It’s summer in Munich. And this means, it’s open air theatre season. While the team currently busily and sweatily rehearses, I simply can’t wait to present this hilarious comedy. True, opinions about this comedy are rather split. Some think the play is not one of Shakespeare’s strongest plays, since the characters are not as psychologically developed as they are in the darker, or later comedies. Others argue that the play is written much in the vein of the commedia dell’arte and hence purposefully presents types rather than characters. Whichever position one may hold, I personally think that The Comedy of Errors is one of Shakespeare’s most hilarious comedies. It’s packed with slapstick, mistaken identities (and all the comical consequences) and witchcraft. Obviously, it also requires a good shipwreck to start the show, and catchy tune to close it. As in the year’s before, we will have a chance for the audience to participate—it wouldn’t be a proper outdoor Shakespeare without some help from the audience. Yes, audience participation. Can’t wait to see this.
Am I in earth, in heaven, or in hell? — Antipholus of Syracuse, The Comedy of Errors
The Greek towns of Ephesus and Syracuse are at war with each other. One day, Syracusian merchant Ægeon is stranded in Ephesus while searching for his lost son Antipholus. Unfortunately, Ægeon is found out to be from Syracuse and consequently detained by Duke Solinus. When he informs the Duke that he lost both his wife and his identical twin sons, twenty-three years ago in a shipwreck, Duke Solinus begins to pity Ægeon and promises that he will free him if Ægeon manages to raise a ransom of 1,000 marks by 5 o’clock that same day.
At the same time, Antipholus arrives in Ephesus from Syracuse, together with his servant, Dromio. Both quickly disguise their identities to avoid being arrested – and yet, on their exploration of the town, everyone in Ephesus seems to know them by their names. A lady called Adriana, takes Antipholus into her home, even calling him husband; Angelo, a goldsmith, gifts Antipholus with a chain of pure gold; the local Courtezan greets Antipholus as a regular costumer – and Dromio, well, all of a sudden, he finds himself married to a local beauty! Antipholus and Dromio are confused and suspect that some witchcraft has possessed the Ephesians. The confusion increases when a second Antipholus and a second Dromio enter the scene – and are swiftly arrested for alleged misconduct.
Meanwhile, the clock is ticking for Ægeon – will he find a friend in Ephesus to ransom him? Perhaps someone in the audience can help?
Photos by Tom Hafner
Directed by Conny Loder & John Yates, produced by Ken Lawler & Peter Heinz
Performance dates 7—10, 14—17 & 21—24 July 2022, 19:00
Behold — the trailer for Entity Theatre’s summer Shakespeare production is here: Much Ado About Nothing!
Entity Theatre is back with its summer Shakespeare!
Messina, 1901.The landed gentry around Leonato and Antonio await the end of the war between Don Pedro and his vicious brother, Don John. When Don Pedro returns victorious to Messina, he brings home with him not only the confirmed bachelor, Benedick, but also the eligible young Claudio.
Claudio and Hero, Leonato’s daughter, fall instantly in love with each other and plan an imminent wedding; meanwhile, Leonato’s niece Beatrice resumes her love-hate relationship with Benedick, trading insults.
Don Pedro is intent on tricking Benedick and Beatrice into publicly confessing their love for each other. At the same time, a bitter Don John and his followers, Borachio and Conrade, deceive Claudio by denouncing Hero as unchaste.
At the altar, Claudio refuses to marry Hero and the party disperses, many believing Hero to have died from the slanderous attack.Dogberry and his Watchmen are sent to investigate. And, since this is a comedy, the truth is brought to light and there will be a wedding after all. But who will be the bride?
William Shakespeare’s Much Ado About Nothing, abr. by David Viita & Conny Loder
Directed by Conny Loder & John Yates, produced by Ken Lawler & Peter Heinz.
Performances: 7-11 & 14-18 July 2021, starting at 19:00h. Shows last approx. 100 minutes.Theatron, Westpark.
Greetings from Messina High School! We have been BUSY! With zoom as our best friend now, we have rehearsed online — and we have started to record! Brace yourselves, this production will be a hybrid of an analogue 3D//digital zoom//audio-de-luxe entertainment! If you don’t believe us, why not check out our trailer and some witty banter betwixt Beatrice and Benedick. More teasers to follow.
“Somehow this bottle completely disappears into the background. Got a different bottle?”
“Alonso, Sebastian is to your right and Antonia above your left shoulder.”
“No, your other right.”
“Here’s a sreenshot, everyone.”
“Why is this not working? I can hear everyone now but nobody can hear me. Now I can’t hear anyone anymore, but they can hear me… what’s going on?”
I stopped counting how often these sentences were uttered in the last four weeks. But we managed — sound, video, backgrounds, passing props from one frame to the next — all sorted. It’s been quite a journey. Now let’s start acting.
“Oh brave new world that has such people in it” or: theatres are allowed to open again, so why keeping the Tempest digital?
While the Bavarian Government opened the possibility for theatres to be back from 15 June, albeit with mighty restrictions, team Tempest decided to remain digital. I believe that outdoor theatre carries a specific mission. This mission is based on the idea to be open for all and everyone to come by, drop in, to join us without restrictions, bring along their family and friends and seat themselves in their convenient way, as outdoor theatre does. Currently it is impossible to accommodate for this. So, let’s stay digital. Let’s stay safe. Let’s entertain.
Why choose The Tempest? The Tempest is believed to be one of Shakespeare’s last plays, if not the last. As such it lends itself to be read as Shakespeare’s farewell from the professional theatre business, with Shakespeare rendering his farewell with Prospero’s epilogue. Maybe one can also read it as a farewell to lockdown? What will the world be like when we all meet again?
The play, specifically written to be performed indoors with its first recorded performance dating to 1611 at the court of James I, rings in a new staging practise. Similarly, for this digital project, directors and stage managment had to come up with some unique ideas to adapt to virtual staging. This also meant that actors had to accommodate for the missing scenery and set by setting up a home film-studio in their living rooms or bedrooms. Some were even banned to the cellar by their families for rehearsals. It’s a hard life in theatre business… Isolation fun?
In Renaissance time, the shift indoors also brought along opportunities. The different acoustics allowed more subtle and quiet music to be used; a candlelit theatre created the famous fourth wall and as such drew the audience into an illusion, created on stage. Think about all the magic tricks that could now be performed. And we also have some that we can’t wait to show you.
Costumes became more precious as they no longer were exposed to the wind and the rain… We know that Inigo Jones (1573-1652), architect and contemporary of Shaksepeare, designed the costumes for the play’s sophisticated and stilised Wedding Masque.
Our Wedding Masque looks superb. Beautiful music and singing, and wonderful costumes. But beware when those spirits turn into harpies…
So here we are. Are we “such stuff as dreams are made on?” Possibly. Stranded in the virtual world, we’re trying to connect to the real world. We’ll zoom ourselves to you. The first four weeks have been quite an interesting journey.
How interesting? Stay tuned. I’ll talk some more about it next time. There are some entertaining facts coming up to be shared with you all.
So a virus has brought a standstill to the arts, a tiny virus that can be rather lethal. This standstill prevented us from going up for our premiere, for all of our scheduled shows. While this puts us into line with Shakespeare and his fellow actors when their shows in the seventeenth century were halted due to an outbreak of the plague, it is undoubtedly an experience that we would gladly have passed on. It creates a vacuum, because cripples the actor; it silences the actor.
It is also ironic that we should be halted in our production with a play such as Romeo & Juliet. The text offers a dramatic rendition of our current situation, does it not?
But the show is only one side of the production. While of course it matters that artists are made visible through being on stage and engaging with an audience, for the artists the journey towards the show is equally important and mind-opening. Engaging with their roles and positions within the team, engaging with the text and bringing it to live, bit by bit, the artists offer so much of themselves to the production — and most importantly, offer so much support and friendship to their fellow artists that one could almost say, the performance ends up as a commodity.
Anna-Maria: What I like about theatre is that it gives you the opportunity to explore your creativity and develop as a person. it’s amazing for building up self-confidence and really learning to trust yourself. another amazing thing about theatre is meeting a group of new, motivated and so supportive people who you can share all the priceless memories along the way with. in addition , theatre is so much fun and I really enjoy acting , as you can learn a lot by portraying a character. Theatre is also great for learning valuable life skills which are sure to be helpful in many different aspects of your life. for example, teamwork , discipline , achieving your goals and so much more ! furthermore, theatre leads to countless opportunities which you can explore in both artistic as well as creative aspects. one example of such an opportunity for me is helping direct this year’s production of Romeo and Juliet. through his I have had the opportunity to be creative and present my ideas on the stage as well as gain valuable leadership skills and learn how to motivate the team and guide them through all the rehearsals to that they can deliver to the best of their ability and present a show that we all can be proud of. as for one thing that theatre has thought me , that would be self-confidence and to believe in myself. and from starting off as one of the princes in Richard iii , to playing the iconic role of lady Macbeth , all the way to directing Romeo and Juliet , I would say that theatre has shown me that if you work hard and set your mind on a goal , you can achieve anything!
Conny: Ever since I started teaching at the ESM, I had a theatre group to keep me busy in the afternoons and weekends. I remember the very first time that I intended to put on a Shakespeare production, it was Midsummer Night’s Dream. I was anxious and wondered what it would take to persuade a group of teenagers to put on a Shakespeare play. How silly of me to think they needed to be persuaded!!! And so it all begun, the ESM Players were born, and have been going strong ever since. And will continue, doubt not…
Laura: Every theatre performance has something magical to it. It can make the audience laugh, cry, angry and makes them sit at the edge of their seats. It is astonishing to see a story coming to life and enchanting the spectators. The fear of the unknown is always present. For example, the fear of standing on a stage for the first time. Theatre taught me to try things out first, before throwing the towel and saying, “I can’t do it”.
Anna-Lena: Theatre is like a room where I can try everything, I can be mean, nice, cute, funny, stupid etc. It is a place you can be who you’re not and at the same time who you truly are. Theatre isn’t all about being on stage, reciting your lines and moving to it, it is about working in a team, having fun and meeting new people.
Arian: What I like about theatre is getting to know new people and expressing your acting skills, this has taught me how to speak up and being confident about yourself.
Anna: I have been doing theatre for as long as I can remember. The first performance I ever did was when I was 1 month old. I was admittedly only playing baby Jesus. It has taught me a lot of things but to me the most important is theatre taught me how to speak up.
Malou: One thing I like about theatre is the way you can stand in the spotlight. You are one stage and there isn’t a better feeling or another place you would like to be . I’ve done theatre all my life and I haven’t gotten bored of it once. Theatre has taught me to express myself better. I’ve always made great friends in theatre. The Team is always very nice, and I gained very good friends that are as crazy as myself.
Joao: Theatre is fun. Besides, if People think I’m a weird, I can just call it ‘method acting’. And, hey, staying late in School can apparently be fun sometimes!
Clarisse: The thing I love about theatre is the satisfaction when we perform. I love the feeling of being on stage, of people praising you, the mingled sense of excitement and nervousness that you feel just before the play starts ( and also during the play ¯_ʘ‿ʘ_/¯) Theatre has mostly taught me how to be less shy. I used to be extremely shy, and now, thanks to all the other actors, and Conny, I have learnt to speak up and be proud of it.
Jolanta: Theatre and acting within makes me forget about my own problems and it let me live in someone else’s shoes for a moment. Theatre brings books, especially dramas come to life, so people can see and enjoy it. It also creates a little family within the cast. What I really like about theatre, is that it lets me create memories and happy times for myself, to remember for the future, when I’m going to be 20, 40, 60 and maybe even 80. I want to be able to look back and think about those happy times without having any regrets. Theatre and acting within makes me forget about my own problems and it let me live in someone else’s shoes for a moment. Theatre brings books, especially dramas come to life, so people can see and enjoy it. It also creates a little family within the cast. What I really like about theatre, is that it lets me create memories and happy times for myself, to remember for the future, when I’m going to be 20, 40, 60 and maybe even 80. I want to be able to look back and think about those happy times without having any regrets. I haven’t been acting for a long time and I haven’t performed a play in front of many people, but it has for sure taught me one thing. I should hold my head high, be confident and be who I really am, because putting out an act belongs into a play and not real life. I want to show people who I really am, instead of pretending to be someone else, and if anyone doesn’t like the real me then I just shouldn’t care, no I just won’t care.
Lea: What I like about theatre is that I have found a safe place to talk and to have fun without anybody judging, it’s a family. The attitude, the fun we have in theatre is the best part of my week!!! Theatre has taught me to be myself around other and if they don’t like it, eff ’em.
Michaela: Theatre has taught me to be self-confident about myself and to not give up. What I especially like is that I can be whoever I want to be and every character I can only imagine, but at the end I am still me.
Lise: There’s an atmosphere during rehearsals you can’t really find anywhere else. I like how the whole cast interacts with each other and it’s fun to watch as scenes come together. I learned that there is more to a play than learning lines and reciting them. I was more aware of the overall process than last year and I realise how much work and effort goes into a play before it gets to be performed. I had a lot of fun this year!
Clementine: I like that I can be myself in the craziest way possible. Theatre has taught me that I can do everything I want if I have the imagination necessary. Sophie: What I love about theatre, is that I can be someone else for a little 1h or 2 and that’s fun. Theatre has taught me how to free my emotions and it me that it’s not because you have smaller role that you’re not as important to the play.
Malena: I love theatre, because it is a safe place where I can express all my feelings. I also enjoy spending time with the group, there’s always something to laugh about and overall, we are having a great time. heatre has taught me how much work you put into something your passionate about. But at the end you can see how all those rehearsals have paid off and created an amazing play!
Sophie: What I love about theatre, is that I can be someone else for a little 1h or 2 and that’s fun. Theatre has taught me how to free my emotions and it me that it’s not because you have smaller role that you’re not as important to the play.
What more can we say? As a director it breaks my heart that we can’t go up and bring our production to you. As a teacher, reading up on what the team has to say tells me that I’m doing the right thing when we spend afternoons and weekends at school. As a friend I feel privileged to see how Shakespeare, how theatre, the arts bring people together and allow them grow and find friends for life. Theatre matters.
What can be done? The ESM PLAYERS aim to go online with a reading of their production. At least we’d like to bring Shakespeare to you, to your home. We’d like to bring our version of Romeo & Juliet to you. If the audience cannot come to the playhouse, the playhouse will come to them. Stay tune, we will update you on the when and how we will meet again.
So, a final word. Let’s stay safe, let’s stay indoors. Lest it will befall on us what hath befallen Londoners back then.
It’s been a few busy weeks and we’ve accomplished quite a lot. Let’s start with our poster, designed by the wonderful and talented Clarisse Bourgoin.
As you can see, we stuck with our colour themes red/blue. Soon we can lift the secret as to what these colours designate. Well, you might be able to guess when you see our team photos…
Next, we finished our trailer. Hurrahhh! Taking full advantage of this mild winter, we were able to shoot it at the European School — and mostly outdoors, too. Well done Clémentine Zimpfer, creative adviser for the trailer, and Léa Mayoral who stars at the narrator/Chorus.
And finally, we’d like to present to you our three teams: red, blue and black. Can you guess who’s who?
Team Red — The Montagues
Mercutio is just too stylish in his Hawaii-shirt, how could anyone not want to be his best friend? And Lady M sure knows how to wear sparkle. Benny’s always ready for some good joke, while Romeo is going through a tough time at the moment — Rosaline didn’t text him back…
Team Blue: The Capulets
Did you spot Tybalt’s tattoo? Better not mess with him. And what about Lady C’s makeup? Very eighties, she surely rocks that look. Peter has always been the Hippie in the family, but Lord C doesn’t really care much. Juliet and Nursey are best friends and share all their secrets. Until one day…
Team Black — The Prince, County Paris and the Citizens of Verona
Team Black is all about installing order in Verona. Or, at least, if they can’t do that, marry rich Capulet’s daughter (Paris’ cunning plan), or marry rich Capulet’s daughter to someone different (Sister Laurentia’s cunning plan). The Prince would prefer just a bit of peace occasionally, and not having to use his whistle all the time (guard your ears). Chorus and Co-Director just try to keep the story rolling. Spoiler alert: it won’t be a happy ending.
And then, there is this important prop. To some it’s just a football, to others it’s a dangerous weapon while someone will be biting their thumb at someone else…
What it all has to do with Romeo & Juliet? Stay tuned….
Romeo & Juliet is a fight-laden play. There are three scenes in which fights take place, one scene that features a fake death and, we thought, why not add another one? So we will initiate the production with an unusual scene that is not originally part of R&J (albeit it, it is originally by Shakespeare, we promise!).
Our actors have a lot of fun with their theatre daggers, but before they may use them to rehearse the fight choreographies, they rehearse with rather unusual items. Anna-Maria, AD, is very keen on having the actors be comfortable with their movements and blocking before she hands out the theatre daggers. She explains that first she has the actors dry rehearse in slow motion, to emphasise and set blocking. Then they get their ‘replacement daggers’ — and since everyone shows up with their school utensils, what better to use than good-old highlighter pens. Only when neon-green and neon-pink have made it safely into the choreography, will Anna-Maria hand out the real props. And this we do every single rehearsal. We’re not there yet, but with the coming months ahead of us, by March it will look quite like the real thing.
Here’s a sneak peek of Tybalt (Lise) and Mercutio (Malou) — in slow-motion. The bags around the two actors, you ask? Well, you need to get the actors used to the proper stage dimensions of Galli Theater.
Reminds you of something? Monty Python and The Holy Grail?
Als Gregor Samsa eines Morgens aus unruhigen Träumen erwachte, fand er sich in seinem Bett zu einem ungeheueren Ungeziefer verwandelt. Er lag auf seinem panzerartig harten Rücken und sah, wenn er den Kopf ein wenig hob, seinen gewölbten, braunen, von bogenförmigen Versteifungen geteilten Bauch, auf dessen Höhe sich die Bettdecke, zum gänzlichen Niedergleiten bereit, kaum noch erhalten konnte. Seine vielen, im Vergleich zu seinem sonstigen Umfang kläglich dünnen Beine flimmerten ihm hilflos vor den Augen. »Was ist mit mir geschehen?«, dachte er.
And there it was — opening night for Die Verwandlung! And us not only in the front row, but also represented with selected texts from our workshop.
Jan Friedrich’s take on Kafka’s text is an interesting collage. Not only does Friedrich work intertextually when implementing various scripts from Ibsen and Woolf, he also opts for a deconstructional approach: the Samsa family’s house gets literally taken apart during the 2,5-hour-show, so does the family itself and even the transformed Gregor is represented by a triple-bug played by three actors in pink bodysuits — Janosch Fries, Simone Oswald and Michael Schröder. The figure three is, as in the original text, continually taken up in the production — dismantled and then put together again.
Transforming an epic text into a dramatic one, especially one that relies so heavily on a narrator as Die Verwandlung, is always a challenge. Friedrich solved this challenge by having the various characters of the family take over narrative parts, therefore presenting the story not only out of one perspective, but out of multiple ones. The audience therefore is forced to put the puzzle together themselves — which character’s rendition of the events can one trust? To deepen various perspectives, the production employs medial means — a live camera projection of specific scenes is projected onto the outside of the Samsa house, and at one point, onto the torso of one of the three bugs. These images create a certain voyeuristic atmosphere, since these scenes rely heavily on intimate and private moments of the various family members. The only set-back would be the delayed and mismatching sound in these medial scenes.
While the set was rather puristic, the characters themselves were presented in a much louder fashion, much resembling the Simpsons. Painted in yellow, with oversized wigs made of foam rubber and wearing huge, bulging eyes, they appeared grotesque. Emotions were expressed through language and gestures, facial expressions could not be deciphered. Their puppet-like appearance could alos very well signal a dehumanized family unit.
The first half ended on one of the bug-actors seemingly in dialogue with himself, slipping back and forth between Mother and Son. The son, notifying his mother of a disease that would gradually degenerate and kill him, begs his mother to help him to end the torture. The mother though cannot accept her child’s death and therefore refuses to help him die. A harsh moment to be released into the break. After the intermission, the audience is faced with a new transformation, one into the reverse — from bug to human being, from bug to — so it is implied by the actor wearing a ‘human’ mask — Kafka himself. Notably this character stood out against the others because it appeared and looked as the only human being in this production, but also felt like one. At some point, all three bugs morph back into one entity and, void of any energy and determination whatsoever to stay alive, willingly allow themselves to be squashed by the house’s roof. The roof now sitting prominently on stage centre, turns into a hill-side area, with the remaining family members — father, mother and daughter — forming a holy trinity and frolicking about the future. Fittingly, the evening ends with the Maid chiming into the Beatles’ “Here comes the sun…”
All in all, it was an evening with some excellent acting and much conversation to ensue in the classroom. Thank you, Schauburg & team!
It’s September — which for some means autumn is around the corner. For others it means that the ESM Players get together and don their costumes for the next Shakespeare show. So, let us introduce you to this year’s Team Shakespeare!
Those who have followed us for the last four years will spot some familiar faces. This year’s Assistant Director will be Anna-Maria (top, left corner), who has been the ESM Players ever since they had their humble beginnings. And back then they weren’t even called the ESM Players. So, good to have you back on the team!
We also welcome many other familiar faces — and many new ones. Welcome to the ESM Players family.
We will post weekly updates from our Shakespearean Journey, and next week we will announce our play and, of course, the casting. Stay tuned! We’re looking forward to entertaining you with another great Shakespeare show in March 2020.
Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-cross’d lovers take their life; Whose misadventured piteous overthrows Do with their death bury their parents’ strife. The fearful passage of their death-mark’d love, And the continuance of their parents’ rage, Which, but their children’s end, nought could remove, Is now the two hours’ traffic of our stage; The which if you with patient ears attend, What here shall miss, our toil shall strive to mend.
Photos: Tom Hafner
Photos: Dora Lutz
A glooming peace this morning with it brings. The sun, for sorrow, will not show his head. Go hence, to have more talk of these sad things. Some shall be pardoned, and some punishèd. For never was a story of more woe Than this of Juliet and her Romeo.
And farewell friends, thus R&J ends…
Thank you, everyone, for making this happen — and a big THANK YOU to our great audience!