"In America, when you put two guys on stage, the audience expects them to beat each other up, or fuck each other. In this play, neither happens, but in the theatre it's almost always about two men fighting or fucking." Legendary words from Samuel D. Hunter. He wrote the play 'A Case for the Existence...
Respect for the many resistance fighters against slavery connects Romana Peace in 'Time will teach us' with anger at 'the system' in which exploitation continues, and with the pains in her personal life. Lokay, a teenager still, flees from the plantation on St Maarten, is caught again and physically punished by the white owner: a breast cut off, she bled almost to death in hellish...
"Another happy day. He listens to me ...Another very happy day, he speaks to me." Life reduced to its essence, with Winnie towering womanishly above the human molehill for her final episode. Antoinette Jelgersma, in Happy Days under Erik Whien, portrays a more monty version of Winnie, one of the toughest stage roles, with a monologue sitting still...
Grieving well for the loss of a loved one does not lead to Prozac or a shrink. On the contrary, a little life skill helps, as in 'Grief is the thing with feathers' by Max Porter, Jacob Derwig and Erik Whien. Once, after tragedy struck my family, I used to console myself by reading aloud the picture book Frog and the Little Bird by Max...
Director Alida Dors is pushing for inclusion at Theatre Rotterdam. What does this mean for a 44-year-old white director with great success with traditional audiences, as now with 'Sadness is the thing with feathers'? A Q&A. "Erik Whien's theatre is all about the human being. About the head and everything that happens in it. Every human being has thoughts, in the mind...
Put three neurotic sisters with their mother hen and errant brothers-in-law together in a parental holiday villa with beautifully translated text by Las Norén and you're bound to get some nasty Scandinavian family stuff. But luckily there is the wafting acquaintance Axel, a convincing role by Mark Rietman. Already at the start of the performance with the tableau de la troupe alongside...
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