Light design 2014

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Arsen und Spitzenhäubchen

 
Direction: Dalit Bloch
Set and costume design: Kurt Walther
Lighting design: Minna Heikkilä
 
 
Premiere: May 2nd, 2014, Mehrzweckhalle, Therwil, Switzerland
 

Arsenic and Old Lace opens in the living room of the Brewster home, inhabited by two spinster aunts, Abby and Martha Brewster, and their nephew, Teddy. Rev. Dr. Harper is chatting with Abby about her other nephew, Mortimer, who in love with the reverend’s daughter, Elaine. Soon joining the conversation are two friendly police officers, Brophy and Klein, who have come by (as they often do) to pick up a box for charity from the kindly Brewster sisters. Theodore, who is rather crazy but harmless, thinks he is Theodore Roosevelt and charges up the stairs to retrieve the box.

The reverend and the policemen leave, only to be replaced by Mortimer, who announces to his aunts that he intends to marry Elaine, whom he is taking to a play that evening.

However, the happy family starts to unravel when Mortimer lifts the lid to the window seat and discovers a dead body within. He immediately assumes that Teddy has killed the man. However, Abby and Martha tell Mortimer that it was they who poisoned the man with their homemade elderberry wine—and that he is the eleventh (or twelfth, depending on how you count) gentleman they have shared their wine with. The sisters explain that these are charitable acts: They befriend lonely older gentlemen who do not have much to live for and then kill them with elderberry wine laced with arsenic. They continue that Mortimer should not worry because Teddy is down in the cellar digging what he believes is the Panama Canal, but is in reality the latest grave.

Just then Elaine arrives and an exited and worried Mortimer tells her they are not going to the theatre afterall. After a brief quarrel, Elaine leaves.

About this time, Mortimer and Teddy's brother, Jonathan, shows up. Jonathan, a true maniacal criminal, is accompanied by Dr. Einstein, a plastic surgeon of doubtful character. Dr. Einstein has changed Jonathan so that he looks like Boris Karloff, the horror film star.

Teddy invites Einstein to join him in the cellar, where he is supposedly digging the Panama Canal. Einstein quickly returns and confides to Jonathan that there is a hole large enough to bury Mr. Spenalzo (a man Jonathan recently killed) after everyone goes to bed. Once the lights are out and everyone is supposedly asleep, Teddy goes to the window seat to get Mr. Hoskins, and Jonathan and Einstein go to their car to get Mr. Spenalzo, both planning on filling the hole in the cellar.

Thus begins several hilarious scenes of lights blinking on and off, of bodies being moved from the window seat to the cellar to the car outside, and of accusations and threats back and forth.

Because of the commotion at the house, Officer O'Hara stops by to make sure all is well. When he is convinced that everything is alright, he shifts topics and corners Mortimer in a discussion of a play he is writing.

Just then, Lieutenant Rooney bursts in and recognizes Jonathan as an escapee from a prison for the criminally insane. Jonathan tells the officers about the bodies in the cellar, but they don't believe him and take him off to prison. Einstein gets away, and Theodore is certified insane and taken to the Happy Dale Sanitarium.

Trying to protect society without sending his aunts to prison, Mortimer ecstatically agrees when his aunts insist on going to Happy Dale with their nephew. The aunts then kindly inform Mortimer that he is actually not a member of the Brewster family. He was an illegitimate child and thus can marry Elaine without fear of passing the Brewster insanity on to his children. Mortimer happily departs, but before the women leave their house, they offer a drink to the head of Happy Dale, Mr. Witherspoon. Witherspoon is a lonely older gentleman, and he gladly accepts a glass of the spiked elderberry wine. . . . (source: Utah Shakespeare festival)



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True Love, ein Polterabend

 
Direction: Kaspar Hort

Production: Hort Productions
 
 
Premiere: Premiere May 9, 2014 in Volkshaus, Basel, Switzerland

 

So etwas gab es noch nie in Basel: fetter Big Band Sound, begeisternde junge Sängerinnen und Sänger, eine Tanzfläche und alles inszeniert vom bekannten Basler Künstler Kaspar Hort. True Love erzählt die Geschichte von Leilas Polterabend irgendwo an einer nordeuropäischen Meeresküste. Anfangs geht bei der Geschichte in Sachen Liebe humorvoll bissig "alles schief". Aber nach einigen Irrungen, findet sich wieder, was zusammen gehört und am Schluss wird wohl geheiratet. Das Musical True Love - ein Polterabend greift eine musikalische Theaterform aus den 20er-Jahren des vergangenen Jahrhunderts, die Musical-Comedy, wieder auf. Beliebte und berühmte Stücke aus dieser bewegten Zeit wurden für die Big Band und die Sängerinnen und Sänger modern arrangiert, sodass animierende Tanzmusik ganz im Sinne einer Hommage an das Great American Songbook live erklingt. Das Besondere am Musicals: Während der ganzen Aufführung steht den Gästen eine Tanzfläche zur Verfügung. So werden sie selber Teil des Musicals und feiern Leilas Polterabend auf ganz spezielle Weise mit. Es gibt aber auch eine normale Bestuhlung für die, die einfach nur der Musik lauschen und der Handlung folgen wollen.

 

True Love is a bachelorette party for Laila, somewhere at the sea shore in Northern Europe in Roaring Twenties'. Audience is invited to dance along to this humorous and twisting story about people searching for the one right person and the everlasting love. It is a homage to the Great American Songbook presenting songs like "Mad About the Boy", Let's Misbehave", "Crazy" and "Dream a Little Dream" among others.

 


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Wegen grossen Erfolgs

Pergoletti / Schmocker
 
Concept and performing: Grazia Pergoletti, Lea Schmocker
Direction: Michael Glatthard
Set design: Renate Würsch
Lighting design: Minna Heikkilä
Music and performing: Moritz Achermann
Dramaturgy: Linda Best
Choreography: Bea Nichele Wiggli
 
Premiere: Premiere May 15, 2014 in Theater Roxy, Birsfelden, Switzerland
 

«ERFOLG IM LEBEN IST ETWAS SEIN, ETWAS SCHEIN UND SEHR VIEL SCHWEIN.»
PHILIP ROSENTHAL
 
 
Wer ihn nicht hat, sehnt ihn herbei, wer ihn hat, tut alles, um ihn zu behalten, und manch einer wird sogar süchtig danach: Erfolg scheint heute Pflicht zu sein, es wimmelt von Fachliteratur voller Rezepte und Heilsversprechen. Ist Erfolg erlernbar und demnach jegliches Scheitern selbstbestimmt? Ein Lehrgang der besonderen Art soll Klarheit schaffen. In ihrem Theaterabend WEGEN GROSSEN ERFOLGS verwandeln sich die Schauspielerinnen Grazia Pergoletti und Lea Schmocker in veritable Seminarleiterinnen. Lustvoll changierend zwischen wissenschaftlichem Ernst und glamouröser Show, nehmen Pergoletti und Schmocker – gemeinsam mit dem Musiker Moritz Achermann – die Mechanismen des Erfolgs unter die Lupe und zelebrieren einen fröhlichen Abgesang auf die moderne Leistungsgesellschaft. Sie beleuchten Biografien erfolgreicher Menschen wie etwa jene von IWF-Chefin Christine Lagarde, aber auch solche von gefallenen Heroen wie zum Beispiel Lance Amstrong. In welchem Moment geht oder ging es bergab? Gibt es bestimmte heikle Punkte in einer Karriere, an welchen der Knick vorprogrammiert ist? Fehlen auf einer Erfolgsleiter von vornherein einzelne Sprossen? WEGEN GROSSEN ERFOLGS ist ein Theaterabend voll heiterem Ernst, ironischen Brechungen und verblüffenden Einsichten. Da ist (was sonst?) der Erfolg schon mal vorprogrammiert.

 

A performance about the concept of success in both scientific and burlesque fashion. A seminar during which Pergoletti and Schmocker recite renowned success stories, analyze the the tools of becoming one. One of the stories is mirrored through two athletes who participated the Olympics of Seoul in synchronized swimming team and caused a huge scandal.

 


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Don Juan in Soho

 
Direction: Krista Jaquet
Set design: Dragana Blaser
Lighting design: Minna Heikkilä
Musical director: Christine Archer
 
Premiere: Premiere October 23, 2014 in Corrientes, Basel, Switzerland
 

Don Juan in Soho  is a funny, witty and sexy updating of Molière’s play, which was originally written in the seventeenth century. The Don Juan character has been a favorite of playwrights and librettists over the years, from Molière to Mozart to Pushkin. The Don Juan in this play is a modern-day womanizer let loose among the seediness of London’s Soho district. He is a shameless flirt, an aristocrat who will go to bed with anything female and attractive, without a thought for the consequences.

The playwright Patrick Marber has written a rollicking play with sparkling dialogue, and not without a critique of who we are as a society. This Don Juan takes a bite out of our obsession with a confessional culture, where anything is forgivable just so long as you are famous and prepared publicly to "open your heart" about it. Contrasting himself with the desperate falsehoods that others cloak themselves in, Don Juan proclaims that “at least my lies are honest.”

Happyville Productions presented Don Juan in Soho at Corrientes, an intimate theater in the Gundeldingerfeld district of Basel, an area of converted industrial warehouses.  Corrientes is a small dance studio / cafe theater, which lent the show an intimacy and an in-your-face experience.

 

 

 


 

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