It is not too often there: standing ovations on the one hand, Bula on the other. There was rarely an audience in the Frankfurt drama, which would be divided, as with the last premiere of Christian Fridel. Probably because its setting of the classic “Solaris” Stanislav Lem since 1961 has obvious quality fluctuations, first at the level of action:
After Chris Kelvin ends at the space station on the title -planet, he finds chaos. The astronaut killed the remaining battles with hallucinations. As you can appear, the ocean of the celestial body, in the visible, is the cause. As an independent organism, this, according to the assumption, affects the memory of the colonialist: inside and drives them crazy.
If the Polish writer, who died in 2006, with his novel, according to concrete criticism, regarding the desire for progress and the desire of human power, nothing remains of this political superstructure in this performance. Global dystopia, it seeps into the inner drama of consciousness. The figures embodied by Lotta Schubert, Miguel Klein and Stefan Count are looking for themselves and the dead, fighting imaginary guests and demons.
With the exception of the repeated irregular, very little happens. It is unlikely that something is specific or tangible, most of it turns into an abstract. From the very beginning, the production is similar to a UFO, which fluctuates in space without relevance, far from our presence. This would probably be formulated by the disappointment of some spectators: it is explained inside, but in no case is the same loud arbitration.
This will probably return to some atmospheric scenes. Accompanied by the drummer, Max Mahlert, Anabel Meobius offers poetic fragments of the song in the role of the late Gibar. They have a spherical, hypnotic effect. If the ensemble also votes on the choir, there are moments of ecstatic force.
Two is a private evening
In general, the formula is used on this two -cave evening, which can be torn, but can emotionally touch: where there are not enough ideas, the show saves. In addition to complex music, the background is. The goals that come from the ceiling, rotund and tunnel, which are contouring with the help of shining elements, seem futuristic and at the same time minimalistic. Therefore, this universe is distributed with illustrative sets of scenes and is limited by a change in darkness and brightness.
The stage of Rondel is also illustrated by the fact that you cannot avoid darkness. Scientists are moving on to this: not only in a circle inside, in the end it also enters the abyss. In the end, do the figures devour the ocean? You can only assume about this, because the story in vague dissolves. In the air, theatrical star dust was then caught, undoubtedly very good, which will evaporate too quickly.