Director: Antú Romero Nunes
Writer: Aeschylus, translated by Peter Stein
Cast: Sarah Viktoria Frick, Maria Happel, Caroline Peters, Barbara Petritsch, Aenne Schwarz, Irina Sulaver, Andrea Wenzl
Seen on: 2.4.2017
After Agamemnon (Maria Happel) returns home from war with Kassandra (Andrea Wenzl) as his trophy, his wife Klytameistra (Caroline Peters), who is living with Aigisthos (Barbara Petritsch), kills Agamemnon and Kassandra both, to avenge Agamemnon’s killing of Iphigenie, their daughter, a continuation of the family curse that weighs on Agamemnon due to his father and uncle sacrificing their own children to the gods. Agamemnon and Klytameistra’s son Orestes (Aenne Schwarz) vows to revenge the murder of his father too, continuing the spiral of blood and violence.
The production of the Oresteia walks the line between traditional setting and modern sensibilities. Ultimately it is visually striking and well-acted, but maybe a little too conservative.
Director: Jette Steckel
Writer: Sophocles, translated by Frank-Patrick Steckel
Cast: Aenne Schwarz, Mavie Hörbiger, Joachim Meyerhoff, Mirco Kreibich, Martin Schwab
Seen on: 26.6.2016
Antigone’s (Aenne Schwarz) brothers have both fought on opposite sides in Thebes’ civil war and they both died doing it. As if that wasn’t bad enough, King Creon (Joachim Meyerhoff) has decided that Polyneices, who fought against him, is to be left unburied outside the city gates. Antigone can’t bear the thought that one of her brothers should be thus treated. She tries to convince her sister Ismene (Mavie Hörbiger), but ultimately she goes alone to bury Polyneices, despite Creon’s having expressly forbidden it.
Antigone is a fascinating play and the production I saw was interesting in many ways, but not successful in all aspects.
Plot: Stefan Zweig (Josef Hader) is a successful writer of wide renown. As an Austrian Jew, he decided to leave Europe behind after Hitler’s rise to power and now lives in Brazil with his wife Lotte (Aenne Schwarz). But the political situation in Europe follows him even into his exile, as people all seem to expect something of him, a statement, taking position, outright help – and Zweig really doesn’t know how to handle this pressure as his attempts to distance himself from everything continue to fail.
Vor der Morgenröte captures an awkward, uncomfortable atmosphere perfectly and tells a World War 2 story from a perspective that is unusual, and definitely fascinating.