What reviewer comes to see a wildly unknown 58-year-old debutant?

'My show touches, incites self-reflection and is already getting quite a lot of press attention; a substantive review was unfortunately not among them until now. After all, what reviewer comes to see a wildly unknown 58-year-old debutant?' Rata Kloppenburg- theatre-maker, cabaret artist & cellist- immediately bursts out at her table in Zwolle. While I have yet to ask a question about one woman show God, Sex and Shostakovich. '

Classical music with attention for ear and eye

We sit around the table more often; we have known each other since 2011. Brought together by a 'strikingly cheerful press photo with a story of classical musicians', says Rata. It was a photo of one of my ensembles (Zimbello- 2004-2010) and Rata wanted it to accompany an interview of her. She asked me nicely for permission. The subject of 'making narrative (classical) music projects with attention to the ear and eye' is what has bonded us ever since.

Until 2013, Rata worked mainly as artistic director and director under the banner of her own foundation Schatkameropera and gave stage skills workshops to classical musicians. She currently tours the country as a cabaret performer and cellist with side kick René Veen on piano. She also runs a cello school in Zwolle and is hired by conservatoires and classical musicians for her expertise in stagepresence.

Horny topic

'I got quite some attention from the press because the subject happened to be horny during the first tour this autumn: exactly the time the documentary 'The children of Ruinerwold' (link) caused quite a stir nationwide. At first glance, a link to my childhood in sect the B'ulah Hoeve, which was founded by my father. In Steenwijk, around the corner from Ruinerwold. That's where the foundation was laid for this first part of my one woman show trilogy: God, Sex and Shostakovich.'

'At second glance, there are few similarities. Disappointing for many journalists, because no matter what they tried and suggested, I was not beaten, raped or caged. My childhood was cheerful with oppressive undertones.'

What drives you as a stage person?

'As people want to become mothers, fathers or rich, I want to tell. Live. Even if it's to one person. It has driven me for as long as I can remember. A primal urge. Telling through music is ultimate. Music is my first love. Theatre is my second. As a teenager, I escaped the unfreedom I increasingly felt at home in the sect through music. At the conservatory, I came home. With music and peers.'

'Unfortunately, I was broken off by my Russian cello teacher in Utrecht. He probably recognised my narrative quality and thought he could mould me technically. That failed, so I lost my narrative quality as well. Eventually I ended up in Zwolle, where I had fantastic tryouts, but completely stalled on the final exam (1991). I just barely made it.'

It is happening now

'Since then, I avoided solo cello playing. Until fairly recently, because my solo show - which was left lying around for years - had to include music. Played myself, of course. Thanks to EMDR therapy, I am now playing quite confidently. Take it or leave it. I'm not necessarily playing better, but accepting the things I wish I had sounded better. Whatever happens now: my story flows through. This is me now. Tomorrow it will sound different again. That's how live performing works. It's now.'

'After my final performance of my second study (Theatre School HKU 2001, BR), my then-boyfriend tipped me to 'make a one woman' show, because you can play a little, act a little, sing a little and have humour. So that will be cabaret.'

Why not made until 2021?

'George Groot (drama school teacher, BR) did not respond to my letter at the time with my one woman show idea. Because I must not be good enough. I thought. He knew me and probably thought it was too painful to respond. I thought. Because I can do everything a bit and nothing really well. Can't write plots, don't dare play solo cello. I thought. I let the idea lie. Notes I always kept taking.'

'In the process, there was plenty of work in other areas. My graduation thesis at theatre school was called 'Toeters & Bellen- the need for theatrical skills for classical musicians'. Within that framework, I was found. For years, I gave lessons, workshops and stage skills training to classical musicians at home and abroad.'

Ironic that you are giving stage skills with your cello solo playing anxiety.

'So I understand that fear and, by the way, I don't have it at all when I play with a string quartet. And as an acting musician I didn't feel the fear either. Then I hid behind my character.'

How did you get work in that (still pretty) unexplored area of stage skills?

'Showing my face once on the ESTA conference (2004) in Rotterdam generated all my work in that area.'

'I also developed small-scale classical music productions with singing at Treasure Opera. Idiotic stories in idiotic locations with a regular dream team of creators and musicians. A lot of work for little money. But it gave me an awful lot of energy. Could put a lot of myself into it. I got to know every nook and cranny of my artistic brain thanks to directing.'

'And if I had received a tenner for every compliment I would be a rich woman now. Making these projects was very satisfying. My artistic energy level was high. But all the organisational stuff sucked me dry. We had to haggle for money. And structurally got too little. In 2013, I ran to the doctor for a lump in between theatre-making ventures. Cancer. 'I'm never directing again now' was the first thing I thought. Too much money stress is sickening. I quit immediately.'

Airy about sex

'I had then just finished the monologue writing course at Theatre of the Soul (2012, BR). There, the light-hearted part Sex rolled out of my pen quite easily. I had already done some preliminary work during my months-long holiday in New Zealand (2009, BR) where I wrote autobiographical pornographic stories. Full of light-hearted self-mockery about my blubbering legs and the shame between the sheets. In a cheerful tone, because meanwhile the young dudes did pick me- the forty-something who won out over the young, sleek ones. Thanks to my cheerfulness, openness and stagepresence.'

'Performed Sex as part of the course curriculum twice privately and got good reactions from pros who happened to be in the room. It was alive and moving. Until I fell ill. Revived in 2015 'had to get that show done before I died'. During the whole illness process, I lived off teaching kids and adults in The Hague where I had by now moved from Zwolle for love.'

Your cheerful tone on vehement matters has always struck me. Seriously light-hearted about sad matters. How do you manage that?

'In my youth, I discovered that making a fool of yourself paid off. I was able to bypass the strict rules in my youth by turning it into an act.'

'On Sundays, for example, we were allowed one small chocolate. One of those Droste squares. Then I would sit on a chair in the middle of the living room with the full bowl - there were eighty of us living in the house - and give away a show: 'in itself I do understand the rule that everyone is only allowed one chocolate, because it would be something if everyone took four - and I would do that - or eight - and I would put those in my mouth as well - because then there wouldn't be enough for the rest.' Everyone laughed and I had got the loot in the meantime.'

'Ditto with those pornographic stories-which, by the way, were too explicit for my friends who received them by letter at the time. Being ironic about your shortcomings.'

Show must go on

'So there had to be that show before I died. Because cancer makes one uncertain about the future. But writing about God, the part about my childhood. About being afraid- not daring- doing it anyway, was harder. I did have to talk about my father now. And got writer's block. Again (2019, BR) I wrote to George Groot who now did respond. Together with Allan Zipson (director, BR), he got me talking. They helped me make the personal universal. Underlying themes of loving and letting go everyone recognises. Noticeable by the emotional audience reactions to God.'

'I played God to friends in 2019. 'Too heavy and too long' was the criticism. I scraped. It became more light-hearted and upbeat. And I decided that the play would become a trilogy. God would come first. The first trysts (at my own expense and initiative-with accompaniment on tape because no money for a pianist-organised myself) were to take place in spring 2020. These were postponed and postponed and postponed by corona. AND by my violent relationship break-up around the same time.'

'I moved headlong back to Zwolle and there was times zero room for creativity and writing. Everything was at a standstill. I was at the bottom of my soul. Eventually, I first arranged bath & bed. Later, I arranged bread by setting up a new cello school. Receiving the Tozo allowance was also nice.'

How did you experience corona time?

'The peace of corona was ultimately purifying. Could start thinking about writing and playing again. In 2021, I was tipped off about a corona grant pot and the directors (including an ex-theatre director) of Treasure Opera picked up the application. Thankfully. Because as a creator, I don't speak the language needed when asking 'why should this performance be put out into the world'. Gives me acute panic. No idea what was answered by, but money came for a working period. For George Groot and Allan Zipson. For René. For myself. For the venues. The PR. The printing. The production. For the tour. This unknown 58-year-old was able to boast about God, Sex and Shostakovich and -thanks to the aforementioned documentary- came into the picture at newspapers and media. Not necessarily for the right reasons as far as I'm concerned, but it stimulated audiences to come. And by the way: nice that you do ask about my thinking and making process!'

Did you actually notice in the venue that there were disaster music tourists?

'Fortunately, audiences really came for the show. Except for the one in Steenwijk. There, there were also (former) residents of the B'ulah Hoeve in the audience who asked me specific questions about the sect afterwards. I can understand that.'

'Thanks to Corona, I played at small venues for small audiences. Exactly what I want. The smaller the better. Although that's not normally a good business model. Being able to face audiences. Literally making and having contact is very important to me as a player. The first tour was subsidised. The second tour that is still running now is mainly through buyouts, fortunately. The shows in The Hague and Dalfsen I organise myself. And I can use all the help (read: attention) I can get with that, because PR work is energy-consuming. Energy I'd rather give to an audience on stage. We Are Public has included the show on 10 June in The Hague in their offerings, by the way, which is nice.'

What are your dreams about your future as a comedian?

'Ideally, many audiences meet me on those small stages, in libraries, barges, living rooms, attics. Wherever there is a piano, René and I come along. Ideally, I have an impresario who knows the cabaret world. Because I am a musician cabaret performer and I see Lennette van Dongen, Katinka Polderman, Sanne Walle de Vries and Brigitte Kaandorp as my colleagues.'

'Furthermore, I am giving myself a lot of space over the coming summer: I have given all cello students a few months off. And go for walks with Billy-my dog-and write to part Shostakovich and Sex.'

'In which Shostakovich symbolises the arts, but that didn't mouth so well in the title. Good art - like Shostakovich's music for me - is about depth. Where I can't get to with words. And that's what it will be about. Which is where the Russian cello teacher comes in. And, to my surprise, my mother.'

'At the same time, I am working on Sex, because my sad break-up of love is retroactively giving it a different connotation. It unfortunately has to be rewritten.'

PS

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