Augenblick mal! 2001
Samstag, 5. Mai 2001 | carrousel Theater an der Parkaue
von Lutz Hübner
Hartmann & Stauffacher GmbH, Köln
Übernahme der Uraufführung vom Deutschen Schauspielhaus in Hamburg
ab 12 Jahren | 75 Minuten
Director: Sabine Boss
Stage Design: Dorothee Curio
Costume Design: Dorothee Curio
Dramaturgy: Robert Koall, Barbara Kantel
Music: William Minke
Actor(s): Franziska Henschel (Petra), Joanna Kitzl (Lilly), Juliane Niemann (Maren), Oliver Masucci (Offvoice/Arno)
Video: Vera Berg, Stefan Corinth, Alexander Grasseck, Torge Möller, Frank Papenbroock
'creeps' is the name of a new magazine programme in development by a TV music channel. Spin: to ride the cutting edge of hip youth lifestyle. Status: narrowing down the hottest female moderator to front the programme. Three have made it into the final
...The director Sabine Boss and her three actresses handle the material with exceptional ease. If necessary, clichés are taken to their extremes and then, pushed over the edge, suddenly sprout wings and take flight into irony. Given the punchline-heavy text by Lutz Hübner, this transformation goes over lightly. An all-round success! The performances are remarkable. The three preciously young actresses, Franziska Henschel, Joanna Kitzl and Juliane Niemann, attack their roles with astounding presence, plausibility and precision. They valiantly take control of the stage. The equally young director Sabine Boss adds tempo to the performance with the pointed yet by no means intrusive implementation of video sequences – low on frills, high on substance. 'creeps' came into being a little over a year ago. Commissioned by the Deutsches Schauspielhaus in Hamburg, it was part of 100 days of plays for children and young people to celebrate the 100th year of "Germany's biggest and most beautiful theatre". Lutz Hübner, winner of the German Jugendtheaterpreis in 1998 for 'Das Herz eines Boxers' (A Boxer's Heart), has achieved here the rare exception in young people's theatre: a reality-based piece set in the present which is smart and critical yet masterfully avoids the obvious – making a scapegoat of the media.
Lutz Hübner and this ensemble place 'creeps' in the tradition of what one might loosely label 'nous and noggins' theatre ('Grips und Grütze'-style): polarising, biased, energetic and artistically exceptional; i.e. the staging of the (timeless) dreams and yearnings of young people in the face of their present reality, with carefully chosen and confidently implemented production means. It is rare indeed to (have to) be instructed with such moral insistence – and be entertained at the same time! When, at the end of the play, the cynical moderator finally steps onto the stage in person – dressed accountant-like in totally uncool greys – I certainly wouldn't like to be in the actor's shoes. For the actresses have been so convincing in their performances, I can imagine the outraged youths in the audience might very well storm the stage to give the 'arsehole' a thrashing.