Hilarious debate drives and governance in HNT's Lowland

Headlines fly from practically educated old members of an association at Weteringseplas where a driven entrepreneur comes to test floating homes, under local government siding with sustainability or the new money.

On the car radio on the way to the performance, NPO Classical dropped a interview hearing with excellent biographer Sjeng Scheijen about choreographer Hans van Manen. He - unlike Rudi van Dantzig - had nothing to do with political - or identity - messages. They limited the depth of his dance art too much.

In NRC Lowland is cracked as "cartoonish" or too simplistic an attempt at a sharp piece, Volkskrant agrees in a milder assessment. Indeed, more depth might not have been out of place, but it is precisely the choice of complete recognisability, say transparency, that is the strength of Lowland as satire. Clichés and fuss are literally familiar from contemporary debates - as superficial as the municipal website - And did me the turn the knob at chat shows.

Also in the Year of Fortuyn we were not looking at extraordinary depth with types that still offered hardly any surprises. Still, it captivated because of excellent acting with razor-sharp dialogues. The Danish series Borgen is widely praised, but I found it rather predictable and was soon done with it. The question: how do you bundle familiarity with depth?

Local victims

Nathan Vecht, crowned 'The Year of Fortuyn' as best TV series, wrote a script about polarisation in the Netherlands at the request of director Eric de Vroedt of Het Nationale Theater (HNT). The theme of Lowland is 'the climate', with struggles between locals (somewheres) and globals (anywheres). The progressive side takes shape in the startup Aqualand that wants to conquer the world with sustainable homes on the water; the conservative in a local Lifeguard who have to make way with their local beach.

Fight lets this climate conflict be settled by shrewd entrepreneurs with their 'win-win' for 'the climate', their bank accounts and the too-weak government. As cliché as the personal revenge of entrepreneur Hugo (Joris Smit) who has a second leg with business partner Nanda (Soumaya Ahouaoui), with a rebellious older daughter and cynical ex (Tamar van den Dop).

And at the Rescue Brigade, ambulance nurse Yvon (also Tamar van den Dop) suffers from caring for disabled daughter Melissa (Emma Buysse) and husband Ferry (Mark Rietman) from losing his regular job; and hardware store owner Ronald (Marc Kraan) and teacher Corine (Betty Schuurman) see their daily existence squeezed by economies of scale and retreating government. How cliché do you want it to be?

And then after entertaining introductions of the doings, views and expectations of both camps, all this comes together for a 'kitchen table discussion' led by councillor Dieuwertje (Esther Scheldwacht). There, thunder ensues as you cannot expect otherwise, but the lightning and thunder are just a bit too predictable. Especially when it turns out that the alderman was bamboozled by Ecoland project developer (Alwin Pulinckx) into choosing investors.

Less text, more drama

I did like this part, especially as Vecht manages to make you identify with the good intentions of almost all the participants, while at the same time their short-sightedness in that misfiring conversation and afterwards is so irritating that you think: why, for heaven's sake?

Still, De Vroedt could have brought in more dramaturgy and cut out a quarter of Vecht's text, which would do more justice to fine dialogues. HNT makes theatre and not a TV series (which the script is suitable for, by the way, wonder how the rights are arranged). That Vecht says he prefers satire to tragicomedy is exactly the delineation Hans van Manen apparently intended to avoid engagement.

More drama is offered by the terrific finale with razor-sharp dialogues degenerating into physical violence between the opponents Hugo and Ferry; with the driving element being that Ferry has to recruit jobs on an algorithmic platform from Hugo, who sees Ferry ringing the doorbell to restore his internet connection. Finally, with the future dreams of Nick (Alex Hendrickx), son of the Rescue Brigade couple, and Mette (also Emma Buysse), Hugo's older daughter, cast in sweet music.

Thoroughly enjoyed Lowland, not only because of beautiful music and scenery but above all the superb acting of Mark Rietman - lovely intonation, made for irony -, Joris Smit and Tamar van den Dop; and the also role-playing Soumaya Ahouaoui, Betty Schuurman, Esther Scheldwacht, Mark Kraan and Emma Buysse.