The Hothouse HAROLD PINTER

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2 CRÉATION The Hothouse HAROLD PINTER

WEDNESDAY 24, THURSDAY 25, FRIDAY 26, TUESDAY 30 & WEDNESDAY 31 MARCH & THURSDAY 1 & FRIDAY 2, TUESDAY 6, WEDNESDAY 7, FRIDAY 9 & SATURDAY 10 APRIL 2021 › 8PM

WEDNESDAY 7 & SATURDAY 10 APRIL 2021 › 3PM

SUNDAY 11 APRIL 2021 › 5PM

– Running time 2h00 (no interval) – Introduction to the play by Janine Goedert 30 minutes before every performance (EN). – This performance contains stroboscopic lights.

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4 With Tubb Pol Belardi Lamb Danny Boland Miss Cutts Céline Camara Lobb Catherine Janke Lush Marie Jung Roote Dennis Kozeluh Gibbs Daron Yates & Georges Maikel (dance) – Directed by Anne Simon Set design Anouk Schiltz Costume design Virginia Ferreira Music & sound design Pol Belardi Lighting design Marc Thein Assistant director Sally Merres Make-up Joël Seiller – Wardrobe Manuela Giacometti Props Marko Mladjenovic – Production Les Théâtres de la Ville de Luxembourg

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THE HOTHOUSE

The Hothouse is a play about unchecked (state)-power and the decisions leaders make – spurious decisions that are potentially dangerous in the name for the preservation of a society.

Somewhere in an authoritarian state. Former military Colonel Roote runs an institution where bureaucracy rules and the inmates are reduced to numbers. When one Christmas day, the cantankerous Colonel is confronted by a double crisis with the death of one inmate and the pregnancy of another, he finds himself increasingly cornered and sees the system he obeys so respectfully slip away. The Hothouse is a blackly comic portrait of the insidious corruption of power and demonstrates how far people will go to keep a system alive that is long condemned to fail. After all it’s the only one they have.

Anne Simon and her international ensemble embark the audience into a dark, absurdist microcosm that its inhabitants desperately try to keep in existence because it is their sole raison d’être. Anouk Schiltz’ 360°set, reminiscent of a panopticon prison, plunges the spectator right at the heart of this dangerous game of appearances and slipping realities.

6 DIRECTOR’S NOTE

The Claim-Game

What else is a society other than “a group of people in which group common assumptions are shared and common principles observed?”

That is true for any kind of society: we agree to agree on certain principles and truths, whether they be factually true or not doesn’t matter, what matters is that we BELIEVE in the same truths. This mechanism is one on which societies are built. It is how we define who our enemies are – namely those who do not play by those rules and act by the same beliefs. It is the contracts that we make with each other. Most truths are, as humanity has to learn over and over again and often the hard way, not empirically researched facts, but rather claims that we chose to believe in, or not. And the claiming of truths, is the nature of theatre. Our medium is in the end nothing more than the extreme reproduction of those mechanics that structure societies: we make a contract with the audience and ask them to suspend their disbelief.

The Hothouse as we conceive it, thus becomes a metaphor for the theatre as well as for societal contracts. In Pinter’s microcosm, the agreement, the contract is to believe in what has always been believed in, namely the system in place (a fundamental principle of societies in place). We’d like to take that principle further and make it resonate with the fundamental principle of theatre itself: namely to accept whatever is claimed as the truth (for that moment in time and space). By breaking down and showing those mechanisms and consciously letting the reality of the theatre as a medium and space run in parallel to that of the play with its narrative, we aim to explore how thin the lines between different truths actually are. It is to be imagined as a reverse principle of Schrödinger’s cat experience: as long as no one looks out of the box, nothing can be proven wrong and the status quo can be preserved.

The Change-Challenge

And here, a play that seems to consist of pretty one-dimensional characters that at first glance might only fulfil a representational purpose (as Pinter has claimed himself) turns out to offer characters with the potential for depth and layers that are endless and truly human. The social critique 7 GRAND THÉÂTRE › STUDIO

becomes a reflection on why we are so afraid of change. We try to under- stand, why an old white western male desperately tries to hold on to a system that has always been in place and why it is questioned so little – even by the ones that are further down the food chain – the so-called minorities (gender, ethnic, economical, belief,...) and find out that we are possibly all scared of change, because although a system in place might be oppressive, unfair and incorrect, it is most possibly the only one that we have and the prospect of having to instaure something new is often far more frightening. The white males have their obvious reasons not to change a system: even though crumbling, it is their reason of existence, they need to keep a rotten, nameless place – that potentially is even devoid of patients – going in order to keep existing. To explore the struggles that the minorities are facing in order to cut ties (there is a character called Cutts...) with a system that is not theirs is just as important. The absent and nameless patients are the voicelessly oppressed. They don’t exist for the oppressor in anything more than a number in a statistic (Say their name).

The absurd tale that unravels in this micro society under a looking glass, in which everything develops faster, stands for all the physical and especially mental prisons that humanity should strike down and refuses to. It stands for any system in place (western, white, male, Christian, dominant) that feels like a prison to the majority of its people but that society as a whole still desperately holds on to.

The Denial of Death

On a metaphorical level, keeping a system in place is of course a mechanism to deny death. The big delusion is, according to cultural anthropologist Ernest Becker, the basic human drive and it gives rise to “immortality systems”, or non-rational belief structures that give us a means to believe we’re immor- tal. Apart from the obvious ones that are religion and the longevity through the arts system, the most commonplace is the one of identifying with a group, a tribe, a society or nation that lives on into the indefinite future.

In The Hothouse, Roote’s disintegrating mental state becomes not only a harbinger of his own end, but the image itself for the slow disintegration of the structure, the immortality system itself that so many depend on. The dilemma for the characters around him becomes real: if he dies and the system collapses, part of them might have to go with him. The decision at the end is: prolonging the system or allowing tabula rasa. 8 The Hothouse might well be, in all of those aspects, more relevant today than ever. While it was originally intended as a critique of British upper middle classes and bureaucracy, it now resonates with movements that address the question of where we stand with regards to death (and the denial of it) and exploring the mechanics of belief versus fact.

Anne Simon (March 2021)

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IN CONVERSATION WITH ANNE SIMON

INTERVIEW LED BY JANINE GOEDERT

JG: Why The Hothouse and not one of the better-known plays? After all, we do not often see a Pinter play on stage in Luxembourg.

AS: I chose it because I am really interested in the “huis clos” Pinter so often writes about. In this regard, The Hothouse seems to me the obvious choice: the outside world could not be more inexistent and there lies the threat, really. Also, what I really like is the fact that it has more of a socio-political structure than many of the later plays which have a more personal basis. The play centres on how the system we live under works rather than on interpersonal stories. Yet it has the space to allow for these interpersonal stories.

JG: Now, Pinter was legendary for refusing to explain what his plays were about. There is the famous quip: “This is what happened. That is what they said. That is what they did.” Will you be a bit more forthcoming and tell us what The Hothouse is about for you?

AS: Well, I guess I am even less forthcoming… The play is a lot about theatre as well as about how societies are built, about how we agree to accept certain truths. We accept to agree since we have a contract to function as a society. The truths we are claiming have become our reality. And, in a way, that is what theatre is about, too.

The play becomes a metaphor for theatre, whereas theatre is a metaphor for society. There is this doubling, this mirroring: this is the truth or structure we claim to believe in or we agree to believe in. Anyone that does not agree is our enemy. But then all these truths can be questioned from within, and that becomes dangerous as the system might crumble. It is a play about a group of people who believe in something. They need to go on believing in the system. There simply is no alternative for them.

The play may thus become a metaphor for any kind of oppressive system, not only blatant autocracies, but also oppressing structures within so-called democracies. The inmates in this institution or the prisoners are never shown. They are invisible, they are the ones no one considers, whose names are 10 not mentioned, yet they exist, their presence can be felt, but as a society we chose to ignore them. You might see The Hothouse as a critique of patriarchy, of white male western dominance which is crumbling but it is being held on to. The system is in place, and we do not want to let go. At least, western white males do not want to let go….

JG: The Hothouse can certainly be interpreted as being about belief, but it is also about the need to fit in, the desperate need not to be left behind, not to be targeted in a society or a world where the keyword is order. Pinter gives us a world of bureaucrats, of reports and corruption, where questioning received ideas has become a crime. You are ready to com- promise your own integrity because once you become an outsider, you might end up as one of the inmates at this institution.

AS: I think those two things go together. All the characters know to a certain extent or, at least, sense that the way things are done is not right. The set-up is not necessarily what they would like to believe in but they need to go on believing. We desperately need the system to work and to go on because we do not know what awaits us “outside”, possibly nothingness and what could be scarier than that? It is a matter of survival. In fact, you can call the situation tragic.

JG: Now, in terms of language, there are numerous echoes of what you find in later plays. We see language become a tool of oppression. It is used as a strategy. Do you think that approach is already fully developed here or is it something Pinter concentrated on even more later?

AS: No, it is there all along. You have to read between the lines in this play as well, which is a great gift for directors and actors. The Hothouse deals with the subtext, with what is not being said rather than with what is being said. Basically, you can take any line and say something else with it. There is so much stuff that is not being said. Just consider the context, which remains unclear. After all, we do not even know where we are. Is this an institution run by an authoritarian regime? Or does it represent that regime as a whole? It’s also a metaphor for the world we live in, for the structures we fail to contest on a daily basis.

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JG: And then there is another undeniable challenge: How do you deal with the mix of comedy and menace at the heart of The Hothouse? Like Pinter’s most other plays, it is funny, but always in a dark, ambiguous way.

AS: To a large extent, this mix is text-based. The change of and play with different registers is something I adore and Pinter’s text just gives such great opportunities to explore this. It can oscillate from a classic comedy of manners, to clip-clap slapstick to noir thriller. It’s this social noir comedy with gro- tesque and horror-like textures.

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14 BIOGRAPHIES

HAROLD PINTER Playwright

Harold Pinter, (1930 – 2008), English playwright, who achieved international renown as one of the most complex and challenging post-World War II dramatists. His plays are noted for their use of understatement, small talk, reticence – and even silencen – to convey the substance of a character’s thought, which often lies several layers beneath, and contradicts, his speech. In 2005 he won the Nobel Prize for Literature. The son of a Jewish tailor, Pinter grew up in London’s East End in a working-class area. He studied acting at the Royal Academy of Dramatic Art in 1948 but left after two terms to join a repertory company as a professional actor. Pinter toured Ireland and England with various acting companies. After 1956 he began to write for the stage. The Room and The Dumb Waiter, his first two plays, are one-act dramas that established the mood of comic menace that was to figure largely in his later works. His first full-length play, The Birthday Party, puzzled the London audiences and lasted only a week, but later it was televised and revived successfully on the stage. After Pinter’s radio play A Slight Ache was adapted for the stage (1961), his reputation was secured by his second full-length play, The Caretaker, which established him as more than just another practitioner of the then-popular Theatre of the Absurd. His next major play, The Homecoming, helped establish him as the originator of a unique dramatic idiom. Such plays as Landscape, Silence, Night, and Old Times virtually did away with physical activity on the stage. Pinter’s later successes included No Man’s Land, Betrayal, Moonlight, and Celebration. From the 1970s on, Pinter did much directing of both his own and others’ works. In addition to works for the stage, Pinter wrote radio and television dramas and a number of successful motion-picture screenplays. Among the latter are those for three films directed by Joseph Losey, The Servant (1963), Accident (1967), and The Go-Between (1970). He also wrote the screenplays for The Last Tycoon (1976), The French Lieutenant’s Woman (1981), the screen version of his own play Betrayal (1983), The Handmaid’s Tale (1990), and Sleuth (2007). Pinter was also a noted poet, and his verse – such as that collected in War (2003) – often reflected his political views and involvement in numerous causes. In 2007 Pinter was named a chevalier of the French Legion of Honour. 15 GRAND THÉÂTRE › STUDIO

ANNE SIMON Director

Anne Simon has studied Drama and Theatre at Royal Holloway, University of London. She acquired her first professional experiences as a director’s assistant and stage manager at Théâtre National du Luxembourg and the Ruhrfestspiele Recklinghausen. In 2007, she is wins a competition for emerging directors (Champ Libre) with her first directing work, mixing kitchen sink drama of the 1950’s and In-yer-face theatre of 90’s Britain. Anne Simon has been directing in most of Luxembourg’s theatres and has been working internationally since 2009. Recent international destinations have included Barcelona (Teatre de l’Enjolit), New York City (The Circle Theatre of New York, company of which she is a member), Salzburg (Schauspielhaus) and the UK. Simon’s work is often characterised by strong visuals, pop-cultural references, elaborate kinetics and a constant tension between realism and abstraction. In search for a definition of what reality means for the stage, she challenges a filmic naturalism that theatre often tends to feel obliged to and tries to reaffirm the theatre’s innate augmented reality, its immediacy and tactility by the simple and mechanical means of the theatre itself.

ANOUK SCHILTZ Set design

Anouk Schiltz studied at the École Nationale Supérieure des Arts Décoratifs in Paris and graduated in 2005. She makes her first professional experience in Luxembourg and creates the set and the costumes for the luxemburgish translation of the Samuel Beckett play Endgame, directed by Charles Muller at the Théâtre d’Esch also presented at the Radu Stanca National Theatre of Sibiu, Romania. She has been working with Anne Simon as a set and costume designer for several years on various productions such as Gier by Sarah Kane (2008), L’homme qui ne retrouvait plus son pays by Ian De Toffoli (2012), Don Quijote (2014) presented at the festival of Recklinghausen (2014), All New People (2016), Codename: Ashcan (2017). Other productions Anouk has been working on include: La Vérité m’appartient by Nathalie Ronvaux (dir. Charles Muller), Hedda Gabler (dir. Gerhard Weber) Theater Trier, The Crucible (dir. Douglas Rintoul) Queen’s Theatre Hornchurch / Théâtres de la Ville de Luxembourg, Rumpelstilzchen, an adaptation by Ian De Toffoli (dir. Myriam Muller) Théâtres de la Ville de Luxembourg. In 2019 she designed the costumes for the opera Les Mille Endormis by the com- 16 poser Adam Maor (dir. Yonatan Levy) world premiere at the Théâtre du Jeu de Paume, Festival d’Aix-en-Provence. In March 2019 she creates the set design of the play Ivanov (dir. Myriam Muller) Studio / Grand Théâtre de la Ville de Luxembourg. Anouk also experimented with installations like TERMINUS in a mine (MASKéNADA) and Le Carrousel du Somnambule for the Nuit de la culture (Ville d’Esch-sur-Alzette) in collaboration with the artist Misch Feinen. Since 2010 she has also been working regularly on the design of various exhibitions like Gëlle Fra, Cocteau, l’œuvre graphique (Cercle Municipal), Lëtzebuerg an den Eischte Weltkrich (Bascharage) Lëtzebuerg an den zweeten Weltkrich (Pétange) in collaboration with the curators Jean Reitz and Nadine Geisler.

VIRGINIA FERREIRA Costume design

Virginia Ferreira hails from Argentina and has been working in costumes for film, advertising, fashion and theatre throughout Europe since 2010. With an academic background in Linguistics and Fashion Design from the London College of Fashion, she has created women’s and men’s seasonal collections shown at London, Paris, Hong Kong and Shanghai fashion weeks; featured in major publications of the Condenast group and other key international publications. She has designed stage costumes for pop artists including Fergie, Madonna, Katy Perry, among others; and for clients like Mercedes Benz and the Fashion & Textile Museum in London working side by side with legendary British designer Zandra Rhodes. Drawing from cinema, art, fashion and advertising, Virginia is known for her provocative, avant-garde, daring, yet commercially viable approach. Her characteristic style is evident in her preference for black and white themes, seductive women in command and mysterious, dark, narrative elements.

POL BELARDI Music and sound design & Tubb

From the moment Pol played his first note on an instrument, sometime in the 90’s in a small Southern Luxembourgish town called Tétange, his curiosity was awakened to create music. After widespread local studies, including classical percussion, piano, drums and theory, a fair amount of classical orchestra as well as rock band experience and a good first imprint in the local scene, he set sails to study in Brussels and Amsterdam, earning a master’s degree “cum laude” in bass guitar in 2014. Throughout his entire career, he has forged himself a strong credo consisting of two main ingredi- 17 GRAND THÉÂTRE › STUDIO

ents: polyvalence and creativity. Critically acclaimed on various occasions, his projects vary in both conception of style and the instrument(s) he plays, and since the first childhood composition try-outs he has grown to a prolific composer who is not afraid of taking advantage of a large genre background. Now based in Luxembourg, the main drive for Pol’s life is sharing his artistic vision as a bandleader, sideman, producer, composer (also film and theatre), arranger, radio presenter, teacher and actor.

SALLY MERRES Assistant director

After finishing her literary and linguistic studies at the University of Cologne in 2016, Sally Merres began an internship at the Théâtre National du Luxem- bourg, where she mainly worked as an assistant director. After her 11-month stay, she continued to assist several national, as well as international directors, such as Max Claessen, Pol Cruchten, Frank Hoffmann, Myriam Muller and Anne Simon. In 2019 she travelled abroad to assist Berlin-based director Milena Paulovics in her adaption of Shakespeare in Love at the annual open air theatre Burgfestspiele Bad Vilbel in Germany. Later that year, she made her directorial debut with Every Brilliant Thing by Duncan Macmillan, starring Isaac Bush. The play was produced by the Luxembour- gish theatre collective Volleksbühn and was performed at an abandoned mansion in Luxembourg city. In 2020. she received the bourse pour met- teurs en scène émergents by the FOCUNA which enabled her to work at the Internationaal Theater Amsterdam where she assisted Australian director Simon Stone. Merres is currently working on her project (Cant’) stay at home, an audiowalk she developed with two other friends that is produced by the Kinneksbond. The premiere is set for April this year and will be performed in the streets of Mamer.

JOËL SEILLER Make-up

Joël Seiller a grandi au Luxembourg. Après 13 ans en coiffure, il se reforme comme artiste de maquillage et prend également des cours d’art drama- tique et de diction. Il travaille principalement comme maquilleur freelance pour le cinéma, le théâtre et la publicité. Depuis 2000, il a participé dans de très nombreuses productions de théâtre, e.a.: West Side Story (Festival de Wiltz, 2000), Alice under Ground (2002), Elephant Man (2004), Die 18 Dreigroschenoper (2007), Angels in America (2009), Der Messias (2012 – 2016), Blind Date (2014), Das Scheissleben meines Vaters, das Scheissleben meiner Mutter und meine eigene Scheissjugend (2015), Dom Juan (2015), All New People (2016), ≈[ungefähr gleich] (2016), Love and Understanding (2017), Tom auf dem Lande (2017), Rumpelstilzchen (2017 & 2018), Déi bescht Manéier, aus der Landschaft ze verschwannen (2018), Versetzung (2018), Stupid Fucking Bird (2019), Dealing with Clair (2019) et On ne badine pas avec l’amour (2021).

DANNY BOLAND Lamb

Danny studied music at the Paul McCartney founded Liverpool Institute of Performing Arts before going on to formally train in acting at London’s prestigious Mountview Academy of Theatre Arts. Tall and imposing on stage, with an athletic build and Nordic look, Danny is equally at home with avant-garde or traditional and classical theatre, and particularly specialises in completely entering into character, meticulously researching all aspects of his chosen role, and aided by the ability to easily and convincingly slip into accents and dialects from around Europe, America and many other parts of the world. 2019 saw Danny performing in a variety of roles in London, including The Sandman and The Juliet Letters, and in 2020 gaining acclaim as Matt in Anne Washburn’s ‘post-electric’ fantasy Mr. Burns. Besides The Hothouse, watch out in 2021 for Danny performing upstairs at Luxembourg town’s de Gudde Wëllen in Cleansed, a dystopian drama by renowned 90’s English playwright Sarah Kane and directed by Max Jacoby, where he will play three different parts in an immersive setting, along with a commercial (from Skin studios in Dommeldange), where Danny is Count Siegfried in a humourous take on the love story between Luxembourg’s founder and the mermaid Melusina.

CÉLINE CAMARA Miss Cutts

Céline was born in the suburbs of Paris. During her childhood, she trained as a ballet and modern jazz dancer at the Conservatoire de Créteil. After studying law in France and the UK, she moved to Luxembourg in 2012 where she started her office career as a jurist in academia. In pursuit of her true passion, she got involved in the local improv scene and started working with Valérie Bodson at the Conservatoire d’Esch-sur-Alzette. After a 19 GRAND THÉÂTRE › STUDIO

brief – and ultimately beneficial – existential crisis, she quit her legal career in 2018 and turned completely towards acting. Since then, she played in Des hommes de passage (direction: Fabrizio Leva), Le Courage (direction: Catherine Schaub), Moulins à paroles (direction: Mahlia Theissman), Les Nuits d’Aurore (direction: Fabrizio Leva). She also appears in films such as An Zéro (direction: Julien Becker), L’Enfant caché (direction: Nicolas Steil), La Valise rouge (direction: Cyrus Neshvad).

CATHERINE JANKE Lobb

Catherine Janke, a Luxembourgish-German actress born and raised in Germany. In 2000 she began her acting studies at the Ernst Busch Academy of Dramatic Arts in Berlin, which she completed in 2003. From 2003 to 2006 she was engaged at the Düsseldorfer Schauspielhaus (Germany), from 2006 – 2008 at the Theater am Neumarkt in Zurich (Switzerland). Since 2008 she is a freelancer and works in Germany and Luxembourg. As an actress she also worked at the Opera of Stuttgart and Mannheim (Germany). Janke works in German and international film productions.

MARIE JUNG Lush

Marie Jung, 1985 in Luxemburg geboren und in Basel aufgewachsen, beendete 2009 ihr Schauspielstudium am Max-Reinhardt-Seminar in Wien. Mit der Spielzeit 2010-2011 wurde sie festes Ensemblemitglied am Theater Basel, wo sie unter anderem mit Anna Viebrock, Werner Düggelin und Peter Kastenmüller arbeitete. 2012 wechselte Marie Jung zum Ensemble der Münchner Kammerspiele, wo sie u.a. mit Johan Simons, Luk Perceval, Stephan Kimmig und Armin Petras arbeitete. Ab 2015 war sie Teil des Ensembles am Thalia Theater Hamburg wo sie u.a. mit Jette Steckel, Franziska Autzen und Luk Perceval arbeitete. Sie spielte in Kinofilmen u.a. von Detlev Buck, Margarethe von Trotta, Elfi Mikesch und Donato Rotunno. Seit 2020 lebt und arbeitet sie als freie Theater- und Filmschauspielerin zwischen Belgien, Luxemburg, Deutschland und der Schweiz.

20 DENNIS KOZELUH Roote

Dennis Kozeluh was born in Missoula, Montana and, after studying Latin and Greek, took a degree in music/theatre at the University of Montana. Since then, Dennis has been active in the theatre, music and musical theatre world throughout western Europe. He has performed in light and contemporary opera (Wiener Volksoper, Neue Flora Hamburg, Wiener Festwochen) and operetta (Badener Stadttheater, Bad Ischl Operetten- sommer), theatre, film, and predominantly musical where he has played mostly strong characters, bad and good: M. Firmin in Phantom, Judge Turpin in Sweeney Todd, Reverend Moore in Footloose, Van Helsing in Dracula, and Captain Andy in Showboat, to name a few. In the last few years Dennis played the manager of a world class pop star (Bodyguard das Musical), an evil genie (Aladdin und seine Wunderlampe) and a U.S. Army colonel in Codename: Ashcan at the Théâtre National du Luxembourg. Most recently, he played Mark Rothko in RED and Arthur Birling in An Inspector Calls. He has appeared in films such as Underworld, Thank You for Bombing and The Strange Case of Wilhelm Reich and written and directed for several Viennese theatres. Dennis is a founding member of the Vienna-based improvisational group English Lovers. Recently promoted to Grandfather by the efforts of his middle child, Dennis is very grateful to the Grand Théâtre for the opportunity to appear in a live production during this crazy moment in human history.

GEORGES MAIKEL Dance

Georges Maikel Pires Monteiro completed his training at the Conservatoire de la Ville de Luxembourg, before joining the 3rd edition of SEED’s – Pro- fessional Master supervised by the CobosMika Company (ES). In Spain, he works with Roberto Olivan, Jorge Jáuregui, Thomas Noone, CobosMika Company and Cie PrÄk. In the greater region, he works with various choreographers and directors, such as Moacir Nunes, Sarah Baltzinger, Bernard Baumgarten, Cie Corps & Situs, Léa Tirabasso, Cie Filament, AWA – As We Are, Hannah Ma, Larisa Faber, Cathrine Elsen, Frédérique Colling and Sally Merres. He also collaborated with singers and musicians such as EDSUN, CHiLD, Michel Meis, Georges B. Delicate, Magnus & John, Josh Island and Kitshickers and worked with visual artists, Cecillia Tripp, Olivia Bourdeau and Nora Wagner. During his career, Georges Maikel created fest alongside 21 GRAND THÉÂTRE › STUDIO

the dancer and choreographer Piera Jovic and a few years later, he created the solo !MAKi!?. In 2020, he created the dance video It Gets Better with which he won the contest Dance from Home. Today, Georges Maikel is working on his new creation entitled My Cat Is A Unicorn.

DARON YATES Gibbs

Daron Yates was born in Munich, and since graduating from a four-year acting course at the Bavarian Theatre Academy August Everding (University of Music and Drama Munich) has been privileged to work in both film and theatre. He started performing at the Théâtre des Capucins, taking on the role of Chris in Tracy Letts’ Killer Joe directed by Anne Simon. Since then he has appeared several times on stage in Luxembourg in plays such as Mister Paradise (Théâtre National du Luxembourg), All New People (Théâtre des Capucins), and Codename: Ashcan (Théâtre National du Luxembourg). He also performed at the Residenz Theater in Munich (Bavarian State Theatre) in plays such as Shakespeare’s Anthony and Cleopatra and Franz Werfel’s The forty days of Musa Dagh directed by Nuran David Calis, and at the State Theatre of Cologne in the play HOOL. In the musical version of the film Fack Ju Göhte (Werk7 Theatre in Munich) he appeared in the lead role of Zeki Müller – winner of the German Musical Theatre Prize in the category Best Musical 2018. On screen and television he starred in films such as Nothing to Lose by Wolfgang Murnberger and the series Munich7 and Hubert und Staller.

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LES THÉÂTRES DE LA VILLE DE LUXEMBOURG Les Théâtres de la Ville de Luxembourg, consisting of the Grand Théâtre and the Théâtre des Capucins, are under one single management since 2011 and present an eclectic programme covering opera, dance and theatre. Fully aware of their responsibility to respond to the needs of its ever-growing cultural sector and cosmopolitan audience, the Théâtres de la Ville strive to present a high-quality and diverse programme. Furthermore, both venues constantly develop their role as a major facilitator by increasing their active contribution to the professional development of Luxembourg’s cultural scene by involving local talent in international co-productions and placing increased emphasis on producing, touring and talent development. The TalentLAB, a project laboratory and multidisciplinary festival, was a first initiative born in 2016 to further expand their support to local artists and promote international exchange. It has since developed into a vibrant platform for upcoming artists where experimenting in a safe environment is given valuable space and time. Through the establishment of the residency Capucins Libre in 2018, the Théâtres de la Ville wanted to assist and to accompany artists and companies during the final weeks of their creation by offering them the necessary time, space and support to premiere their work.

Finally, the Théâtres de la Ville continue to nurture and develop international partner- ships with other European venues and engage in discussions about a different co-production model based on exchange and training. This strategy of blending in-house creations with international co-productions and strong support for artists has enabled the Théâtres de la Ville to increase their visibility as a producing venue both in the Greater Region and beyond and creating ever more meaningful relation- ships with its partners.

Direction Tom Leick-Burns Adjointe à la direction Anne Legill Bureau de production Nora Haeck, Antoine Krieps, Martine Kutten, Hélène Landragin, Alexandra Lux, Joëlle Trauffler, Charlotte Vallé, Katja Wolf Bureau technique Pierre Frei, Laurent Glodt, Marion Mondloch, Jeff Muller Relations publiques Christiane Breisch, Yasmine Kauffmann, Manon Meier, Nadia Recken Secrétariat admi- nistratif Tamara Fascella, Thierry Kinzinger, Dominique Neuen, Taby Thill Comptabilité Marc Molitor, Géry Schneider Audio/Vidéo Claude Dengler, Patrick Floener, Cay Hecker, Kevin Hinna, Holger Leim, Jeff Lenert, Joël Mangen, Marc Morth sr., Marc Morth jr. Lumière Anne Beckius, Carlo Cerabino, Steve Demuth, Jonas Fairon, Ralph Ferron, Pol Huberty, Kevin Kass, Gilles Kieffer, Sepp Koch, Fränz Meyers, Patrick Muller, Christian Pütz, Guy Scholtes, Marc Thein, Claude Weis, Patrick Winandy Machinerie de scène Christopher Dumlich, René Fohl, Helmuth Forster, Cyril Gros, Lorent Hajredini, Patrick Hermes, Claude Hurt, Jeff Leick, José Mendes, Daniel Mohr, Eric Nickels, Paul Nossem, Joé Peiffer, Andy Rippinger, Roland Schmit, Jörg Seligmüller, Fabien Steinmetz, Frank Thomé, Yann Weirig Atelier Marc Bechen, Cristina Marques, Michel Mombach, Kevin Muller, Steve Nockels, Nadine Simon, Jérôme Thill Coordination habillage/maquillage/accessoires Michelle Bevilacqua, Claire Biersohn, Marko Mladjenovic, Anatoli Papadopoulou Immeuble Nathalie Ackermann, Dany Ferreira, Luc Greis, François Hedin, Jeannot Jost, Jean Schutz Accueil Pierre Demuth, John Glaesener, Pit Clemen, Kurt Semowoniuk 24 THÉÂTRE DES CAPUCINS JEUDI 29 AVRIL & MARDI 4, MERCREDI 5, JEUDI 6, LUNDI 10, MARDI 11, MERCREDI 12 & VENDREDI 14 MAI 2021 › 20H00 Mendy – Das Wusical

HELGE SCHNEIDER & ANDREA SCHUMACHER REGIE TOM DOCKAL, JACQUES SCHILTZ REGIEMITARBEIT CLAIRE WAGENER BÜHNE MARIE-LUCE THEIS REPORT KOSTÜME MICHÈLE TONTELING RÉPÉTITEUR SVEN SAUBER REPRISE SAISON 19-20 MIT U.A. NICKEL BÖSENBERG, AL GINTER, ANNE KLEIN, ROSALIE MAES, DOMINIK RANEBURGER, KONSTANTIN ROMMELFANGEN, ANNETTE SCHLECHTER, PITT SIMON MUSIKER MISCH FEINEN, JITZ JEITZ & GEORGES URWALD PRODUKTION LES THÉÂTRES DE LA VILLE DE LUXEMBOURG © Henri Schoetter ILLUSTRATION © HENRI SCHOETTER ILLUSTRATION

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Après cette période semée d’in- nos spectateurs. Vous pouvez écrire certitudes, nous sommes d’autant sur votre expérience culturelle chez plus heureux d’accueillir à nouveau nous, sur la production que vous EXIT notre public et de partager des avez vue, sur l’importance que le moments uniques d’échange et de théâtre a pour vous… convivialité. C’est ainsi que nous N’hésitez pas à envoyer votre avons souhaité donner une voix à commentaire (1-3 phrases) nos spectateurs dans la prochaine WE CONSTANTLY ADAPT OUR MEASURES TO THE SITUATION. à [email protected] WE TRUST IN EVERYBODY’S RESPONSIBILITY TO FOLLOW THESE RULES. édition du Scénoscope. Nous attendons vos contributions Pour cette rétrospective, d’habitude avec impatience. réservée aux commentaires de notre jeune public, nous souhaitons Votre équipe recueillir les impressions de tous des Théâtres de la Ville 20 21

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Grand Théâtre 1, rond-point Schuman L-2525 Luxembourg