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  Oliver Reese stages "Panic Heart": Rocking the Capital – Culture | Bit Updates
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Oliver Reese stages "Panic Heart": Rocking the Capital – Culture

Monday, February 19th, 2018 | bitcoin updates


Unbelievable, what with dim lighting bar lighting in the Berlin ensemble hopped in the Udo clock, plucked on air guitars and the microphone stand is held hyper-hyper-sloping! Here you want it, according to the message, really crack. Like Benjamin von Stuckrad-Barre in his autobiographical bestseller "Panikherz" just, this almost six hundred-sided excess and crash report, the BE director Oliver Reese brings here as a nonstop two-man on the stage. With plenty of Lindenberg songs. The problem is: it does not crash! Nico Holonics can throw business cards into the audience and Carina Zichner can perform high-performance sport up and down the two steps that Hansjörg Hartung has built on the ramp of his hotel lobby stage with late-night bar. As Bettina Hoppe can throw out an assertive nightlife philosopher after another ("The sea is clearly the punk in nature"), Laurence Rupp imitate a wolf as Udo-Lindenberg-Verschnitt and the flanking live band in the keys hew, as would be awarded here soon the Grammy: The sound is just not. A portrayal of life with irony filter Clearly: Stuckrad-Barre's novel reads – among other things – as Super self-overestimation document. The childhood in the "muesli" pastor's household in Rotenburg on the Wümme, the touching and baseless worship of Udo Lindenberg and later idol off and return again, the first prescient discrepancies as a self-proclaimed Göttingen local music critic pope and the Gagschreiberweihen by Harald Schmidt , Then the Popliteraten-rise, the alcohol, club and drug excesses from Hamburg to Berlin and finally the bulimia, the crash and the detox hospital stays: Stuckrad-Barre not only describes all very well (what the novel at least in the second part to one makes a serious illness report). But he also squeezes it with pleasure through all available irony and other distancing filters. However, the author (who by the way was not explicitly spotted for the premiere) always gives himself the biggest sarcasm pack: If Rotenburg on the Wümme is ridiculous, then the little Benni who rises above it is certainly a little more ridiculous. This makes the calculated prepotency of "panic heart" look pretty sympathetic. And, measured by the BE stage version, almost dialectically. More effort than excess Because there everything seems somehow strangely asserted, acquired. And, with some respect, a bit as if the protagonist had not come out of Rotenburg until today. For example, Carina Zichner sits in the sweatshirt on the stairs and intones "Wümme" with an eye-popping teenage mauling, as if she had not just been made a lifelong career insurance career, but also went to Reese's directorial predecessor Peymann to school ,

 That the new BE boss, who here presents his first own production since taking office in the fall, Stuckrad-Barres I-narrator figure distributed to four actors, also proves not really helpful. Everybody tries to use a different facet. And none of them is able to tie, because all act rather excessive than actually excessive: Zichner is, as I said, the provincial annoyed, Rupp most likely the almost residue-free Somehow-normal-buddy type next door. Holonics bends the Romanian inherent ridiculousness towards Dödeltum, while again Bettina Hoppe – somehow understandable – tries to counter with a kind of Dionysian proseminar seriousness. In short: The BE has laid down with "panic heart" an evening that was indeed applauded enough to bring the actors right back to the song encore on the stage. But also one who is somehow typical for the new, started with many lobbying directors to date: one would like to rock on all levels of the capital. Especially after the Castorf-Aus at the Volksbühne. But you have not made it yet (yet). Again on the 20th and 28th of February

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