The Hothouse - Théâtres de la Ville de Luxembourg
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The
CRÉATION
Hothouse
HAROLD PINTER
20
21
GRAND THÉÂTRE › STUDIO 2
The
CRÉATION
Hothouse
HAROLD PINTER
WEDNESDAY 24, THURSDAY 25, FRIDAY 26, TUESDAY 30
& WEDNESDAY 31 MARCH
& THURSDAY 1 & FRIDAY 2, TUESDAY 6, WEDNESDAY 7, FRIDAY 9
& SATURDAY 10 APRIL 2021 › 8PM
WEDNESDAY 7 & SATURDAY 10 APRIL 2021 › 3PM
SUNDAY 11 APRIL 2021 › 5PM
–
Running time 2h00 (no interval)
–
Introduction to the play by Janine Goedert
30 minutes before every performance (EN).
–
This performance contains stroboscopic lights.
3
GRAND THÉÂTRE › STUDIO 4
With
Tubb Pol Belardi
Lamb Danny Boland
Miss Cutts Céline Camara
Lobb Catherine Janke
Lush Marie Jung
Roote Dennis Kozeluh
Gibbs Daron Yates
& Georges Maikel (dance)
–
Directed by Anne Simon
Set design Anouk Schiltz
Costume design Virginia Ferreira
Music & sound design Pol Belardi
Lighting design Marc Thein
Assistant director Sally Merres
Make-up Joël Seiller
–
Wardrobe Manuela Giacometti
Props Marko Mladjenovic
–
Production Les Théâtres de la Ville de Luxembourg
5
GRAND THÉÂTRE › STUDIO
THE HOTHOUSE
The Hothouse is a play about unchecked (state)-power and the decisions
leaders make – spurious decisions that are potentially dangerous in the
name for the preservation of a society.
Somewhere in an authoritarian state. Former military Colonel Roote runs
an institution where bureaucracy rules and the inmates are reduced to
numbers. When one Christmas day, the cantankerous Colonel is confronted
by a double crisis with the death of one inmate and the pregnancy of another,
he finds himself increasingly cornered and sees the system he obeys so
respectfully slip away. The Hothouse is a blackly comic portrait of the
insidious corruption of power and demonstrates how far people will go
to keep a system alive that is long condemned to fail. After all it’s the only
one they have.
Anne Simon and her international ensemble embark the audience into
a dark, absurdist microcosm that its inhabitants desperately try to keep
in existence because it is their sole raison d’être. Anouk Schiltz’ 360°set,
reminiscent of a panopticon prison, plunges the spectator right at the heart
of this dangerous game of appearances and slipping realities.
6
DIRECTOR’S NOTE
The Claim-Game
What else is a society other than “a group of people in which group
common assumptions are shared and common principles observed?”
That is true for any kind of society: we agree to agree on certain principles
and truths, whether they be factually true or not doesn’t matter, what matters
is that we BELIEVE in the same truths. This mechanism is one on which
societies are built. It is how we define who our enemies are – namely those
who do not play by those rules and act by the same beliefs. It is the contracts
that we make with each other. Most truths are, as humanity has to learn
over and over again and often the hard way, not empirically researched
facts, but rather claims that we chose to believe in, or not. And the claiming
of truths, is the nature of theatre. Our medium is in the end nothing more
than the extreme reproduction of those mechanics that structure societies:
we make a contract with the audience and ask them
to suspend their disbelief.
The Hothouse as we conceive it, thus becomes a metaphor for the theatre
as well as for societal contracts. In Pinter’s microcosm, the agreement,
the contract is to believe in what has always been believed in, namely the
system in place (a fundamental principle of societies in place). We’d like
to take that principle further and make it resonate with the fundamental
principle of theatre itself: namely to accept whatever is claimed as the truth
(for that moment in time and space). By breaking down and showing those
mechanisms and consciously letting the reality of the theatre as a medium
and space run in parallel to that of the play with its narrative, we aim to
explore how thin the lines between different truths actually are. It is to be
imagined as a reverse principle of Schrödinger’s cat experience: as long as
no one looks out of the box, nothing can be proven wrong and the status
quo can be preserved.
The Change-Challenge
And here, a play that seems to consist of pretty one-dimensional characters
that at first glance might only fulfil a representational purpose (as Pinter
has claimed himself) turns out to offer characters with the potential for
depth and layers that are endless and truly human. The social critique
7
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becomes a reflection on why we are so afraid of change. We try to under-
stand, why an old white western male desperately tries to hold on to a
system that has always been in place and why it is questioned so little –
even by the ones that are further down the food chain – the so-called
minorities (gender, ethnic, economical, belief,...) and find out that we are
possibly all scared of change, because although a system in place might be
oppressive, unfair and incorrect, it is most possibly the only one that we
have and the prospect of having to instaure something new is often far more
frightening. The white males have their obvious reasons not to change a
system: even though crumbling, it is their reason of existence, they need to
keep a rotten, nameless place – that potentially is even devoid of patients –
going in order to keep existing. To explore the struggles that the minorities
are facing in order to cut ties (there is a character called Cutts...) with
a system that is not theirs is just as important. The absent and nameless
patients are the voicelessly oppressed. They don’t exist for the oppressor
in anything more than a number in a statistic (Say their name).
The absurd tale that unravels in this micro society under a looking glass,
in which everything develops faster, stands for all the physical and especially
mental prisons that humanity should strike down and refuses to. It stands
for any system in place (western, white, male, Christian, dominant) that
feels like a prison to the majority of its people but that society as a whole
still desperately holds on to.
The Denial of Death
On a metaphorical level, keeping a system in place is of course a mechanism
to deny death. The big delusion is, according to cultural anthropologist
Ernest Becker, the basic human drive and it gives rise to “immortality systems”,
or non-rational belief structures that give us a means to believe we’re immor-
tal. Apart from the obvious ones that are religion and the longevity through
the arts system, the most commonplace is the one of identifying with a group,
a tribe, a society or nation that lives on into the indefinite future.
In The Hothouse, Roote’s disintegrating mental state becomes not only
a harbinger of his own end, but the image itself for the slow disintegration
of the structure, the immortality system itself that so many depend on.
The dilemma for the characters around him becomes real: if he dies and
the system collapses, part of them might have to go with him. The decision
at the end is: prolonging the system or allowing tabula rasa.
8
The Hothouse might well be, in all of those aspects, more relevant today
than ever. While it was originally intended as a critique of British upper
middle classes and bureaucracy, it now resonates with movements that
address the question of where we stand with regards to death (and the
denial of it) and exploring the mechanics of belief versus fact.
Anne Simon (March 2021)
9GRAND THÉÂTRE › STUDIO
IN CONVERSATION WITH ANNE SIMON
INTERVIEW LED BY JANINE GOEDERT
JG: Why The Hothouse and not one of the better-known plays? After all,
we do not often see a Pinter play on stage in Luxembourg.
AS: I chose it because I am really interested in the “huis clos” Pinter so often
writes about. In this regard, The Hothouse seems to me the obvious choice:
the outside world could not be more inexistent and there lies the threat,
really. Also, what I really like is the fact that it has more of a socio-political
structure than many of the later plays which have a more personal basis.
The play centres on how the system we live under works rather than on
interpersonal stories. Yet it has the space to allow for these interpersonal
stories.
JG: Now, Pinter was legendary for refusing to explain what his plays were
about. There is the famous quip: “This is what happened. That is what
they said. That is what they did.” Will you be a bit more forthcoming and
tell us what The Hothouse is about for you?
AS: Well, I guess I am even less forthcoming… The play is a lot about theatre
as well as about how societies are built, about how we agree to accept certain
truths. We accept to agree since we have a contract to function as a society.
The truths we are claiming have become our reality. And, in a way, that is
what theatre is about, too.
The play becomes a metaphor for theatre, whereas theatre is a metaphor
for society. There is this doubling, this mirroring: this is the truth or structure
we claim to believe in or we agree to believe in. Anyone that does not agree
is our enemy. But then all these truths can be questioned from within, and
that becomes dangerous as the system might crumble. It is a play about a
group of people who believe in something. They need to go on believing in
the system. There simply is no alternative for them.
The play may thus become a metaphor for any kind of oppressive system,
not only blatant autocracies, but also oppressing structures within so-called
democracies. The inmates in this institution or the prisoners are never shown.
They are invisible, they are the ones no one considers, whose names are
10 not mentioned, yet they exist, their presence can be felt, but as a societywe chose to ignore them. You might see The Hothouse as a critique of
patriarchy, of white male western dominance which is crumbling but it is
being held on to. The system is in place, and we do not want to let go.
At least, western white males do not want to let go….
JG: The Hothouse can certainly be interpreted as being about belief, but
it is also about the need to fit in, the desperate need not to be left behind,
not to be targeted in a society or a world where the keyword is order.
Pinter gives us a world of bureaucrats, of reports and corruption, where
questioning received ideas has become a crime. You are ready to com-
promise your own integrity because once you become an outsider, you
might end up as one of the inmates at this institution.
AS: I think those two things go together. All the characters know to a certain
extent or, at least, sense that the way things are done is not right. The set-up
is not necessarily what they would like to believe in but they need to go on
believing. We desperately need the system to work and to go on because
we do not know what awaits us “outside”, possibly nothingness and what
could be scarier than that? It is a matter of survival. In fact, you can call the
situation tragic.
JG: Now, in terms of language, there are numerous echoes of what you
find in later plays. We see language become a tool of oppression. It is
used as a strategy. Do you think that approach is already fully developed
here or is it something Pinter concentrated on even more later?
AS: No, it is there all along. You have to read between the lines in this play
as well, which is a great gift for directors and actors. The Hothouse deals
with the subtext, with what is not being said rather than with what is being
said. Basically, you can take any line and say something else with it. There is
so much stuff that is not being said. Just consider the context, which remains
unclear. After all, we do not even know where we are. Is this an institution
run by an authoritarian regime? Or does it represent that regime as a whole?
It’s also a metaphor for the world we live in, for the structures we fail to
contest on a daily basis.
11GRAND THÉÂTRE › STUDIO
JG: And then there is another undeniable challenge: How do you deal
with the mix of comedy and menace at the heart of The Hothouse? Like
Pinter’s most other plays, it is funny, but always in a dark, ambiguous way.
AS: To a large extent, this mix is text-based. The change of and play with
different registers is something I adore and Pinter’s text just gives such great
opportunities to explore this. It can oscillate from a classic comedy of manners,
to clip-clap slapstick to noir thriller. It’s this social noir comedy with gro-
tesque and horror-like textures.
1213
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BIOGRAPHIES
HAROLD PINTER
Playwright
Harold Pinter, (1930 – 2008), English playwright, who achieved international
renown as one of the most complex and challenging post-World War II
dramatists. His plays are noted for their use of understatement, small talk,
reticence – and even silencen – to convey the substance of a character’s
thought, which often lies several layers beneath, and contradicts, his speech.
In 2005 he won the Nobel Prize for Literature. The son of a Jewish tailor,
Pinter grew up in London’s East End in a working-class area. He studied
acting at the Royal Academy of Dramatic Art in 1948 but left after two
terms to join a repertory company as a professional actor. Pinter toured
Ireland and England with various acting companies. After 1956 he began to
write for the stage. The Room and The Dumb Waiter, his first two plays, are
one-act dramas that established the mood of comic menace that was to
figure largely in his later works. His first full-length play, The Birthday Party,
puzzled the London audiences and lasted only a week, but later it was
televised and revived successfully on the stage. After Pinter’s radio play
A Slight Ache was adapted for the stage (1961), his reputation was secured
by his second full-length play, The Caretaker, which established him as
more than just another practitioner of the then-popular Theatre of the
Absurd. His next major play, The Homecoming, helped establish him as the
originator of a unique dramatic idiom. Such plays as Landscape, Silence,
Night, and Old Times virtually did away with physical activity on the stage.
Pinter’s later successes included No Man’s Land, Betrayal, Moonlight, and
Celebration. From the 1970s on, Pinter did much directing of both his own
and others’ works. In addition to works for the stage, Pinter wrote radio
and television dramas and a number of successful motion-picture screen-
plays. Among the latter are those for three films directed by Joseph Losey,
The Servant (1963), Accident (1967), and The Go-Between (1970). He also
wrote the screenplays for The Last Tycoon (1976), The French Lieutenant’s
Woman (1981), the screen version of his own play Betrayal (1983), The
Handmaid’s Tale (1990), and Sleuth (2007). Pinter was also a noted poet,
and his verse – such as that collected in War (2003) – often reflected his
political views and involvement in numerous causes. In 2007 Pinter was
named a chevalier of the French Legion of Honour.
15GRAND THÉÂTRE › STUDIO
ANNE SIMON
Director
Anne Simon has studied Drama and Theatre at Royal Holloway, University
of London. She acquired her first professional experiences as a director’s
assistant and stage manager at Théâtre National du Luxembourg and the
Ruhrfestspiele Recklinghausen. In 2007, she is wins a competition for emerging
directors (Champ Libre) with her first directing work, mixing kitchen sink
drama of the 1950’s and In-yer-face theatre of 90’s Britain. Anne Simon has
been directing in most of Luxembourg’s theatres and has been working
internationally since 2009. Recent international destinations have included
Barcelona (Teatre de l’Enjolit), New York City (The Circle Theatre of New
York, company of which she is a member), Salzburg (Schauspielhaus) and
the UK. Simon’s work is often characterised by strong visuals, pop-cultural
references, elaborate kinetics and a constant tension between realism and
abstraction. In search for a definition of what reality means for the stage,
she challenges a filmic naturalism that theatre often tends to feel obliged to
and tries to reaffirm the theatre’s innate augmented reality, its immediacy
and tactility by the simple and mechanical means of the theatre itself.
ANOUK SCHILTZ
Set design
Anouk Schiltz studied at the École Nationale Supérieure des Arts Décoratifs
in Paris and graduated in 2005. She makes her first professional experience
in Luxembourg and creates the set and the costumes for the luxemburgish
translation of the Samuel Beckett play Endgame, directed by Charles Muller
at the Théâtre d’Esch also presented at the Radu Stanca National Theatre
of Sibiu, Romania. She has been working with Anne Simon as a set and
costume designer for several years on various productions such as Gier
by Sarah Kane (2008), L’homme qui ne retrouvait plus son pays by Ian De
Toffoli (2012), Don Quijote (2014) presented at the festival of Recklinghausen
(2014), All New People (2016), Codename: Ashcan (2017). Other productions
Anouk has been working on include: La Vérité m’appartient by Nathalie
Ronvaux (dir. Charles Muller), Hedda Gabler (dir. Gerhard Weber) Theater
Trier, The Crucible (dir. Douglas Rintoul) Queen’s Theatre Hornchurch /
Théâtres de la Ville de Luxembourg, Rumpelstilzchen, an adaptation by Ian
De Toffoli (dir. Myriam Muller) Théâtres de la Ville de Luxembourg. In 2019
she designed the costumes for the opera Les Mille Endormis by the com-
16 poser Adam Maor (dir. Yonatan Levy) world premiere at the Théâtre duJeu de Paume, Festival d’Aix-en-Provence. In March 2019 she creates the set design of the play Ivanov (dir. Myriam Muller) Studio / Grand Théâtre de la Ville de Luxembourg. Anouk also experimented with installations like TERMINUS in a mine (MASKéNADA) and Le Carrousel du Somnambule for the Nuit de la culture (Ville d’Esch-sur-Alzette) in collaboration with the artist Misch Feinen. Since 2010 she has also been working regularly on the design of various exhibitions like Gëlle Fra, Cocteau, l’œuvre graphique (Cercle Municipal), Lëtzebuerg an den Eischte Weltkrich (Bascharage) Lëtzebuerg an den zweeten Weltkrich (Pétange) in collaboration with the curators Jean Reitz and Nadine Geisler. VIRGINIA FERREIRA Costume design Virginia Ferreira hails from Argentina and has been working in costumes for film, advertising, fashion and theatre throughout Europe since 2010. With an academic background in Linguistics and Fashion Design from the London College of Fashion, she has created women’s and men’s seasonal collections shown at London, Paris, Hong Kong and Shanghai fashion weeks; featured in major publications of the Condenast group and other key international publications. She has designed stage costumes for pop artists including Fergie, Madonna, Katy Perry, among others; and for clients like Mercedes Benz and the Fashion & Textile Museum in London working side by side with legendary British designer Zandra Rhodes. Drawing from cinema, art, fashion and advertising, Virginia is known for her provocative, avant-garde, daring, yet commercially viable approach. Her characteristic style is evident in her preference for black and white themes, seductive women in command and mysterious, dark, narrative elements. POL BELARDI Music and sound design & Tubb From the moment Pol played his first note on an instrument, sometime in the 90’s in a small Southern Luxembourgish town called Tétange, his curiosity was awakened to create music. After widespread local studies, including classical percussion, piano, drums and theory, a fair amount of classical orchestra as well as rock band experience and a good first imprint in the local scene, he set sails to study in Brussels and Amsterdam, earning a master’s degree “cum laude” in bass guitar in 2014. Throughout his entire career, he has forged himself a strong credo consisting of two main ingredi- 17
GRAND THÉÂTRE › STUDIO
ents: polyvalence and creativity. Critically acclaimed on various occasions,
his projects vary in both conception of style and the instrument(s) he plays,
and since the first childhood composition try-outs he has grown to a prolific
composer who is not afraid of taking advantage of a large genre background.
Now based in Luxembourg, the main drive for Pol’s life is sharing his artistic
vision as a bandleader, sideman, producer, composer (also film and theatre),
arranger, radio presenter, teacher and actor.
SALLY MERRES
Assistant director
After finishing her literary and linguistic studies at the University of Cologne
in 2016, Sally Merres began an internship at the Théâtre National du Luxem-
bourg, where she mainly worked as an assistant director. After her 11-month
stay, she continued to assist several national, as well as international
directors, such as Max Claessen, Pol Cruchten, Frank Hoffmann, Myriam
Muller and Anne Simon. In 2019 she travelled abroad to assist Berlin-based
director Milena Paulovics in her adaption of Shakespeare in Love at the
annual open air theatre Burgfestspiele Bad Vilbel in Germany. Later that
year, she made her directorial debut with Every Brilliant Thing by Duncan
Macmillan, starring Isaac Bush. The play was produced by the Luxembour-
gish theatre collective Volleksbühn and was performed at an abandoned
mansion in Luxembourg city. In 2020. she received the bourse pour met-
teurs en scène émergents by the FOCUNA which enabled her to work at
the Internationaal Theater Amsterdam where she assisted Australian
director Simon Stone. Merres is currently working on her project (Cant’)
stay at home, an audiowalk she developed with two other friends that is
produced by the Kinneksbond. The premiere is set for April this year and
will be performed in the streets of Mamer.
JOËL SEILLER
Make-up
Joël Seiller a grandi au Luxembourg. Après 13 ans en coiffure, il se reforme
comme artiste de maquillage et prend également des cours d’art drama-
tique et de diction. Il travaille principalement comme maquilleur freelance
pour le cinéma, le théâtre et la publicité. Depuis 2000, il a participé dans
de très nombreuses productions de théâtre, e.a.: West Side Story (Festival
de Wiltz, 2000), Alice under Ground (2002), Elephant Man (2004), Die
18 Dreigroschenoper (2007), Angels in America (2009), Der Messias (2012 –2016), Blind Date (2014), Das Scheissleben meines Vaters, das Scheissleben
meiner Mutter und meine eigene Scheissjugend (2015), Dom Juan (2015),
All New People (2016), ≈[ungefähr gleich] (2016), Love and Understanding
(2017), Tom auf dem Lande (2017), Rumpelstilzchen (2017 & 2018), Déi
bescht Manéier, aus der Landschaft ze verschwannen (2018), Versetzung
(2018), Stupid Fucking Bird (2019), Dealing with Clair (2019) et On ne
badine pas avec l’amour (2021).
DANNY BOLAND
Lamb
Danny studied music at the Paul McCartney founded Liverpool Institute of
Performing Arts before going on to formally train in acting at London’s
prestigious Mountview Academy of Theatre Arts. Tall and imposing on
stage, with an athletic build and Nordic look, Danny is equally at home with
avant-garde or traditional and classical theatre, and particularly specialises
in completely entering into character, meticulously researching all aspects
of his chosen role, and aided by the ability to easily and convincingly slip
into accents and dialects from around Europe, America and many other
parts of the world. 2019 saw Danny performing in a variety of roles in London,
including The Sandman and The Juliet Letters, and in 2020 gaining acclaim
as Matt in Anne Washburn’s ‘post-electric’ fantasy Mr. Burns. Besides The
Hothouse, watch out in 2021 for Danny performing upstairs at Luxembourg
town’s de Gudde Wëllen in Cleansed, a dystopian drama by renowned 90’s
English playwright Sarah Kane and directed by Max Jacoby, where he will
play three different parts in an immersive setting, along with a commercial
(from Skin studios in Dommeldange), where Danny is Count Siegfried in a
humourous take on the love story between Luxembourg’s founder and the
mermaid Melusina.
CÉLINE CAMARA
Miss Cutts
Céline was born in the suburbs of Paris. During her childhood, she trained
as a ballet and modern jazz dancer at the Conservatoire de Créteil. After
studying law in France and the UK, she moved to Luxembourg in 2012
where she started her office career as a jurist in academia. In pursuit of her
true passion, she got involved in the local improv scene and started work-
ing with Valérie Bodson at the Conservatoire d’Esch-sur-Alzette. After a
19GRAND THÉÂTRE › STUDIO
brief – and ultimately beneficial – existential crisis, she quit her legal career
in 2018 and turned completely towards acting. Since then, she played in
Des hommes de passage (direction: Fabrizio Leva), Le Courage (direction:
Catherine Schaub), Moulins à paroles (direction: Mahlia Theissman), Les
Nuits d’Aurore (direction: Fabrizio Leva). She also appears in films such as
An Zéro (direction: Julien Becker), L’Enfant caché (direction: Nicolas Steil),
La Valise rouge (direction: Cyrus Neshvad).
CATHERINE JANKE
Lobb
Catherine Janke, a Luxembourgish-German actress born and raised in
Germany. In 2000 she began her acting studies at the Ernst Busch Academy
of Dramatic Arts in Berlin, which she completed in 2003. From 2003 to
2006 she was engaged at the Düsseldorfer Schauspielhaus (Germany),
from 2006 – 2008 at the Theater am Neumarkt in Zurich (Switzerland).
Since 2008 she is a freelancer and works in Germany and Luxembourg.
As an actress she also worked at the Opera of Stuttgart and Mannheim
(Germany). Janke works in German and international film productions.
MARIE JUNG
Lush
Marie Jung, 1985 in Luxemburg geboren und in Basel aufgewachsen,
beendete 2009 ihr Schauspielstudium am Max-Reinhardt-Seminar in Wien.
Mit der Spielzeit 2010-2011 wurde sie festes Ensemblemitglied am Theater
Basel, wo sie unter anderem mit Anna Viebrock, Werner Düggelin und
Peter Kastenmüller arbeitete. 2012 wechselte Marie Jung zum Ensemble
der Münchner Kammerspiele, wo sie u.a. mit Johan Simons, Luk Perceval,
Stephan Kimmig und Armin Petras arbeitete. Ab 2015 war sie Teil des
Ensembles am Thalia Theater Hamburg wo sie u.a. mit Jette Steckel,
Franziska Autzen und Luk Perceval arbeitete. Sie spielte in Kinofilmen u.a.
von Detlev Buck, Margarethe von Trotta, Elfi Mikesch und Donato Rotunno.
Seit 2020 lebt und arbeitet sie als freie Theater- und Filmschauspielerin
zwischen Belgien, Luxemburg, Deutschland und der Schweiz.
20DENNIS KOZELUH Roote Dennis Kozeluh was born in Missoula, Montana and, after studying Latin and Greek, took a degree in music/theatre at the University of Montana. Since then, Dennis has been active in the theatre, music and musical theatre world throughout western Europe. He has performed in light and contemporary opera (Wiener Volksoper, Neue Flora Hamburg, Wiener Festwochen) and operetta (Badener Stadttheater, Bad Ischl Operetten- sommer), theatre, film, and predominantly musical where he has played mostly strong characters, bad and good: M. Firmin in Phantom, Judge Turpin in Sweeney Todd, Reverend Moore in Footloose, Van Helsing in Dracula, and Captain Andy in Showboat, to name a few. In the last few years Dennis played the manager of a world class pop star (Bodyguard das Musical), an evil genie (Aladdin und seine Wunderlampe) and a U.S. Army colonel in Codename: Ashcan at the Théâtre National du Luxembourg. Most recently, he played Mark Rothko in RED and Arthur Birling in An Inspector Calls. He has appeared in films such as Underworld, Thank You for Bombing and The Strange Case of Wilhelm Reich and written and directed for several Viennese theatres. Dennis is a founding member of the Vienna-based improvisational group English Lovers. Recently promoted to Grandfather by the efforts of his middle child, Dennis is very grateful to the Grand Théâtre for the opportunity to appear in a live production during this crazy moment in human history. GEORGES MAIKEL Dance Georges Maikel Pires Monteiro completed his training at the Conservatoire de la Ville de Luxembourg, before joining the 3rd edition of SEED’s – Pro- fessional Master supervised by the CobosMika Company (ES). In Spain, he works with Roberto Olivan, Jorge Jáuregui, Thomas Noone, CobosMika Company and Cie PrÄk. In the greater region, he works with various choreographers and directors, such as Moacir Nunes, Sarah Baltzinger, Bernard Baumgarten, Cie Corps & Situs, Léa Tirabasso, Cie Filament, AWA – As We Are, Hannah Ma, Larisa Faber, Cathrine Elsen, Frédérique Colling and Sally Merres. He also collaborated with singers and musicians such as EDSUN, CHiLD, Michel Meis, Georges B. Delicate, Magnus & John, Josh Island and Kitshickers and worked with visual artists, Cecillia Tripp, Olivia Bourdeau and Nora Wagner. During his career, Georges Maikel created fest alongside 21
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the dancer and choreographer Piera Jovic and a few years later, he created
the solo !MAKi!?. In 2020, he created the dance video It Gets Better with
which he won the contest Dance from Home. Today, Georges Maikel is
working on his new creation entitled My Cat Is A Unicorn.
DARON YATES
Gibbs
Daron Yates was born in Munich, and since graduating from a four-year
acting course at the Bavarian Theatre Academy August Everding (University
of Music and Drama Munich) has been privileged to work in both film and
theatre. He started performing at the Théâtre des Capucins, taking on the
role of Chris in Tracy Letts’ Killer Joe directed by Anne Simon. Since then
he has appeared several times on stage in Luxembourg in plays such as
Mister Paradise (Théâtre National du Luxembourg), All New People (Théâtre
des Capucins), and Codename: Ashcan (Théâtre National du Luxembourg).
He also performed at the Residenz Theater in Munich (Bavarian State
Theatre) in plays such as Shakespeare’s Anthony and Cleopatra and Franz
Werfel’s The forty days of Musa Dagh directed by Nuran David Calis, and at
the State Theatre of Cologne in the play HOOL. In the musical version of
the film Fack Ju Göhte (Werk7 Theatre in Munich) he appeared in the lead
role of Zeki Müller – winner of the German Musical Theatre Prize in the
category Best Musical 2018. On screen and television he starred in films
such as Nothing to Lose by Wolfgang Murnberger and the series Munich7
and Hubert und Staller.
2223
GRAND THÉÂTRE › STUDIO
LES THÉÂTRES DE LA VILLE DE LUXEMBOURG
Les Théâtres de la Ville de Luxembourg, consisting of the Grand Théâtre and the
Théâtre des Capucins, are under one single management since 2011 and present an
eclectic programme covering opera, dance and theatre. Fully aware of their responsi-
bility to respond to the needs of its ever-growing cultural sector and cosmopolitan
audience, the Théâtres de la Ville strive to present a high-quality and diverse programme.
Furthermore, both venues constantly develop their role as a major facilitator by
increasing their active contribution to the professional development of Luxembourg’s
cultural scene by involving local talent in international co-productions and placing
increased emphasis on producing, touring and talent development.
The TalentLAB, a project laboratory and multidisciplinary festival, was a first initiative
born in 2016 to further expand their support to local artists and promote international
exchange. It has since developed into a vibrant platform for upcoming artists where
experimenting in a safe environment is given valuable space and time. Through
the establishment of the residency Capucins Libre in 2018, the Théâtres de la Ville
wanted to assist and to accompany artists and companies during the final weeks
of their creation by offering them the necessary time, space and support
to premiere their work.
Finally, the Théâtres de la Ville continue to nurture and develop international partner-
ships with other European venues and engage in discussions about a different
co-production model based on exchange and training. This strategy of blending
in-house creations with international co-productions and strong support for artists
has enabled the Théâtres de la Ville to increase their visibility as a producing venue
both in the Greater Region and beyond and creating ever more meaningful relation-
ships with its partners.
Direction Tom Leick-Burns Adjointe à la direction Anne Legill Bureau de production Nora Haeck,
Antoine Krieps, Martine Kutten, Hélène Landragin, Alexandra Lux, Joëlle Trauffler, Charlotte Vallé,
Katja Wolf Bureau technique Pierre Frei, Laurent Glodt, Marion Mondloch, Jeff Muller Relations
publiques Christiane Breisch, Yasmine Kauffmann, Manon Meier, Nadia Recken Secrétariat admi-
nistratif Tamara Fascella, Thierry Kinzinger, Dominique Neuen, Taby Thill Comptabilité Marc Molitor,
Géry Schneider Audio/Vidéo Claude Dengler, Patrick Floener, Cay Hecker, Kevin Hinna, Holger
Leim, Jeff Lenert, Joël Mangen, Marc Morth sr., Marc Morth jr. Lumière Anne Beckius, Carlo Cerabino,
Steve Demuth, Jonas Fairon, Ralph Ferron, Pol Huberty, Kevin Kass, Gilles Kieffer, Sepp Koch, Fränz
Meyers, Patrick Muller, Christian Pütz, Guy Scholtes, Marc Thein, Claude Weis, Patrick Winandy
Machinerie de scène Christopher Dumlich, René Fohl, Helmuth Forster, Cyril Gros, Lorent Hajredini,
Patrick Hermes, Claude Hurt, Jeff Leick, José Mendes, Daniel Mohr, Eric Nickels, Paul Nossem,
Joé Peiffer, Andy Rippinger, Roland Schmit, Jörg Seligmüller, Fabien Steinmetz, Frank Thomé,
Yann Weirig Atelier Marc Bechen, Cristina Marques, Michel Mombach, Kevin Muller, Steve Nockels,
Nadine Simon, Jérôme Thill Coordination habillage/maquillage/accessoires Michelle Bevilacqua,
Claire Biersohn, Marko Mladjenovic, Anatoli Papadopoulou Immeuble Nathalie Ackermann, Dany
Ferreira, Luc Greis, François Hedin, Jeannot Jost, Jean Schutz Accueil Pierre Demuth, John Glaesener,
Pit Clemen, Kurt Semowoniuk
24THÉÂTRE DES CAPUCINS
JEUDI 29 AVRIL
& MARDI 4, MERCREDI 5, JEUDI 6, LUNDI 10, MARDI 11, MERCREDI 12
& VENDREDI 14 MAI 2021 › 20H00
Mendy – Das Wusical
HELGE SCHNEIDER & ANDREA SCHUMACHER
© Henri Schoetter
REGIE TOM DOCKAL, JACQUES SCHILTZ REGIEMITARBEIT CLAIRE WAGENER BÜHNE MARIE-LUCE THEIS
KOSTÜME MICHÈLE TONTELING RÉPÉTITEUR SVEN SAUBER
MIT U.A. NICKEL BÖSENBERG, AL GINTER, ANNE KLEIN, ROSALIE MAES, DOMINIK RANEBURGER, KONSTANTIN ROMMELFANGEN,
ILLUSTRATION © HENRI SCHOETTER
ANNETTE SCHLECHTER, PITT SIMON
MUSIKER MISCH FEINEN, JITZ JEITZ & GEORGES URWALD
PRODUKTION LES THÉÂTRES DE LA VILLE DE LUXEMBOURG
LE
INFORMATIONS & RÉSERVATIONS CYC INS
ST S
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WE CONSTANTLY ADAPT OUR MEASURES TO THE SITUATION.
WE TRUST IN EVERYBODY’S RESPONSIBILITY TO FOLLOW THESE RULES.SCÉNOSCOPE 20-21*
*parution juillet 2021
Après cette période semée d’in- nos spectateurs. Vous pouvez écrire
certitudes, nous sommes d’autant sur votre expérience culturelle chez
plus heureux d’accueillir à nouveau nous, sur la production que vous
notre public et de partager des avez vue, sur l’importance que le
moments uniques d’échange et de théâtre a pour vous…
convivialité. C’est ainsi que nous
N’hésitez pas à envoyer votre
avons souhaité donner une voix à
commentaire (1-3 phrases)
nos spectateurs dans la prochaine
à lestheatres@vdl.lu
édition du Scénoscope.
Nous attendons vos contributions
Pour cette rétrospective, d’habitude
avec impatience.
réservée aux commentaires de no-
tre jeune public, nous souhaitons Votre équipe
recueillir les impressions de tous des Théâtres de la Ville20
21
IMPRESSUM
Photos © Boshua
Impression : Atelier reprographique
Ville de Luxembourg
Grand Théâtre
1, rond-point Schuman
L-2525 Luxembourg
www.lestheatres.lu
28 www.luxembourgticket.luYou can also read
