A long, standing ovation; cat-calls and whistles – all showing the audience’s enthusiasm and approval. A just reward for this first performance of ‘Cry Havoc!’ in a series of three. Directed by Eric Tucker and performed by actor Stephan Wolfert, ‘Cry Havoc!’ was presented by STET as part of its Shakespeare Fringe Weekend and the The Hague Freedom Weeks. The latter leading up to WWII Remembrance and Liberation Day.
Fanny Mendelssohn’s music was – dare one say ‘of course’ – not played during this literary evening. A few compositions by her brother were – dare one add ‘of course’. Regardless; this literary evening during which cellists and music took center-stage, was of course a huge success.
They are busy rehearsing Aaron Mark’s ‘Another Medea’. It was well-received in New York in 2015. Now it will be performed in the Netherlands. As one of the four STET (The English Theatre) performances is just across the border from Belgium: not sure if the team plans any performances in Belgium or any other European country.
When news started to buzz, there would be a “Wiener Café” – or rather Wiener Kaffeehaus – evening at Branoul, free tickets for the pay-what-you-want performance sold out in no time. Friends, leaving it till too late, were disappointed. Their only option was, to try get tickets for the performance at an Amsterdam theater, a day later.
A few weeks ago, friends and I attended a literary evening. As usual, the evening not only included recital of poetry, but also appropriate chamber music. This evening was a German one and its theme Dada.
It was an astonishing performance. An hour of texts and music which influenced Bob Dylan, as well as his own lyrics and versions. The words, meanings, messages mainly written during the 1950s and 1960s were eye-openers. Last chance to attend: 28th of March 2017 – in Amsterdam.
The small theatre was totally sold out: all places taken. Then a group showed up. No reservation is no ticket is no seat – but they’d either barged or been allowed in. The group sat down anyway, managing to block access to the stage and hampering the performance later on.
The last literary salon of 2015 did not attract the usual crowd. Three people were moaning about it and commenting on the differences between the cultural scenes of several major cities. I listened to their moans and criticism, while idly sitting in the theatre’s corridor waiting for the doors to open.
“Since Maggie went away” is written by writer-journalist Jacqueline Nolan. The play is based on personal experiences and recently uncovered family history. Being familiar with press reports on its topic and having recently read “The Baby Thief”(see “Thief”), I attended an impressive performance.