Rivka Hamlet and Judith Herzberg in Hannover

DrDenmark is a perfect pre-digital surveillance country. Video cameras and listening devices: absolutely unnecessary. The Königshof is an open theater that is used day and night. Here everyone sees everyone, hears what is said, knows everything about everyone, sees disaster coming – and yet they cannot prevent it.

Oliver Helf cleaned the stage in Hanover and covered it in taupe. The uncomfortable seats stand against an oppressively exposed wall. Here the participants sit and wait for their replacement. Even after their death, they follow the events from here. But what does dying in the corrupt empire of zombie courtiers mean?

Ophelia, the freshness of the Allgäu

All seven actors are on stage permanently. Nobody steps down, nobody shows up. The only exception: the spirit of the dead king. He, whose brother who usurped the throne instilled in him a deadly poison, now whispers his murderous revenge in his son’s ear. Phillip Goose, who plays Claudius, stands behind his nephew Hamlet, played by Thorbin Kessler as a cynical and daring schemer. She buys everything from Kessler, stranger, alleged madness, real anger and bitterness, but not because he really loved Ophelia. While one can easily imagine Hamlet as a hermit study on the foggy streets of Wittenberg in November, Emil Schwerk plays the tough and unassuming Ophelia, the fresh-faced farmer’s daughter of the Allgäu than the sacrificial flower before Raphael. She is silent, frowning, sad and wondering, and then bursts out from her: Ophelia rushes off the stage, enters the booths, and heads without hesitation to the sixth grade and sings Freddie Mercury’s great anthem of suffering goodbye “Bohemian Rhapsody.” Unfortunately, this doesn’t really work well.

This “Hamlet” in Hanover only lasts two hours. The play was simplified, its side strands reduced, the language was updated, and Shakespeare’s somewhat long wit at times was brought brief and dry to the present day. Contemporary “Village” is organized by director Lisa Nelebok, which is very classroom-friendly, entertaining and skillfully works with fractions. How do Claudius and Gertrude fit together? Not at all, which is what makes it interesting. Fascinating in all aspects of decadence, Philip Goose plays a king-killer, as a clever force strategist, his queen is as assertive as she is vulgar at Sabine Aurelian, the mistress of an inn she would rather not stay in. It was better for Horatio than Sebastian Nakaggio to avoid Elsinore. Now he stands there as a kind teacher in front of the school’s rebellious class: well-meaning, but hopelessly overwhelmed.

Tapia Freiner and Max Koch in the movie


Tapia Freiner and Max Koch in Judith Herzberg’s “Rivka” in Hanover
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Photo: Catherine Reby

Polonius is a woman: at first she was a helicopter mother, then a royal advisor. In the case of Anja Herden, the ruler is over the top, clever as nails, and self-satisfied in even the greatest submission. She thinks she’s cool, and everyone finds her annoying. Hamlet chokes her. He can hope for extenuating circumstances.

But Fabian Dutt, like Laertes, wants revenge on the dead mother. In Shakespeare, there is a duel with Hamlet, but Lisa Nellebock sets the duel as a prelude to a general massacre. First, the two opponents go down all over the place, then they creep around each other and finally go to each other’s throats. And now a battle of all against all begins: the whole yard sways and rolls over each other, biting zombies who would rather tear each other to shreds. Denmark in Bloodshed: Splashing Hamlet.

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