Augenblick mal! 1997

Montag, 28. April 1997 | sophiensaele

Kinder- und Jugendtheaterzentrum der Stadt Krefeld (KREScH)
Kasimir und Karoline
Ballade von Liebe, Lust und Leid
von Ödön von Horváth
Thomas Sessler Verlag, Wien und München
ab 14 Jahren | 135 Minuten

Director: Inge Brand
Stage Design: Frank Andermahr, Ingrid Krusat-Dahmen
Costume Design: Christine Wolfshoefer, Susanne Topp, Jutta Plaß
Dramaturgy: Klaus M. Schmidt
Music: Franz Mestre
Actor(s): Sonja Beckmann (Liliputaner, Eisverkäuferin), Nigel Burgess (Ausrufer), Volker Diefes (Schürzinger), Ortrud Groß (Erna), Peter Adrian E. Krahl (Merkl Franz), Franz Mestre (Kasimir), Heide Michels (Ärztin, Juanita), Astrid Reinkens (Maria, Mann mit Bulldogkopf), Bernd Rieser (Speer), Elisabeth Schim (Karoline), Helmuth Wenderoth (Rauch), Silvia Westenfelder (Elli, Liliputaner, kurzsichtiges Mädchen)
Musician(s): Nigel Burgess (Tuba), Georg Günther (Gitarre), Uli Janowitz (Schlagzeug), Alexander Klose (Saxophon), Tom Schwagers (Bass, Keyboard)


Kasimir and Karoline are a couple and both unemployed. Franz (a petty criminal) and Erna are also a couple. Schürzinger is a bachelor. The director Rauch and his friend Judge Speer overview the situation from a raised table, symbolising their position


Inge Brand's stunning production leaves no room to doubt the importance of this material for our time. This nearly 70-year old play almost jumps straight into the lap of today's young audience. Ms Brand places the audience in a room which is itself the stage for this brightly coloured yet merciless story. The entire theatre is thereby transformed into a festival ground of the Oktoberfest... Yet this severe and sensuous setting merely acts as the background to the story of the play's life-thirsty and love-hungry anti-heroes, profoundly profiled figures thrown into a plot of breathtaking pace. The ensemble pulls off an incredibly homogenous performance and a well-integrated approach to Horváth's language. The words drip from the actors' lips like foreign language exercises, like quotes of what the masses are believed to think and say. On top of all this comes the brilliantly arranged and selected pieces of fairground music (musical direction: Franz Mestre). Implementing a tuba, a harmonium, an electric guitar, a double bass and a drum set, the musicians sit directly in the setting. Atmospheric tunes and love songs drawn from contemporary German folk music act like a cynical commentary on the futile longings of the figures.

Andrea Gronemeyer

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