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A biting comedy of manners adn social critique, Director Felix Sommer’s staging of Gilles Dyrek’s “Venice in the Snow” is earning rave reviews and standing ovations for its fast-paced wit and compelling performances. The production, set in an open-air stage, expertly unmasks social facades through a whirlwind of relationship comedy and escalating absurdity.
A Comedy Built on Misunderstanding
The play’s brilliance lies in its dynamic between what the audience knows and what the characters perceive.From the outset, viewers are privy to a level of awareness the characters lack, amplifying the humor as the situation spirals into chaos. This carefully constructed dynamic fuels a laughter marathon that culminates in excited applause.
Stellar Performances Drive the Narrative
At the heart of the production are four actors delivering standout performances. Juliane Wegener embodies Nathalie, a character living in a state of blissful naiveté, portraying her “as if she were covered in colorful icing,” according to one observer. Wegener skillfully reveals layers beneath the sweetness, demonstrating a surprising range and emotional depth.
Andre Stegemann as Jean-Luc provides a charming counterpoint, willingly participating in the exaggerated displays of affection while striving to maintain a harmonious atmosphere. However, it is Lisa Daldrup who truly captivates as Patricia. Described as “bubbling inside like a volcano,” Daldrup’s performance is a masterclass in comedic timing and physical acting.
initially feigning silence, Patricia is mistaken for a foreigner, a misunderstanding she embraces with “diabolical pleasure.” Daldrup’s spontaneous creation of a fantastical language, reminiscent of Eastern European dialects, is particularly lauded. “It’s amazing how perfectly she celebrates this fantasy language,” a source noted. Her face, a canvas of shifting emotions – from simmering anger to mischievous joy – is a constant source of delight.
Completing the quartet is Sven Stegemann as Christophe, the hapless boyfriend caught in the crossfire. His portrayal of desperation and helplessness adds another layer of comedic tension to the unfolding events.
From Harmless beginnings to Absurd Escalation
The play’s trajectory is carefully plotted, building “brilliantly from a rather harmless beginning to a complete disaster at the end.” A pivotal moment arrives when Nathalie suggests gifting Patricia a blanket for her fictional homeland, “Chouvenien,” prompting a chaotic scramble to donate household goods. Patricia’s gleeful acceptance of the gesture ignites a he
The escalating donations, fueled by the characters’ desire to appear generous and informed, quickly spiral out of control. The situation culminates in a full-blown, farcical attempt to “aid” chouvenien, with characters offering increasingly ridiculous items.The play’s humor derives from the characters’ obliviousness to Patricia’s deception and their eagerness to participate in the charade.
“Venice in the Snow” ultimately ends with the complete unraveling of social niceties. Patricia, having thoroughly enjoyed the chaos she instigated, reveals her game, leaving the other characters to grapple with the absurdity of their actions. The play concludes not with resolution, but with a lingering sense of discomfort and a pointed critique of superficiality. The production’s success is a testament to Sommer’s direction and the cast’s ability to deliver Dyrek’s sharp satire with impeccable timing and energy. The standing ovation is a clear indication that “Venice in the Snow” is, indeed, great fun!
