Oh, one of the founders of Übel & Gefährlich wrote a book about his early twenties? And now there’s a theater adaptation of it? Oh great. Another “Wasted German Youth” piece, that’s just what we needed.
But as a bachelor of arts student, my evening planning is essential, because I don’t want to wake up too early. What would I do with a completely free morning? I’d just get bored! So I am easily persuaded. Friends tell me that they simply loved the book, and how it made them want to dance. Loving, and dancing don’t sound like things I’d want to miss.
So here I am, expecting nothing but a spoiled boy’s life full of drugs, and partying, and then, in the end, he is probably going to grow up. And then the music starts, and it’s so fantastic. Here we have Oskar Wrobel, who’s club is about to be torn down tomorrow, the New Year’s Party is going to be the last event, all of his friends are there, and everything blows up. Oskar’s in hock to basically everybody he knows, driven by his business partner, blackmailed by the Hamburg Kiez Mafia, and haunted by Mathilda, his lost love, his curse.
Yeah, it still sounds like “Wasted German Youth”, and, alright, it is. But it is so tense, it makes me feel. I, personally, don’t have a club, or a ghost-ex-boyfriend to cope with, but Oskar, and his lovely friends’ problems are all familiar. The feeling of being overwhelmed by so many inane obligations that drive you over the point of total exhaustion, where everything just happens to you and all you do is react – like a puppet.
Sören Wunderlich embodies a lovable, attractive and awkward Oskar, who is surrounded by his equally amiable friends. Julischka Eichel’s performance as the lively Nina stands out, since Nina’s character could easily be misunderstood as silly, or ridiculous. But Eichel plays the role very candidly, making Nina more than an eccentric side kick. Also a highlight: Martin Pawlowsky as Herr Rockmann, a fallen rockstar, on the edge of decay. The actors’ performances are believable, but sometimes too plain, presenting the characters quite shallowly.
What really gives the play a dash of the fantastic is the live music. 1000 Robota sit in the back of the stage, in their private little corner. Their music accompanies the play, sometimes just swaying in the background, or like a smoothening blanket on the actors performing in the front. But then there they are, pushy and intense, driving the actors, and the plot. The beat’s irresistible, making the audience nervous, and keen for what’s going to happen.
Jorinde Dröse’s production is compelling, entertaining, and well-rounded. It hasn’t taught me any valuable lessons that I didn’t learn already (or was supposed to, anyways), but when I left the theatre, at least I felt wholesome, and I felt like dancing.
So don’t miss all of the above, plus the biggest ice cube machine in Hamburg, go see “So was von da” in the Schauspielhaus, one more performance is coming up: 22 April, 20:30h, 8-11€ with student ID
Hannah was listening to the “Little Miss Sunshine” Soundtrack by Devotchka