Anyway, Christian Schmidt has built a truly wonderful, almost sophisticated country house in the western style “Schöner Wohnen” on the revolving stage. The solid stone walls including the embedded fireplace in the sitting room harmonize with the wood paneled walls, there is a solid brass candelabra along the staircase and an arched passage to the fitted kitchen.
There is also a rotary telephone, a transistor radio and a record player. Because in between you put on the disco hit “You Make Me Feel” by AIDS victim Sylvester or the great dreamer “All by Myself” by Eric Carmen. The Clash’s “Should I Stay or Should I Go” is heard briefly - and Joy Division’s “Love Will Tear Us Apart” (in several versions) is heard over and over again as a constant motif.
It is really cooked – in an enamel tin (before the break there is a noticeable smell of fried eggs, later from spaghetti carbonara). One could think that the main role must be played by the house, which is only lonely, – and not the long-suffering Vanja, who, like the caller Cassandra Astrow, is completely in love with the beautiful Jelena .
Because the constantly rotating architectural monolith with the bathroom as a retreat on the top floor dominates so much, there is no outside and therefore no garden (where the first act actually takes place). And you can only see the forest for the trees in projections. There is also much criticism of denaturing.
The rest (the premiere on Thursday lasted almost three hours including the break) is slapstick and slapstick. The old professor and his wife greatly disturbed the ritual rural life. Because of these uninvited intruders, Wanja, the persecuted brother-in-law, wants a family constellation in an emergency.
Perhaps Niermeyer was inspired by “Dėdė Vania” – the grandiose production from the Vilnius Little Theater directed by Tomi Janežič was shown at the Vienna Festival 2023. Because she also performs live music – with electric guitar, bass and keyboard. And he also uses refraction: one after the other, a figure steps out of position to face the viewer directly.
In contrast to Tomi Janežič, Niermeyer does not taste the sweet melancholy, the endless sadness. The fate of the ugly duckling – Sonja wants to arrest the doctor Astrow, but the wrong Jelena is holding him – does not affect him much for a long time. Johanna Mahaffy’s big moment, made up non-sexually by Stefanie Seitz with glasses and a mullet, comes only with the final persistence monologue.
But despite some objections: the chaotic hustle and bustle is great entertainment. Joseph Lorenz shines as a whining professor – troubled in a tuxedo – with self-pity and arrogance. Thomas Frank as Thelegin, who is constantly tripping over the past, is stunning. Marianne Nentwich’s beautiful grandmother takes loving care of everyone; She feeds her doll with unusual behavior, but she does not understand anything. And Alexander Absenger, a flat-headed Astrov, struts in front of Jelena and acts like a puppet. Alma Hasun really plays a role as the eldest daughter, even if she snobs everyone - and she does not want to help in the kitchen despite her unbearable boredom, which can be seen in the faded expression on her face.
Continuing, Raphael von Bargen shows in a very artistic way that the stage design is not his main role in “Uncle Vanya”: he conveys his feelings to his lover in an exciting pantomime – and understandably disappears out with false hair. when the Professor steals the property, which is actually his daughter Sonja, he wants to sell things off for his own benefit.
And so the acclaimed Josefstadt production is likely to succeed. Although there is not much left of Chekhov’s atmosphere including the samovar.
How can set designers effectively use space to reflect a character’s emotional state?
Time.news Interview: A Deep Dive into Contemporary Theatre Design
Editor (E): Welcome to Time.news! Today, we have the pleasure of speaking with renowned theatre design expert, Christian Schmidt, whose latest work has truly transformed the stage with a remarkable architectural design. Christian, thanks for joining us!
Christian Schmidt (C): Thank you for having me! It’s a pleasure to be here.
E: Your recent project features a striking country house design in the western style known as “Schöner Wohnen.” Can you describe what inspired this sophisticated structure?
C: Absolutely! I wanted to create a space that merged warmth and intimacy with a sense of nostalgia. The solid stone walls, wood-paneled interiors, and even the solid brass candelabra were all designed to evoke a feeling of home, while balancing industrial elements. It’s a place where the audience can be transported back to a simpler time, yet also feel the weight of the characters’ emotional struggles.
E: It sounds like the set itself plays a pivotal role in the storytelling. How does the design influence the narrative?
C: The house is almost a character in itself, and as it rotates on stage, it reveals different facets of the story—much like how our perceptions change. The embedded fireplace creates a cozy atmosphere, while the fitted kitchen hints at domesticity. There’s a dichotomy between the characters’ internal emotions and the physical space they inhabit, especially as the narrative unfolds.
E: I noticed that there’s a compelling use of music throughout the production. Songs like “You Make Me Feel” and “Love Will Tear Us Apart” are recurring motifs. How did you decide on these particular pieces?
C: Music is an incredibly powerful storytelling tool. I chose these songs to mirror the emotional landscape of the characters. For instance, “Love Will Tear Us Apart” conveys deep longing and heartache, enhancing the tension in the love triangle I wanted to portray. The contrasts between those disco hits and the darker themes resonate with the audience, bridging the gap between light-heartedness and melancholy.
E: The lack of an outdoor space and garden is quite striking. What was your reasoning for this choice, considering the setting initially takes place outside?
C: By eliminating the garden and outdoor space, I aimed to create a sense of isolation for the characters. The constant rotation of the house symbolizes their inability to escape their realities. It reflects a kind of confinement where internal struggles are magnified, and the audience can better connect with the characters’ emotions.
E: I’ve read that you draw inspiration from other productions, like Tomi Janežič’s “Dėdė Vania.” How do you think your approach differentiates from his?
C: Janežič’s work emphasizes a certain melancholy that resonates deeply with audiences. While I appreciate that emotional depth, my goal with this production leans more towards slapstick and the absurdities of life. We embrace the chaos introduced by the old professor and his wife, highlighting the impact of unexpected intrusions in rural life, and tackling the complexities of family dynamics in a more playful manner.
E: It sounds like a truly unique interpretation of classic themes. Lastly, any advice for young set designers looking to make their mark in contemporary theatre?
C: I would say don’t shy away from experimenting with forms and concepts. Theatre is a collaborative art; embrace different mediums—be it music, live performance, or innovative set design techniques. Remember, the audience’s experience is paramount. Engage their emotions, and allow your spaces to tell stories just as much as the actors do.
E: Thank you, Christian! Your insights shed light on the intricate relationship between design and narrative in theatre. We look forward to seeing how your work continues to evolve!
C: Thank you! I’m excited for what’s next and appreciate your interest in contemporary theatre.