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      Generational Divides Emerge Onstage in Germany

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      At newly reopened playhouses, once-legendary and younger directors take very different approaches to their mammoth productions.BERLIN — Theatergoers know what to expect from a Frank Castorf production. The director, who helped shape the last 30 years of German theater, favors a deconstructive approach to the classics, reams of dialogue barked like manifestoes and manic performances over a marathon running time.All these Castorf hallmarks — and others — are on display in “Fabian, or Going to the Dogs” at the Berliner Ensemble, but they can’t help but feel old hat, especially when viewed alongside premieres from some of Germany’s most distinctive young theater artists.Scheduled to premiere in spring 2020, but delayed by the pandemic, “Fabian,” at five hours, is roughly two hours shorter than initially expected. I’m glad that the director, who is 69, used the extra rehearsal time to trim some fat. Perhaps the former enfant terrible has mellowed with age.Castorf ran the Berlin Volksbühne for 25 years before being fired in 2017, and this is his third production at the Berliner Ensemble since. It was loosely inspired by Erich Kästner’s 1931 novel about Berlin’s infernally decadent tailspin in the years before the Nazi takeover, but aside from some period details in Aleksandar Denic’s intricate set, there is little Weimar flavor to the production.Instead, Castorf treats the audience to a grim parade of high-octane acting and complicated, often messy, stagecraft that doesn’t seem to refer to anything outside itself.In typical Castorf style, there’s an off-kilter stage that rotates nonstop and actors performing out of sight and captured live via video. The show also features many of the director’s signature props, including gallons of stage blood (for bathing) and potato salad (for dancing in).Probably many of the graying spectators seated in the theater saw Castorf’s revolutionary productions in their youth. But by this point, he’s gone from legend to relic. I found myself wondering (and not for the first time) if his once radical brand of deconstructive theater is now an aesthetic dead end.As often with his work, one detects a strong misogynistic undercurrent, with female characters brutalized or presented as sexually available objects of gratification. So it was refreshing to see the cast’s five actresses transcend their limited roles by giving self-assured performances, especially the Russian-born Margarita Breitkreiz, who projected a feverish intensity, and the young French actress Clara De Pin, who recited Baudelaire and crawled into the audience as part of her physically adroit, courageous performance.Castorf’s quarter-century tenure at the Volksbühne was without parallel in modern Berlin theater history, but Thomas Ostermeier’s 21-year reign as the head of the Schaubühne comes close. “Vernon Subutex 1” is this 52-year-old director’s 41st show at the theater, and it suggests that Ostermeier’s verve-filled productions, which place a more traditional emphasis on the author’s text and on acting, may also be losing their bite.Joachim Meyerhoff in Thomas Ostermeier’s “Vernon Subutex 1.”Thomas Aurin“Vernon” is drawn from the French author Virginie Despentes’s kaleidoscopic trilogy of novels about contemporary French society. Published between 2015 and 2017, the books quickly became a pop cultural phenomenon and earned the author comparisons to Balzac. They have inspired numerous stage adaptations and deserve to be better known in the United States, where the final volume was recently published.The cycle’s title character is a down-on-his-luck former record store owner who embarks on an odyssey through Paris after he is evicted from his apartment. The Schaubühne production is largely faithful to the structure of the novels, where a large cast of highly opinionated characters narrate the chapters in a dazzling merry-go-round of storytelling. But what’s so alive and fresh on the page falls flat here, especially given Ostermeier’s dutiful expository approach and the show’s four-hour length.Despite some inspired performances — particularly from Joachim Meyerhoff as Vernon and Stephanie Eidt as the ex-groupie Sylvie and the reputation-destroying Hyena — the hours drag by. An onstage band, fronted by Taylor Savvy, performs at the earsplitting volume typical of Broadway musicals and is unable to ignite the dramatic spark missing from the production.Like “Fabian’s,” “Vernon’s” premiere was repeatedly delayed by the pandemic. Finally onstage this summer, they arrived around the same time as plays by young German directors who have been reared on a steady diet of Castorf and Ostermeier.The first thing you notice about productions by Ersan Mondtag, one of this group, is their visual flair. He designs his own sets (and sometimes the costumes), which frequently recall German Expressionism or Pee-wee’s Playhouse, while his actors perform with the mannered rigor favored by Robert Wilson.Mondtag’s “wagner — der ring des nibelungen (a piece like fresh chopped eschenwood),” also at the Berliner Ensemble, is an irreverent reworking of Wagner’s “Ring” cycle, written by Thomas Köck with music by Max Andrzejewski.From left, Philine Schmölzer, Peter Luppa and Emma Lotta Wegner in Ersan Mondtag’s “wagner — der ring des nibelungen (a piece like fresh chopped eschenwood).”Birgit HupfeldSurprisingly, the music is one of the less exciting parts of the show, in which Wagner’s gods, dwarves and hapless humans cavort in an oversize kitchen. Or perhaps the set is a collective delusion created by Wotan, the head god, who keeps everyone confined to an asylum.Following the general contours of Wagner’s tetralogy, Köck’s version seems inspired by “Rein Gold,” the Austrian Nobel Prize-winner Elfriede Jelinek’s Marxist deconstruction of the “Ring.” Köck also puts an environmental gloss on the epic, while interrogating the nature of myth and history.Like “Fabian” and “Vernon Subutex,” this production lasts more than four hours. And though it does drag here and there, it never did when Stefanie Reinsperger’s Brünnhilde or Corinna Kirchhoff’s Wotan was onstage.In late June, Mondtag had three new shows running in Berlin, including his first dance piece, “Joy of Life.” Next season, he is scheduled to make his debut at Deutsche Oper Berlin with a staging of Rued Langgaard’s “Antikrist.”Like Mondtag, Pinar Karabulut, 34, is one of today’s most pointedly idiosyncratic young German theater directors.“The Leap From the Ivory Tower,” at the Münchner Kammerspiele in Munich, feels more mature than some of the director’s other recent productions. At two-and-a-half hours without intermission, it’s a fascinating deep dive into the life and wide-ranging work of the German writer Gisela Elsner, who committed suicide in 1992.Gro Swantje Kohlhof, left, in Pinar Karabulut’s “The Leap From the Ivory Tower.”Emma SzabóIn one striking scene, German children in a bombed-out city play at being concentration camp guards and prisoners. In another, former Nazis set out for a hunt in the Bavarian forest. Later, the writer finds herself attacked by a clueless West German TV anchor during a cringe-worthy interview.The show blends grotesque and unsettling humor with energetic performances and surreal touches. One of the few missteps is a film screened as part of the production about sad bourgeois couples engaging in orgies, the subject of Elsner’s novel “The Touch Ban.” Overlong and meandering, it recalls the sordid exuberance of the copious live video in “Fabian.”Nevertheless, there is something liberating about Karabulut and Mondtag that audiences here respond to. I’m convinced that we’ll be seeing more of their stylish aesthetic as the once avant-garde provocations of the past become nostalgia-laden chestnuts.Fabian, or Going to the Dogs. Directed by Frank Castorf. Berliner Ensemble.Vernon Subutex 1. Directed by Thomas Ostermeier. Berlin Schaubühne.“wagner — der ring des nibelungen (a piece like fresh chopped eschenwood).” Directed by Ersan Montag. Berliner Ensemble.The Leap From the Ivory Tower. Directed by Pınar Karabulut. Münchner Kammerspiele.All shows will return next season. More

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      Hearing the City, Too, at an Outdoor Berlin Film Festival

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      The movie soundtracks are competing with distant techno beats and the subway’s rattle at a coronavirus-proof edition of the annual event.BERLIN — On Thursday night, the mood at the Hasenheide open-air movie theater was buoyant. An audience of about 200 people had assembled for a screening of “The Seed,” a German drama about a construction worker struggling to take care of his daughter in a rural part of the country. Despite the grim subject matter, audience members chatted and drank beer, and a faint smell of pot smoke drifted through the air. More

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      Theater Review: ‘Polis/Reset’ at the Volksbühne in Berlin

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      The drama behind the scenes at the Volksbühne in Berlin has surpassed any onstage. A series of premieres involving vengeful gods, inescapable fates and tragic flaws seems apt.Sing, o muses of the house of unceasing calamities!Over the past three years, the drama behind the scenes at the Volksbühne in Berlin has surpassed any onstage. To say that the company has struggled would be putting it mildly: Depending on your point of view, the goings-on have increasingly resembled either a Greek tragedy or a satyr play.Since 2017, dysfunction if not outright misfortune has dogged the venerable theater, which, like most in Berlin, is publicly run. It began when the minister of culture at the time fired the longtime artistic director Frank Castorf, who had led the house for 25 years and was known to rule with an iron fist. Berlin politicians passed the torch to Chris Dercon, a former director of the Tate Modern in London.Berliners vehemently objected; the theater was briefly occupied by protesters. Feces were left in front of Dercon’s office. He quit only months in and was replaced by Klaus Dörr, who was supposed to fill the vacancy until René Pollesch, one of Germany’s leading dramatists and a veteran of Castorf’s Volksbühne, took over as artistic director in 2021.Last week, Dörr abruptly resigned over sexual harassment allegations. Yet in the midst of a trying season for theaters worldwide, the Volksbühne has plowed ahead with an ambitious series of premieres inspired by ancient Greek drama and myth called “Polis/Reset.”Although the cycle examines the relevance of its classical sources from the contemporary perspective of our world’s environmental and economic ills, the themes of unappeased gods, inescapable fates and tragic flaws seem oddly appropriate to the Volksbühne in light of its long-running bad luck.Half of the eight productions planned for “Polis/Reset” are streaming on the Volksbühne’s website. The shows are a diverse crop, but they all confront, to varying degrees, the existential issues facing humanity in the Anthropocene, the era in which humans are the dominant influence on the natural world.An omnidirectional camera, center, was used to present “Anthropos, Tyrant (Oedipus)” as a livestream in 360 degrees.Thomas Aurin“Oedipus is the last king of the Anthropocene. This is our last winter. No one will escape this catastrophe,” an actor intones early in “Anthropos, Tyrant (Oedipus),” an associative and sometimes pedantic stage essay by the writer-director Alexander Eisenach. Of the productions in the Volksbühne’s series, this one, loosely based on Sophocles’ Theban Plays, most directly addresses environmental and economic devastation. In the middle of the performance, the marine biologist and climate expert Antje Boetius delivers a lecture on the Anthropocene that is informative, though dry.I enjoyed some of the snappier slogans, such as “Tragedy has become the language of science” and “Awaking the wrath of the gods is not a metaphor. It’s very real.” But it is possible to agree while still feeling that the show is rough around the edges.Since it couldn’t be shown in front of a live audience, the theater presented it as a livestream in 360 degrees: It was filmed with an omnidirectional camera, and viewers at home were able to control their perspective of the stage. The effect was kind of cool, although it seemed more like an interesting experiment with technology than a full-fledged production. My internet connection was too weak to view it as intended, in razor-sharp 4K.Oedipus and the other rulers of the ancient world were judged by their ability to keep nature in balance and the deities happy. The director Lucia Bihler put an environmentally conscious spin on the divine wrath in “Iphigenia. Sad and Horny in Taurerland,” a reworking of Euripides’ two Iphigenia plays that is peppered with cheeky dialogue by the young Austrian writer Stefanie Sargnagel.Vanessa Loibl, left, and Emma Rönnebeck in Lucia Bihler’s “Iphigenia. Sad and Horny in Taurerland.”Katrin RibbeIn the original, Agamemnon, king of Mycenae and commander of the Greek fleet, sacrifices his daughter Iphigenia to the goddess Artemis to gain favorable winds for sailing. Bihler’s staging suggests environmental parallels: with the deities’ refusal to bestow nature’s fortune on humanity and with the notion of mortgaging the future that child sacrifice represents. In the evening’s irreverent second half, Iphigenia (the young American-born actress Vanessa Loibl) is whisked away to the island of Tauris, where she works in a call center alongside a vulgar, funny gang of women who put up with verbal abuse from prank callers.Iphigenia’s sacrifice is the preamble to “The Oresteia,” Aeschylus’ tragic trilogy about Agamemnon’s family. The young German director Pinar Karabulut has tackled Eugene O’Neill’s 1931 play cycle, “Mourning Becomes Electra,” which transposes the action of “The Oresteia” from ancient Argos to New England shortly after the Civil War. Although there is much to admire in Karabulut’s muscular production, it turns O’Neill’s tragic cycle into a dreary and sordid soap opera.On the plus side, the production looks great: sleek and stylish, with colorful costumes and props dominated by reds and blues. The atmosphere of surreal domestic horror is heightened by visual allusions to David Lynch’s “Blue Velvet” and Roman Polanski’s “Rosemary’s Baby.” Those scenes are effectively unsettling, but they also seem irrelevant. Another element that doesn’t quite work is a bracing monologue about race delivered by Malick Bauer, the only Black actor in the company’s performing ensemble. Written by a dramaturge, Laura Dabelstein, the soliloquy is a very politically incorrect disquisition about prejudice in Germany, designed to shake the audience up, among other ways, with the repeated use of the N-word. It’s a powerful text and Bauer delivers it with conviction, but it feels like a forced bid for timeliness.Paula Kober, left, and Manolo Bertling in Pinar Karabulut’s “Mourning Becomes Electra.”David BaltzerO’Neill’s play stands in a long line of works refashioned from Greek sources. One of the earliest is the Roman poet Ovid’s “Metamorphoses,” written in A.D. 8 and comprising roughly 250 myths. In this epic poem, women turn into trees and birds, drowned men become flowers, and gods transform themselves into animals.Like “Iphigenia,” Claudia Bauer’s “Metamorphoses [overcoming mankind]” doesn’t strain for relevance. It’s an arresting production that combines surreal pantomime and song. For the majority of the performance, the actors wear blank masks. They become mythical characters through movement accompanied by live music (featuring the accordion virtuoso Valentin Butt) and voice-over narration delivered by actors whose faces are projected above the stage.“Metamorphoses” proposes the transformative world of myth as an alternative to the Anthropocene. Even though there is much violence in Ovid, including cannibalism and rape, the production holds up the enchanted symbiosis between man and nature as a sort of utopia. Of the Volksbühne’s digital streams, it’s the one with the most rhythm and verve, thanks to skillful filming and editing. It’s also the only one I’m dying to see live once theaters reopen.The cast with blank masks in Claudia Bauer’s “Metamorphoses [overcoming mankind].”Julian Röder“Polis/Reset” is a step toward making the Volksbühne a place for engagé theater that tackles burning issues. Castorf, the former artistic director, didn’t go in for topicality. It’s hard to imagine him ever structuring a season around environmental themes.The recently departed Dörr deserves credit for replenishing the acting ensemble. This versatile group of 17 has been the most consistently exciting thing about the new Volksbühne, and many of them, including Bauer and Loibl, are prominent in “Polis/Reset.”It remains to be seen whether Pollesch will be able to lift the curse placed on the house by the theatrical deities when he arrives in the fall. He faces formidable artistic and managerial challenges. I pray that Pollesch, who, like Castorf, favors intense theatrical partnerships with a small group of collaborators, doesn’t send the acting ensemble packing when he takes over. That would be a real tragedy. More

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      For a Night at the Theater, Bring a Negative Coronavirus Test

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      A pilot program in Berlin is reopening some of the city’s landmark cultural venues, despite surging numbers of infections and toughened restrictions in other areas of life.BERLIN — On a snowy, gray morning last Friday, as a third wave of the coronavirus pandemic in Germany was taking hold, Anna Schoras, 30, lined up outside a pop-up testing site inside a repurposed art gallery in Berlin. Cultural life in the German capital has largely shut down because of the virus, but if Schoras’s test came back negative, she would be allowed to attend the first live stage production in the city in about five months, scheduled for that evening.“I’m just really looking forward to getting out of the house and to consuming live culture,” she said, adding that before the pandemic, she would go to the theater or the opera about twice a month.Earlier that week, Schoras had been among the lucky few to secure one of 350 tickets to the show at the venerated Berliner Ensemble theater. They sold out in four minutes.The performance was part of a pilot project, coordinated by the city of Berlin, that allows its landmark cultural venues to put on a show in front of a live audience — as long as the audience members wear masks, maintain social distancing and present a negative result from a rapid test taken no longer than 12 hours before curtain. The test, which is included in the price of the ticket, must be administered by medically trained workers at one of five approved centers.Along with two nights at the Berliner Ensemble, live performances are being held at two of the city’s opera houses, the Philharmonie and Konzerthaus, and at the Volksbühne theater. Holzmarkt, a nightclub, will also host a sit-down concert. The short run of shows is intended to test whether organizers can put on cultural events safely, even as infection numbers soar.Despite an extension announced on Monday to restrictions that have been in place in Germany since October, Torsten Wöhlert, the city official in charge of the project, said he was determined to keep it running. “The pilot is designed to be safe even when infection rates are high,” he said.But given a recent surge in new cases, regional lawmakers could be called to vote on whether to continue the project, Wöhlert conceded. On Friday, Berlin surpassed the health authorities’ warning level of 100 infections per 100,000 people in a week. The Berlin Senate decided on Tuesday to move back three shows that had been scheduled for the Easter weekend, though others set to be staged before then can go ahead.Germany’s muddled national response to the virus has given way to local initiatives to keep life going, including a program to keep shopping and outdoor dining open for tested customers in some cities. As well as an epidemiological experiment, the Berlin initiative is a signal from a city that prides itself on its vibrant arts scene that — despite being shut down since October — culture still matters.“There is a big appetite for art,” said Wöhlert. “That was evidenced by the speed with which the shows sold out.”Of the 350 people who snapped up the Berliner Ensemble tickets for Friday’s performance of “Panikherz,” a gritty work examining eating disorders and featuring heavy drug use, everyone tested negative before arrival, according to the theater. (Anyone testing positive is guaranteed their money back.)The theater’s bar and coat check were closed, but in any case there was no intermission, to keep mingling opportunities to a minimum, and the compulsory empty seat between spectators, which was supposed to ensure social distancing, also made an excellent substitute coat rack.The Berliner Ensemble’s auditorium, shortly before a performance on Saturday. Spectators had to wear masks and maintain social distancing; every second seat was left empty.Gordon Welters for The New York TimesBerlin is not the only city that could benefit from the insights from the project, with findings expected in mid-April.New York is also experimenting with ways to bring back indoor live performances. Gov. Andrew M. Cuomo said this month that, beginning April 2, arts and entertainment venues would be allowed to reopen at a third of their regular capacity, holding up to 100 people indoors — and up to 150 if they require audience members to bring proof of a negative test. Some venues are preparing to test audiences themselves. Others will also accept proofs of vaccination.But with New York City still reporting high numbers of new infections each day, real risks remain. Plans by the Park Avenue Armory to stage a new work this week by the choreographer and director Bill T. Jones before a limited, virus-tested, socially-distanced audience were postponed after several members of the Bill T. Jones/Arnie Zane dance company tested positive for the virus.Other European nations are running their own trials. This month, the Netherlands hosted a series of pop and dance music concerts called “Back to Live,” with up to 1,500 tested attendees and no social distancing. Britain’s government has announced plans to run several similar pilot events in April, including at a nightclub in Liverpool, England.In addition to Berlin’s performance-venue project, museums reopened around Germany last week after the federal authorities loosened the rules. At the Alte Nationalgalerie in central Berlin, each visitor — who can visit without having to present a negative test result — is allocated 430 square feet of space, meaning that only 360 preregistered guests can visit daily, about a fifth of the number the museum would usually attract on a busy day before the pandemic. Tickets are sold out for the coming weeks.Ralph Gleis, the museum’s director, said, “You realize that museums are an essential space in society, where one can go to be distracted, to occupy oneself with external things — especially during a crisis, culture is really important.”But even that respite hangs by a thread. Although museums were open on Wednesday, the rising rate of infections in Berlin could oblige them to close again on very short notice.Visitors at the Alte Nationalgalerie in Berlin on March 16. German museums were allowed to reopen this month after coronavirus lockdown measures were eased.Filip Singer/EPA, via ShutterstockHolzmarkt, a sprawling club complex on the Spree River, was the only nightlife venue to join the performance pilot. Although the club’s organizers said that they were happy to put on a concert for 80 people in a space where 400 people could usually cram in — with very few sitting — Konstantin Krex, the club’s spokesman, said that the management was not content with the rules that have kept the venue shuttered since October.“It’s a pretty long way from the real club feeling,” Krex said of the seated concert at Holzmarkt, planned for March 27.Even if the restricted performances lack the bustle of a packed house, the audience at the Berliner Ensemble on Friday night seemed excited to be part of the brief reopening. The actors were nervous after a five-month enforced break, said Oliver Reese, the director.After the cast took its bows, the play’s author, Benjamin von Stuckrad-Barre, jumped onstage to thank the crowd for being part of the project.“It is not a superspreader event — it is culture,” he said. Judging by the applause, the audience agreed. And when the findings of the pilot program come in next month, they will know if he was right.Alex Marshall contributed reporting from London. More

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      Klauss Dörr Quits Volksbühne Over Sexual Harassment Allegations

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      Klaus Dörr resigned as head of the Volksbühne after 10 women accused him of sexual harassment and creating a hostile work environment.The director of the Volksbühne theater in Berlin quit on Monday after accusations of sexual harassment, creating a hostile work environment and humiliating older actresses were published in a German newspaper. Klaus Dörr had led the Volksbühne, one of Europe’s most influential theaters, since April 2018.His resignation, which the theater confirmed in an email, came just days after Die Tageszeitung, a daily newspaper, said that complaints against Dörr by 10 women were being investigated by Berlin’s culture ministry, which oversees the playhouse. The women said Dörr had stared inappropriately at women who worked at the theater, made sexist comments and sent inappropriate text messages, the newspaper reported.City officials received the complaints in January and were investigating them, the ministry confirmed in a statement released on Saturday. Dörr was interviewed as part of this process at the start of March, the statement added.“I take full responsibility, as the artistic director of the Volksbühne, for the allegations made against me,” Dörr said in a statement released by the theater.“I deeply regret if I have hurt employees with my behavior, words or gaze,” he added.A spokeswoman for the theater declined to comment further.Dörr’s resignation is only the latest scandal to hit the storied Volksbühne. In 2018, Chris Dercon, its previous director and the former leader of the Tate Modern museum in London, quit just months into the job after widespread protests over his appointment. Those included an occupation of the theater by left-wing activists; at one point, someone left feces outside his office.The activists, who included members of the theater’s staff, accused Dercon of trashing the company’s tradition of ensemble theater, in which a permanent company of players creates a rotating repertoire, and turning it into a space for visiting international performers to mount their shows. Many saw the strife around Dercon’s appointment as a proxy for debates about gentrification in Berlin.Dörr was meant to be a stabilizing, if temporary, force at the theater until a new permanent director could be found. In 2019, René Pollesch, an acclaimed German playwright and director, was named as the new leader, set to take up the role in summer 2021.The latest problems at the Volksbühne emerged at a time of focus on the behavior of male leaders in Germany toward female members of staff. On March 14, Julian Reichelt, the editor in chief of Bild, Germany’s largest newspaper, took a leave of absence after women who worked at the paper accused him of misconduct.A law firm is investigating the allegations, which have so far not been specified. Reichelt denies all wrongdoing.Jagoda Marinic, an author who has written extensively about the #MeToo movement in Germany, said in a telephone interview that she saw Dörr’s resignation as a watershed. That the revelations in Die Tageszeitung concerned a group of women, rather than an individual accuser, was significant, she said, adding that the case was also the first time someone in Germany had resigned so quickly after a complaint became public.“My hope is it spurs other people to speak out,” Marinic said.On Tuesday, the Volksbühne’s ensemble expressed its “unreserved solidarity” with the women who spoke out against Dörr, in a message posted on the theater’s Instagram account. “Our industry suffers under outdated power structures,” the message said. “This discourse must not end with Klaus Dörr’s resignation.” More