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On the Reichenau Neues Raum, a shabby leather bench stands on the stage of the arena. On this one plays all sorts, he is lovingly and brutally scrounged, cuddled, loved, resigned rested, slept – and finally there is a rape. Tennessee Williams' "Endstation Sehnsucht" from 1947 was the second premiere of this year's Festspiele Reichenau on Tuesday night.
In 1951, Elia Kazan made the famous film with Vivien Leigh and Marlon Brando, a clbadic. Beverly Blankenship has other ideas in Reichenau: she undresses the vibrant madness and shows crossheads arguing without worrying about herself and others. The owner's daughters, Blanche and Stella, fled differently from their noble background. Blanche lost everything while trying to emancipate herself erratically, Stella tried something similar and found a lover of animals, the Pole Stanley Kowalski. "I'm not a Polack," he shouts. "I'm Polish and I was born in America, American citizen!" Which was worth the gold – and at the time when the United States became the world leader The southern border of the United States is torn without mercy and illegal immigrants must fear the worst.
Daniel Jesch plays the role of Brando who has barely succeeded, he recreates them, because he's not only an outsider, but also a capable worker with opportunities for advancement, like his wife, Stella, knows how to report. The former proletarian is currently a family bully, a drunken muscular man who has tried his strength for the moment on the boring step-sister. Blanche fled to her sister's house because she has no work and no money – and desiring the old days in the protected environment, where beautiful and sweet girls have been pardoned by capers, the essential thing is that they get married well once. It is Blanche who has failed, they have gone from love to love, now their desire for final destination is achieved.
Petra Morzé, blond and wild, lets forget the vivacious, nervous vivacity of Vivien Leigh. Here is a really tall lady, who is accustomed to dominating – to mental instability takes them to the most resort, if she simply inscribes herself in the junk. Mr. Kowalski feels the turmoil in his humble home, where he was the best dog to date, subjugating his Stella, making her happy and tame
Stanley, Migrant, Social Riser
. The wonderful Dirk Nocker gives the grateful little role of the son of the mother Mitch, this romantic man is blinded by the tunes of White, Stanley specifies it on the past of this dangerous lady. Nocker exudes a particular and tender charisma, even if he stands at his side, he awakens pity. Some ladies would like to make a moonlight with this very decent gray gentleman of the little world. But the appalling White Vamp, which continues to tarnish whiskey, even destroys this last chance for a reasonably safe and friendly existence. You can literally hear the ax cut that line of life. Blanche also throws this marriable admirer and embarks on her dream trip to the oil billionaire, who may have loved her a few decades ago.
Johanna Arrouas enchanted as Stella
Johanna Arrouas touches her as Stella, wedged between two desolate monsters, the man who gave her highlights of all kinds, and the sister, who had been served in the By this charming Cinderella. Oh, Stella – a ray of heat on that hard night. Tobias Rein-thaller likes a shy newspaper that Blanche would like to eat. Rainer Friedrichsen is fantastic about his short appearance as a cunning and gallant psychiatrist. And the young, French mezzo-soprano Katia Ledoux, soloist at the Graz Opera, has the blues.
Intimidating the music of the Southern United States, where kisses, bites and tears are close, imbues this performance more convincingly than "The cat on the hot tin roof" at the 2016 Reichenauer Theater is . Even then, Blankenship staged, by the way, not bad. But only now the festival, or rather at Schnitzler and Co. at home, has actually found New Orleans.
("Die Presse", printed edition, 05.07.2018)
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