I published two articles in NRC Handelsblad last year. The first (6 July 2013) was critical of government policy. There was little reaction to this. The second article (7 December 2013) was critical of the arts sector: it needs to make its own sharp choices. That did cause a stir, although I am convinced that many colleagues largely agree with the content...
How can a usually very ordinary, amiable theatre director suddenly come out with the notice That a few orchestras can go away and the National Ballet should be outsourced? We wondered so and headed to the car park at the Concertgebouw yesterday.
It would have been so nice: The National Ballet together with The National Opera in The National Theatre, as you have in the capital of any self-respecting country. But so that didn't happen. The home of our National Opera and Ballet clubs is now called 'Nationale Opera en Ballet'. The National Theatre made sure of that, which, like the Nederlands Dans Theater, is not in our capital Amsterdam, but in its residence in The Hague.
A joint press conference by two companies. In the post-Zijlstra era, that often does not bode well. A merger then seems obvious, especially when it involves the two largest opera companies in our country: De Nederlandse Opera and the Nationale Reisopera. Only now we have to turn that around: the Netherlands Opera will become the National Opera. And the building will be called National Opera and Ballet.
It had to be a party, because there has been enough shouting and complaining and it doesn't help anything anyway. After a year in which the theatre sector in particular felt the hard hand of Mark Ruttes happy crisis policy, awards had to be handed out again. So the already not-so-huge crème de la crème of the Dutch theatre world gathered again for the gala at Amsterdam's Stadsschouwburg. It was a valiant attempt at optimism, while
Toch geld voor de Rijksacademie voor Beeldende Kunsten, geld voor een orkestenfusie in Zuid Nederland en 4,7 miljoen voor een kennisinstituut voor amateurkunst. De kaalslag van de Nederlandse Cultuursector is dankzij een tweede advies van de Raad voor Cultuur een beetje minder extreem geworden. Naast de genoemde positieve beoordeling is er ook geld voor een kennisinstituut voor de creatieve sector…
After the presentation of the Rotterdam and The Hague arts recommendations, and a few days to weeks before the harsh judgements of the Council for Culture, and a few months before the devastating reports of the Performing Arts Fund, it is starting to become clear how drastically the Dutch cultural sector is being hit
Peter de Graef is not only a wonderful actor, he can also tell compelling stories. He also brings that talent with him as a writer. So in Boiling Frog, the show now on tour in the Netherlands, there are six Peter de Graefs on stage, and that is no punishment. Especially not because those six Peter de Graefs also...
In Amsterdam, Holland Festival, Theaterfestival, Toneelgroep Amsterdam and a few more clubs will 'work closely together'. In The Hague, this applies to Het Nationale Toneel and youth theatre house Stella Den Haag, while in Rotterdam
The Utrecht Games (DUS), with its successful production August Oklahoma, immediately wins three nominations for the theatre awards to be handed out in September: Ria Eimers for best female lead, and Peter Bolhuis and Tjitsjke Reidinga compete for the prizes for best supporting actress. Percentage-wise, however, much more successful than DUS is De Kus, a production by Hummelinck Stuurman, because there the...
Of course, you were all lining up for that legendary Richard III by Orkater with music by Tom Waits. Or you had locked yourself in for Oostpool's small-room gem 'Till the fat lady sings', or you just didn't want to miss an episode of O O Cherso and The Voice of Holland. Anyway: now you know what you...
Ze is ‘stand-up filosofe’. Met die zelfbedachte term schiep ze een nieuwe vorm van theater, die het midden houdt tussen cabaret, een lezing en theater. Ze speelt met haar eigen rol, zet acteurs in of het marionetten zijn, maar blijkt uiteindelijk hun speelbal, zo goed als die van het noodlot. Kortom: Laura van Dolron is een geval apart. Ze maakt…
Op het Gala van het Nederlands Theater in de Amsterdamse Stadsschouwburg zijn gisteravond de belangrijkste toneelprijzen uitgereikt. Kees Hulst won de Louis d’Or voor de meest indrukwekkende mannelijke hoofdrol, de rol van Jörgen Hofmeester in’ Tirza’ bij het Nationale Toneel. Maria Kraakman won de Theo d’Or voor de meest indrukwekkende vrouwelijke dragende rol, Orlando in de gelijknamige productie van Toneelgroep Oostpool. Het stuk ‘Oog om Oog’, met onder meer Linda van Dyck en Victor Löw, won de AVRO Toneel Publieksprijs.
Een rode loper, veel champagne en nog veel meer geknuffel. Het is een warm weerzien voor theaterland, het Gala van het Nederlands Theater in de Amsterdamse Stadsschouwburg. Een spannend weerzien ook, want de belangrijkste Nederlandse toneelprijzen worden vanavond uitgereikt.
Image by Andrew B47 via Flickr Photo: Chris Vanderburght It was time for a real theatrical hit at the Holland festival, after the rather lukewarmly received British-American Shakespeares of Sam Mendes' Bridge Project. And clap it did with Rechnitz by Elfriede Jelinek dooor the best actors of the Münchener Kammerspiele. Karin Veraart of De Volkskrant was deeply impressed: ...Not...
English (UK) 
Nederlands 
Français
You must be logged in to post a comment.