Augenblick mal! 1999

Sonntag, 25. April 1999 | GRIPS Theater

Audio Clip

GRIPS Theater Berlin
Café Mitte
von Volker Ludwig
Verlag Autorenagentur, Frankfurt am Main
ab 16 Jahren | 190 Minuten

Director: Rüdiger Wandel
Musical Direction: Matthias Witting
Stage Design: Mathias Fischer-Dieskau
Costume Design: Barbara Kremer
Choreography: Gesine Ringel
Music: Stanley Walden, Rockband 'No License'
Actor(s): Thomas Ahrens (Otto, André Meyer, Anwalt, Master B), Julia Blankenburg (Sina), Christian Giese (Chris, Klein, Jurij, Kuddel, Spider), Michaela Hanser (Irina), Christine Heinze (Hulda, Ärztin, Frau Malottki, Daisy), Dietrich Lehmann (Ede, KOB, Bauherr, Väterchen), Axel Prahl (Mungo, Keule, Küppers), Nicole Rößler (Schnecke), Arndt Schwering-Sohnrey (Easy), Regine Seidler (Tine, Ratte), Christian Veit (Wirt, Illegaler, Schlucki), Jörg Westphal (Holger, Krusche, Schnuffi)
Musician(s): Michael Brandt (Gitarre), Thomas Keller (Saxophon), Axel Kottmann (Bass), George Kranz (Schlagzeug), Matthias Witting (Keyboard), Ramiz Tahiri (alle Rockband 'No License')


Stories about surviving in Berlin

They are looking for warmth, conversation, a place to spend the night, a beer, their 'centre'. They gravitate towards 'Café Mitte', where East and West converge. Where the unemployed and the upwardly mobile, the


The fascination is inevitable. The mixture of realism and optimism, of factual description and demonstrative cliché, substantiated by the ensemble's enthusiasm for acting: 'Café Mitte' delivers solid, standard Grips fare. Yet the performance is a tightrope walk in acute danger of falling. The endless additions of social problems can drag it down or lead to the truly cliché and the reflection of falsely perceived reality. The production is not trying to express a certain feeling of life but several feelings simultaneously. True, the many painstakingly accurate images piece together to form a myth: 'Café Mitte' is the myth of society, if not as a melting pot, then as a meeting point for all its members. And it would be unfair to say that this play and this production never depart from the well-established familiarity and safety of the Grips harbour. The entire performance is a daring venture and, in the end, a successful one: because 'Café Mitte' is an attempt to capture the exciting air of post-Cold War Berlin, supposedly growing together, but in reality also drifting apart in all directions. Every aspect of life, every problem, every attitude and culture, every permanent and temporary resident of Berlin, every social and emotional issue: Volker Ludwig finds a home for them all in 'Café Mitte'.

Hartmut Krug

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