Augenblick mal! 1997

Sonntag, 27. April 1997 | GRIPS Theater

Kinder- und Jugendtheater des Landestheaters Württemberg-Hohenzollern, Tübingen
Die fürchterlichen Fünf
von Heiner Kondschak
nach Wolf Erlbruch
Harlekin Theaterverlag, Tübingen
ab 9 Jahren | 70 Minuten

Director: Heiner Kondschak
Stage and Costume Design: Simone Manthey
Dramaturgy: Monika Hunze
Music: Heiner Kondschak
Actor(s): Ester Daniel (Spinne), Rupert Hausner (Hyäne), Werner Koller (Fledermaus), Cathrin Störmer (Kröte), Helge Thun (Ratte)

Synopsis:

The well-known author and illustrator of children's books, Wolf Erlbruch, tells the story of five ugly and lonely animals who meet up, play some songs together and then decide to open up a pancake café with music. In the end, it even turns out to be a

Vote:

Heiner Kondschak and his troop choose to convey a message which perhaps is much more encouraging than the most cheerful 'happy end'. Why do so many people still believe that theatre for children must always end on a happy note? Since life must also continue after the 'happy end', is it not much more comforting to know that life has its ups and downs? While you can never walk away from life's fluctuations, one thing is for sure: happiness not only means being able to accept the constant changing in life, but also to be involved in the change yourself, to become a part of the changeability.

With the certainty of a dream, the staging walks along the razor's edge of tragedy and comedy. The actors develop the animals they personify without relying on clear-cut clichés, much more becoming grotesque 'animal-like' physiognomies with human personalities. They are unique, exquisitely ugly, clearly defined, alive, funny and impudent. Cathrin Störmer's 'Toad' sets a new standard in the portrayal of animals on the stage, especially in children's theatre. She has managed to combine the simultaneously disgusting and appealing characteristics of an eccentric old woman: she seems to have lost all hope, yet at the same time is eager to make a brand new start. Ms Strömer's playful precision and stage presence is exemplary. Her colleagues Werner Koller, Helge Thun, Rupert Hausner and Ester Daniel follow her lead impressively. This is an ensemble to admire, aside from their remarkably homogenous acting performance they have also introduced a brilliant new play to the repertory of children's theatre. Let's look forward to new interpretations!

Andrea Gronemeyer

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