A Tale of Two Gorkys

So I'll cut out all the BS with the first show since we all saw it. We know what happens so there is no point in rehashing it. What I will talk about, however, is the feeling I left with after the show: bitter. I was not a fan of (blank). Now I'm talking mostly about the play here, not necessarily the production. I felt the quality of most of the acting, the use of the space (including that wonderful lift from under the stage), and of course the constant ashen snowfall was wonderful to watch, even awe inspiring at times. Yes; the spectacle was there, but behind it... The play itself felt hollow and trite, and worst of all, sentimentalized. This play, would have definitely been at the forefront for an Obie... and that's not meant as a complement.
Young Turkish guy likes mature German woman, who, in turn likes him back. The age thing. The race thing. Young guy doesn't know what he has in the mature older women so he screws up. Oranges. They end up together in the end, and whether it's a dream or not, it doesn't matter. Why? Because we've been told it's ok. Like I said, whether it's a dream or not the ending allows us to sentimentalize what we've seen, and maybe even to forget the almighty race card, which this play spent so much time waving around incessantly. To put it all simply: the play was not challenging, not even in the slightest. This was a new play but it certainly didn't feel like it. I'm sure somewhere Bertolt Brecht was rolling over in his socialist grave.

I was disappointed in this theater which had promoted itself as hip and edgy, but with Angst had been anything but those two words. What is so upsetting and really had me better was I could see the talent and the possibilities in the space, the company, and even the audience, but instead we got tropes that ask all questions with a presupposed answer. Still, we got to be at a German premier, and that was pretty damn cool. That being said, I guess everyone deserves a second chance, right?

So...... I went on whim to see Der Kirschgarten, or The Cherry Orchard last night and... Holy Heffenweissen! The experience I had in that theater was one of the most exhilarating and challenging pieces of theatre I have ever seen. Truly jaw dropping (not Hamlet but damn close). The play could've been an Ostermeier/Schaubühne concoction at first glance with its innovation, style and hair raising moments.
The space was used dynamically, including both theatre, practical and house lights (that's right house lights). The acting was superb (ironically many of the same actors from Angst, plus a few newbies). And, most importantly, the play was thought provoking.
The play was updated and brought to present day Germany, all the servants were played by Turkish actors, Charlotta by a transvestite. The play didn't make a big deal about it... Until it got personal. And by personal I mean in the midst of speaking text the actors would often speak as themselves and to their struggles as actors which parallel their characters struggles at the estate. The actor playing Lopakhin for example, in a brilliant scene, once he owns the orchard and speaks of his new position in society, he has trouble saying his name as owner, repeating, shouting it several times. At that moment he took off his pencil mustache and addressed both the audience and cast retelling what he was told as a young actor in a new country. Both Lopahkin and blank in that moment could honestly say, "no one believed but look at me now". And that was only one! The actor who played Firs, this little old man, who for most of the play is babbling (which is not in surtitle or even in German), breaks into this story about when the Turkish army occupied the national theater in Istanbul, and on punishment of death forced the actors to leave.

The set you see below you moved back and forth utilizing the whole space, but then the wall is literally ripped apart at the moment of Lopahkin's ascension revealing past photos, and Hebrew writing, then ripped apart again to reveal an old German dance hall and then again to reveal the cherry orchard, which is then kicked over onto a turntable on which the rest of the play is performed.

Throw in some reciting of Kant, Nietzsche, Hitler, Susskind (the world is a hologram guy), candlelight, and Aretha Franklin (yes Aretha), and you got yourself one of the most innovative productions I've ever seen. And through it all, it somehow manages to honor Chekhov's beautiful play in a way that many "naturalist" productions could only dream at. Might I also add the play was just as hilarious as it was heartbreaking (I mean... Chekhov did call it a "comedy").

I was so moved I bought the actors a round of drinks to express my gratitude after the show. They responded in kind, were very appreciative and nice to talk to. Wonderful tight knit group they have there, truly a company. Both a young and old audience tonight... Don't know what that means but worth a mention.

Well... Next up is Kinder Der Sohn. This is for all the marbles folks, so let's hope it stands up.