Why do poor people stink so much? Why are the homeless always there where they cause problems? Why does everything always change? “Dinner” at the Deutsches Theater shows how a hypocritical environment fails because of its lies.
As far as the appetizer is concerned, the world still seems to be in order, but as far as the digestive is concerned it is already in chaos. The Deutsches Theater in Berlin invites you to the table with “Das Dinner” – based on the novel “Anrichten” by Herman Koch. With each course, the illustrious diner sheds a little more of his layers – the moral ones – until finally he appears as a naked group of interests. It’s not a pretty sight. However, András Dömötör’s production, in which tabloid comedy and social criticism meet a stellar cast, is impressive.
It is said that the theater is increasingly just a self-referential bubble. “Dinner” On the other hand it doesn’t protect its audience, it includes them. Ulrich Matthes and Maren Eggert sit in the front row before taking to Ann-Christine Müller’s chic stage. Almut Eppinger’s costumes – jacket and evening dress - do not differ noticeably from the premiere audience. Paul and Claire, as the characters are called, are a completely normal couple with a completely normal son Michel.
At least that’s what you think. But the teenager played by Carlo Krammling has a less normal hobby that he cultivates with his cousin: they torture homeless people and film themselves doing it. A woman dies. And a video of the night of the crime appears online. The identities of the young men are not known publicly, but their parents know. In the restaurant they meet Paul’s brother and his wife, Serge and Babette, to clarify the matter. “It’s not going to be a relaxing evening tonight,” Claire says.
And Claire is right, it won’t be relaxing. Furthermore, Serge, played by Bernd Moss, is a well-known politician, whose wife, played by Wiebke Mollenhauer, has the features of a modern Lady Macbeth. The career of the promising social democrat would be destroyed. Who will then save democracy from the “shift to the right” in the next elections? The more the two couples talk, the clearer it becomes that these model liberals are not interested in enlightenment, but in shielding themselves from blame.
Defense from guilt turns into aggression
Surrounded by a cartoonishly over-the-top waiter (Andri Schenardi) and the no less ridiculous restaurant manager (Jens Koch), the defense of guilt turns to aggression: Why do homeless people have to lie around? Why do poor people stink so much? The impoverished rabble here is nothing more than an obstacle to the progress of the liberal middle class and its descendants. Change something about the situation? No matter how you talk, you secretly don’t want it anymore.
Until the furious finale, which is not revealed here, “The Dinner” is a thrilling chamber opera with bitter conflicts in which no one is spared because of their gender or other characteristics. Ultimately it’s about your position. The evening also shows why the liberal left no longer wants to talk about class: because when you get to dessert you realize that class is the ultimate reason for their actions. Except now you can fight outside the fancy restaurant and downstairs.
Interview between Time.news Editor and Theatre Expert
Editor: Welcome to Time.news! Today, we have the pleasure of speaking with renowned theater expert Dr. Elena Fischer, who has been closely following the provocative performance “Das Dinner” at the Deutsches Theater in Berlin. Thank you for joining us, Elena.
Dr. Fischer: Thank you for having me! It’s a pleasure to discuss such a compelling production.
Editor: “Das Dinner,” based on Herman Koch’s novel “Anrichten,” delves into some heavy themes. Can you give us a brief overview of the play’s premise and its central conflict?
Dr. Fischer: Certainly! The play revolves around a seemingly ordinary couple, Paul and Claire, who are confronted by a horrific crime committed by their teenage son, Michel, and his cousin. They’ve filmed themselves torturing a homeless woman, leading to her death. The dinner they attend with Paul’s brother and his wife becomes a battleground of moral dilemmas and family loyalties as they try to decide how to handle the situation. This tension between societal norms and personal interests is brilliantly captured throughout the performance.
Editor: It sounds intense. The article mentions that with each course of dinner served, the diners peel away their moral layers. How does the staging and direction enhance this theme?
Dr. Fischer: András Dömötör’s direction cleverly uses the dinner setting as a metaphor for societal facades. The immaculate set and costumes, designed by Almut Eppinger, create an illusion of normalcy and refinement. Yet, as the evening progresses, the characters reveal their true selves—self-serving, hypocritical, and morally compromised. It’s a powerful reflection on how appearances can be deceiving, especially in a modern, self-referential society.
Editor: The concept of the theater being a “self-referential bubble” is intriguing. How does “Das Dinner” challenge or engage its audience on this notion?
Dr. Fischer: Instead of isolating the audience in an elitist experience, “Das Dinner” invites them to reflect on their own values and complicity in societal issues, such as the treatment of the homeless. The characters are not merely actors; they are representations of real societal flaws. The audience—I’d argue—might see aspects of themselves in these characters, prompting deep self-reflection and conversation.
Editor: That’s a critical point. The play addresses the uncomfortable reality surrounding the neglected individuals in society. How does it handle the sensitive topic of homelessness?
Dr. Fischer: It doesn’t shy away from the ethical implications. By placing the homeless figure at the center of a violent act committed by privileged youth, it starkly highlights the often-overlooked violence faced by marginalized groups. The audience isn’t just witnessing the crisis—they’re urged to confront their own biases. The characters’ actions reflect a broader societal indifference, giving the play a chilling relevance in today’s world.
Editor: The collision of tabloid comedy and social criticism adds another layer to the performance. How effectively does this balance work in the play?
Dr. Fischer: It’s masterfully done! The humor often serves to disarm the audience, making them comfortable before dropping the bombshells of moral decay. This juxtaposition keeps the audience engaged while driving home a more serious critique. Laughter becomes a coping mechanism, and it’s this duality that makes the production both entertaining and deeply unsettling.
Editor: It seems “Das Dinner” is not just about entertainment; it serves as a catalyst for thought and discussion. As a final thought, what do you hope audiences take away from this performance?
Dr. Fischer: I hope audiences leave questioning their own morals and attitudes, not only towards those less fortunate but also about complicity in societal violences—be it through silence or inaction. “Das Dinner” reflects our reality and challenges us to hold a mirror to our own lives. It’s an important conversation starter about empathy, responsibility, and the fragility of societal norms.
Editor: Thank you, Dr. Fischer, for your insightful analysis. “Das Dinner” certainly sounds like a must-see for anyone looking to explore the depths of human morality within our contemporary social landscape.
Dr. Fischer: Thank you, I appreciate the opportunity to discuss this important work!