Assault and finally rape of a 14-year-old girl by a bonkers vet. An enjoyable evening at the theatre is different, until the applause of this arguably (once again) best Dutch theatre production of the year relieves you of the harsh struggle. Author Marieke Lucas Rijneveld and director Ivo van Hove emphasise that both 49-year-old vet Kurt and his minion, the farmer's daughter, are severely traumatised...
In Electra, one of the finest tragedies handed down to us by the ancient Greeks, there is at least one piece of text that made history. It is the account of a horse race. You see nothing, but the language puts your imagination to work. 25 centuries later, they tried to turn the images described into real images for the...
The restless head in front of the torso, fists nervously searching for grip under the pale blue jumper. His life a relentless affliction of generations of oppression under factory labour, alcoholism and domestic violence. And deep love nonetheless, between this tormented father and son. Until almost the end of the monologue "Who killed my father?", the high bed remains untouched. Only then do they learn...
As a professional art visitor, I rarely find myself in empty halls. Premieres are always full, press viewings and vernissages too. Full is of course very cool. Although those full rooms I am in then usually cost more money than they bring in, because the tickets are free and the drinks on the house. Outside the premiere, but especially outside the premiere city, the...
Fred Goessens has been dead, but is still alive. As uncompromising as ever. The Netherlands' most reliable actor makes an interim will after twenty-two years with Toneelgroep Amsterdam. 'I had shit on everything' This interview was published 10 years ago in TheaterMaker, the trade magazine for the theatre sector. As Fred Goessens is now leaving ITA, the company where he once...
In recent years, Toneelgroep Amsterdam's artistic director Ivo van Hove made three performances of works by Couperus. In three short interviews, I look back at the last part, Little Souls. Despite the long meandering sentences and the romantic, sometimes very passive characters, this book (or actually it's four books)is a timeless masterpiece that, as far as I'm concerned, all...
On Saturday 4 June 2016, I attended the royal opening of the Holland Festival and was able to attend no review write about, because I was sitting in the front row of the Amsterdam Stadsschouwburg. As the stage was elevated, I was looking against a black wall, above which only the front actors were visible. The back and lower half of the stage were completely eluding me.
Me wrote that on, and the Holland Festival generously offered me the opportunity to go and see the performance again, from a better seat. At the same time, the organisers told me that the first three rows of the Stadsschouwburg would be compensated at this performance. So I went to Amsterdam one more time, on Monday 6 June.
Before the performance, while not eating a blackened hamburger in theatre restaurant Stanislavski, I heard from the neat people at the little table next to me that the front seats were offered at a sharply reduced rate, and that people like them who had already bought tickets had the choice of thus getting a partial refund or going on the waiting list for a seat with better sightlines. Whether they eventually managed to get one of the spots with better visibility, I don't know. The performance
de sfeer Het is 30 graden in Den Bosch. Mensen met koptelefoons op klappen voor iets dat wij, de voorbijgangers, niet zien. Bij een winkelcentrum rollen meisjes met maskers over de grond. Overal is reuring. Festival Boulevard is in volle gang en de hele stad lijkt mee te doen. De terrassen zijn vol en de stemming is opperbest. Ik baan mij…
Power and leadership, can one exist without the other? Toneelgroep Amsterdam presented a sampling of three types of leaders on Sunday 14 June at the Holland Festival with 'Kings of War'. Three historical plays by Shakespeare about the struggle for power between the Houses of Lancaster and York together provided the fuel for this performance. With large black letters on a white...
At Amsterdam's Stadsschouwburg, Hans Kesting will once again play the title role of Shakespeare's Othello, in a legendary version by top director Ivo van Hove, already 12 years ago. A stone's throw away, at De Balie, is the equally impressive actor Kenneth Herdigein in David Mamet's play Race. Why connect the two? Hans Kesting, the...
Weer actueel, nu Toneelgroep Amsterdam de voorstelling herneemt, mijn recensie uit 2014. Deze week ging de toneelbewerking van The Fountainhead in première. Het boek is verschrikkelijk, de voorstelling rammelt, de acteurs winnen maar nipt. De inhoud schept echter nog meer verwarring en dat is de reden waarom ik u niet zal tegenhouden om te gaan kijken. En Hans Kesting natuurlijk. Ik zet het even op een rijtje.
Holland Festival
Meeuw, een vroeg toneelstuk van Anton Tsjechov, gaat over toneel zoals zijn al even beroemde toneelstuk Kersentuin over kersenteelt of vastgoedfraude gaat. Niet dus. Het lijkt een fout die toneelkunstenaars wel vaker maken en die Tsjechov in zijn 115 jaar oude stuk aanhaalt: denken dat alles altijd over jou gaat. Daarom is het Thomas Ostermeier, gelauwerd Duitsch regisseur, niet zo kwalijk te nemen dat zijn regie van De Meeuw bij Toneelgroep Amsterdam over theater gaat.
Anyway: while Amsterdam's city newspaper Parool was embarking on a campaign against the Dutch capital's city company at the behest of the Flemish publishing board, the same Toneelgroep Amsterdam was winning the hearts of New York audiences with a production of the already years-old 'Roman Tragedies', which a few here did not even like overall: http://www.wijbrandschaap.nl/2007/06/romeinse-tragedies-hf2007ta/
Imagine Arjan Robben. The much-troubled frontman of the Dutch national team has just seen a brilliant move rewarded with a penalty and he is ready to take it. Up comes a field hand with a new set of adhesive letters for his shirt because the numbers are no longer legible from the stands. Lots of lashing, shirt off, seconds glue. Circumstances, in short. After two minutes, the fielder is gone, the number readable and the referee's whistle sounds. Then try to hit the target.
Kenners weten het: vaak zijn acteurs twee maanden aan het repeteren op een toneelstuk met maar één doel voor ogen: de frisheid en verrassing van de ‘eerste lezing’ terugvinden. Bij die eerste lezing horen de acteurs immers de tekst voor het eerst van hun hun collega’s, lezen ze de woorden voor het eerst hardop en klinkt alles nieuw en onverwacht.…
We were somewhat mildly ironic about it, but hats off, meanwhile, to Toneelgroep Amsterdam's PR department and the audience, who responded remarkably well to the 'choose the reprise' campaign the company launched a few weeks back. We have the hard numbers we feared we would never see. And they are credible. We quote the press release: From 2 to...
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