ignore the reception of Ivo van Hove’s Obsession, the slight sense of glee (from some) at being able to dole out a critical drubbing to the feted director. And so I went into the Barbican with a slight sense of defensiveness – I’m only human after all – albeit with the knowledge that no-one is infallible. And whilst Obsession isn’t necessarily van Hove at his best (and lord know we’ve been spoiled there), it still makes for a fascinating piece of theatre.
Based on Luchino Visconti’s 1943 film, adapted by Jan Peter Gerrits and crucially, having its English version written by Simon Stephens, this is an altogether more abstract and expressionist affair than perhaps some were expecting. A tale of sex and murder, whose muscularity and moodiness sprawls over the vast stage with stylish languour, there’s a brooding beauty to the intensity here, captured excellently by two striking lead performances from Jude Law and Halina Reijn. Continue reading “Review: Obsession, Barbican”
An amusing tidbit from Paul Chahidi’s Twitter takeover for the Donmar Warehouse, promoting his show Limehouse and the commitment its actors have to the art of the warm-up.
“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”
“We don’t want to make a big thing about it”
Well it had to happen didn’t it, a less than stellar piece of theatre in my revered Stadschouwburg in Amsterdam, but I take comfort from the fact that it wasn’t Ivo directing… Instead it was Simon Stone returning to Toneelgroep Amsterdam after his scorching Medea in 2014, to present a version of Woody Allen’s 1992 film Husband and Wives. I say a version, it’s actually extraordinarily faithful to the film, to its detriment.
For though it is huge fun to see members of the Toneelgroep ensemble cutting loose on comedy for the first time, Allen’s story doesn’t contain too much real insight into love and marriage in the twentieth century, never mind the twenty-first, and so cleaving as close to it as Rik van den Bos’ adaptation does, it’s hard not to see Husbands and Wives as a perplexing choice, both for the company and the director. Continue reading “Review: Husbands and Wives, Stadschouwburg Amsterdam”
“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”
“En, denk je dat je veilig bent? De veiligheid van een rillend lam door wolven omringd?”
It’s instructive to look at how we (the British) look at Shakespeare compared to them (the Europeans), especially with rival treatments of the first tetralogy on the horizon. Whereas Trevor Nunn’s answer to the perceived issues of the Henry VI plays is to return to John Barton and Peter Hall’s adaptation from the 60s which adapted them, alongside Richard III, but still into three full-length plays. And then we have Toneelgroep Amsterdam’s Kings of War, in which Ivo van Hove adds Henry V into the mix, and still manages to be done in an evening (albeit 4 and a half hours later…!)
We’ll see how The Wars of the Roses pans out when it hits the Rose, Kingston in the autumn but Kings of War is alive and kicking at the Stadschouwburg in Amsterdam now and for sheer innovative thinking and intelligent reworking, it’s hard to see how returning to the RSC of the 60s will compare in any sense of the word. Liberated from any notion of textual fidelity or theatrical tradition (in terms of how Shakespeare ‘ought’ to be done, I mean), van Hove and his company infuse something genuinely new into the drama, a fierce modernity resulting from this unruly approach.
And it is really an adaptation, a tracking of the throughline of corrupting monarchical power on a single dynasty in the frame of the country pile from which they rule. Sections are divided by kings, so first we see Ramsey Nasr’s fervent Henry V marking the moral highwater that declines with Eelco Smits’ disinterested dweeb Henry VI (all three parts effectively condensed into an hour) and hits rock-bottom with Hans Kesting’s superbly insane Richard III, the evening’s most mesmerising performance. Continue reading “Review: Kings of War, Stadschouwburg Amsterdam”
“Gelukkig is het einde nu in zicht”
One of the joys of Toneelgroep Amsterdam running a repertory company is that over the few years I’ve been following their work and the few opportunities I’ve secured to see them, I’ve been able to gain a real appreciation for the actors as familiar faces reappear. Two of my favourites – Chris Nietvelt and Hans Kesting – stood out in the life-changingly good Roman Tragedies and so the chance to see them again in the same play made another trip to Amsterdam a no-brainer.
That it is Ivo van Hove directing Maria Stuart certainly didn’t hurt either and sure enough, the mastery of his theatrical vision is fully in evidence once again. Schiller’s regal drama sets up two opposing queens, the protestant Elizabeth I and her Catholic cousin Mary Queen of Scots, as their deadly rivalry comes to a head but for all their disagreements and differences, van Hove shows us how they are as much the same as different, two sides of the same coin trapped by the political machinations of men. Continue reading “Review: Maria Stuart, Stadschouwburg Amsterdam”
“Dingen die zo diep aankomen die krijgt geen mens eruit”
I knew that the main show I booked for my stay in Amsterdam would be surtitled in English but in the hunt for something to do the night before, I couldn’t help but be a little adventurous (crazy) and book for a piece of Dutch theatre in Dutch in the Netherlands. So I went for Bloedbruiloft (Blood Wedding) as it’s a play I know and was being produced by the new directors scheme at Toneelgroep Amsterdam. Plus the thought of seeing a piece of theatre entirely in a foreign language had a definite thrill about it, and one which was borne out in some of the most exciting, crazy, intense theatre I’ve seen all year.
It is just an extraordinary reworking (tekstbewerking being the fabulous Dutch word for adaptation) of the text that takes the frame of Lorca’s writing but utterly shifts the context. The focus falls squarely on the family, the community of people in this village and the intensity of emotion it provokes between its inhabitants – whether the mother and her beloved son, or his intended bride and the forbidden fruit that is neighbour Leonardo. This approach also plays up when these relationships are inequal – the disdain between Leonardo and his devoted and constantly fretting wife, the fatal mismatch between bridegroom and bride. Continue reading “Review: Bloedbruiloft, Frascati”