Theater "Die Käuze"


Englische Woche 2020

(Entfällt aufgrund der Corona-Krise)

Im Rahmen der deutsch-englischen Theaterbegegnungen gastiert das Lace Market Theatre aus Nottingham 2020 in der Woche vor Ostern (KW 15) wieder in zwei Karlsruher Theatern.

Das Jakobus-Theater und das Theater "Die Käuze" laden alle vier Jahre das Lace Market Theater nach Karlsruhe ein. Umgekehrt sind beide Theater regelmäßig in Nottingham zu Gast. Das Lace Market Theater wird im Jakobus und den Käuzen jeweils mit einem Stück drei Gastaufführungen haben. Alle zwei Jahre werden so eine lebendige Theaterpartnerschaft gefeiert und lange Freundschaften gepflegt. Der Theateraustausch existiert bereits seit 1982.


Eintrittspreise

12 € bzw. 7 € mit Ermäßigung


Kritiken

Aus der Nottingham Post, von Phil Lowe

The Servant of Two Masters

You'll be laughing all night

If you are looking for a bright, colourful and fun night out based on an 18th-century Venetian comedy sprinkled with well-known popular songs and live music then Carlo Goldini's The Servant Of Two Masters (translated by Stephen Mulrine) is your ticket to grab with both hands.

But grab them quickly because, like many Lace Market Theatre productions, this one looks like selling out pretty darn quick and only runs until Saturday.

Directors Jae and Neil Marriott ensure the action is fast paced and that the chaotic confusions serve to amuse not confuse. The language is contemporary. The cast is 12-strong and the young women in the cast are particularly good, all bringing a clowning physicality to the piece. Jennifer White is especially good as Beatrice Rasponi, disguised as her dead brother Frederico. When Alessia Molteni, Glenda Plumari, Natasha Szymanki, Rosie Wallace and White pick up the pace with their mad antics and songs the play really starts to sing.

Konrad Skubis makes a fine Truffaldino, Christopher Collins convincingly plays fierce love-interest buffoon Silvio, Roger Newman proves himself an amusing and solid Pantalone and Arnd Korn plays Florindo with comic lightness of touch.

The production allows the cast to improvise and ask for suggestions from the audience. It will be interesting to see how this aspect pans out in Karlsruhe at Easter when it goes there as part of a theatre twinning event. This version also has the premise of being performed by a troupe of circus types who find themselves having to cover for the real actors who haven't turned up and, occasionally, they include the stage manager and prompt when things get tricky, much to the audience's delight.

At just under three hours including interval, you certainly get plenty of fun for your money.

Nell Gwynn

Carry On, Nell Gwynn?

Life in England was very unsettled during the 1640s. In 1660, the Stuarts were restored to the throne. Actors could be apprehended and punished as rogues. Male actors still played the female roles on stage but all that was about to change.

Enter Nell Gwynn, briefly a prostitute, clever wit, player and lover to Charles II.

On being restored to the throne, one of Charles' early acts was to licence two acting companies and legalise acting as a profession for women.

There have been many books, plays and films about Nell Gwynn.

At The Lace Market Theatre in - Jessica Swale’s comical drama, simply called Nell Gwynn, the action concentrates on the affairs of the heart between commoner and royalty, the Restoration theatre world, jealous rivalries and pressures of life in the public gaze. It is very funny, almost Carry On Nell Gwynn in parts, and it is played with tongue-in-cheek gusto. The piece is tightly directed by Dave Partridge. The costumes are uniformly excellent as are the settings by Partridge and Mark James which use simple visuals to convey the scenes. It's all very meta-theatre, 1600s-style.

Georgia Wray gives us a very joyous, vital, sexually knowing and intelligent Nell and is well matched by a posturing Jamie Goodliffe as Charles II. Also notable are Matthew Thomason as romantic lead actor Charles Hart and Richard Fife as a critically maligned playwright John Dryden.

Linda Croston shows her versatility as Ma Gwynn and Spanish-born Queen Catherine. Clare Moss is imposing as Lady Castlemaine and Louise de Keroualle.

Among the comical goings on and double entendres there is an explicitly feminist message. As the first main stage play in 2020 Nell Gywnn sets the bar high.


Im Theater "Die Käuze" wird gespielt:

The Servant of Two Masters

by Carlo Goldoni
translated by Stephen Mulrine
directed by Jae and Neil Marriot

“Ye gods, what am I going to do? I’m in a fine mess now!”

Betrothed couple Silvio and Clarice are devastated when Clarice’s former fiancé reappears, apparently back from the dead. There follows a high-spirited comedy in which things – and people – aren’t always what they seem.

Lovers, servants, letters that go astray, mistaken identity, disguises and tricks all conspire to create havoc. And right in the middle of it all is the mischief-making Truffaldino – always hungry, always eager to make more money. Not content to be the servant of just one master, he agrees to work for another as well. But trying to juggle two jobs at the same time – while concealing his divided loyalties – just makes matters worse.

In this eighteenth-century Venetian comedy, Goldoni gives depth of character to the stock archetypes of Italy’s commedia dell’arte tradition

This amateur production appears by arrangement with Nick Hern books.


Außerdem im Jakobus-Theater:

Nell Gwynn

by Jessica Swale
directed by David Partridge

“We won’t allow it. It is – unsuitable. The King has a nation to command. You are a distraction.”

London, 1660. After years of civil war and Puritan rule, England is ruled by a king once again – a king with a passion for the arts, fine living, theatre and women.

The merry monarch’s latest infatuation is Nell Gwynn, a young girl from the brothels of Cheapside who has found fame as an actress on the London stage. As lover to the King, Nell must contend with the jealous rivalry of Charles’ other mistresses, the disapproval of his courtiers, the exasperation of her theatre colleagues and the pressures of life in the public gaze.

Jessica Swale’s dazzling period comedy premiered aptly at London’s Globe Theatre in 2015. It paints a vivid portrait of the Restoration court and theatre, and of a woman with some very modern ideas about love, sex and status.

This amateur production appears by arrangement with Nick Hern books with the original music by Nigel Hess.

(Contains strong language and sexual themes)