Lovers meet madmen and poets – books

Where does William Shakespeare meet racy Amazons, German songs, and constantly new relationship boxes? In Badische Landesbühne, of course. More precisely: in their new adaptation “A Midsummer Night’s Dream”.

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the book. Nearly 160 visitors to the open-air performance of the Baden State Theater on Tuesday at Buchen Museumshof witnessed a “Midsummer Night’s Dream” in the truest sense of the word: the show took place on a dreamlike summer night – a real “Midsummer Night’s Dream”.

Of course, love is also associated with the real “Midsummer Night’s Dream”, but love, life and suffering, as is known, are something like this: on the one hand, Theseus (Tobias Strobel) wants to marry Hippolyta (Elena Weber ), on the other hand, She doesn’t want that – so but what!

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She’s not alone: ​​Hermia (Nadine Pape) wants to marry, but not to stupid Demetrius (Lucas Maria Redman) – her heart beats for Lysander (Thello Langer): He knows what he wants! So you take him by the hand to flee into the dark forest. Together, they wanted to escape from their strict father.

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But they are not alone: ​​as still as Demetrius appears at first glance, he is a real intelligent man and follows them into the woods. Within seconds, the background changed – again this year designed in a very original way – from a fragrant rose garden to a night forest.

Demetrius is on guard, but not alone: ​​He’s the target of Helena’s (Kira Blass) dreams. And that’s for a long time: love lives longer when you think it’s dead.

When you’re already in love, suffering isn’t far off either: Soon Cobold Buck (Cornelia Hellmann, very amusing), stern elf king Oberon (Tobias Strobel again) and his wife Titania (Elena Weber again) quarrel nerves and feelings. Oberon is also thirsty for love – or perhaps sexual desire?

Be it this way: He tasks Puck with searching for an ominous miracle flower. Its juice is said to work wonders – it’s supposed to make a person “drip” with it to throw Cupid’s arrows at the next best creature. What seems so simple is anything but: the impudent craftsman Klaus Zeitl (Marcus Hennes) ironically catches Bock’s attention. Zettel rehearses a play for Theseus’ wedding with his friends Mats Schlücker (BLB doyen Hannes Höchsmann), Peter Squenz (Martin Behlert) and Franz Flaut (Andreas Schulz). In fact, he wanted to do it in the silence of the forest, but completely plunged into, well, “sinking in the swamp” – is this an omen ?! – and dreams of the song “Zettels Traum”. This cannot be true! The protagonists maneuver their way further and further into the abyss of love. Which is funny: seemingly magic tricks, numerous references to striking nicknames from Münchner Freiheit (“Ohne dich…”), Matthias Reim (“Damn, I love you”), Al Martino (“Volare – Finale”), Silly persuasive voices, disruptive theatrical rehearsals by Zettel and the like and plenty of artificial ice mist create a meticulously sparkling atmosphere.

And she does it intensely every minute – at the latest when the captivating soul music sounds in a reddish light. Then the hunter storms the (theatrical) forest with an authentic Bavarian chamois beard: Et voilà, the chaos is perfect and Buchen’s audience is furious with enthusiasm. No wonder: The actors pull all the stops at the end of the season and are about to outsmart themselves.

Creative and in love with details

To cut a long story: Enter the final piece “Quick, Pirelli”. Once again, the stage set was rebuilt in no time at all.

Then the wedding march sounds: Oh my God! Lovers, madmen and poets meet – unlike every cryptic fantasy: happiness and new love every day there is always something new! With frantic applause, Buchen’s audience stands wary and witnesses a very special “trilogy”: three couples take the path to (non) happiness.

How Carsten Rahm and Evelyn Nagel imaginatively and attentively worked on the classic Shakespearean work of the late 16th century back in the late hour: to the delightful grooving sounds of disco, the song “Stayin’ Alive” and under the golden yellow and blue-violet light effects Shimmering, the actors circulate across the stage – the museum plaza turns into a nightclub.

But then comes what must come: Even the best evening at the theater (unfortunately) must come to an end.

And that’s despite the fact that you’d have wanted to dance a long time during Buchen’s summer night with the well-rehearsed troupe—sorry, by Buchen’s “A Midsummer Night’s Dream.”

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