Tuesday, 17 April 2018

STEPS dance festival | L-E-V / Sharon Eyal & Gai Behar «Love Chapter 2»

Sharon Eyal & Gai Behar's «Love Chapter 2» danced by L-E-V is an incredibly impressive choreography that shows us the emotional state after a lost and ended love.
The dancers seem to fight against their own bodies, sometimes as a unity and sometimes each of them for themselves. Their movements are sharp, elegant and precise, the dancers are in full control of all of their movements but seem to have lost all control over their emotions.
The dancers are amazing, not only in the way they dance but also with their facial expressions, they manage to completely captivate us in what seems to be a cold and troubled world.
Sharon Eyal is said to have created her own contemporary language in classical dance, and in all her choreographies she works with Gai Behar, an Israeli Techno DJ. In Love Chapter 2 DJ Ori Lichtik produces the music live during the show and the steady and very powerful beats make the whole choreography even more intense and make you feel every beat and every movement of the dancers even stronger.

© picture: André le Corre

Sunday, 15 April 2018

STEPS dance festival | Noetic/Icon by Sidi Larbi Cherkaoui

The dance festival steps (Migros Kulturproduzent) is the biggest international Biennale for contemporary dance.
The Belgian / Moroccan choreographer Sidi Larbi Cherkaoui shows his choreographies Noetic and Icon, both are creations that are about Men in all their facets.
The two pieces are contrasting each other strongly, which at the same time makes them complement each other perfectly to be shown in one evening and represent different sides and facets of society and the people.
While noetic is very introspective, thoughtful and straight, focused mainly on the mind and interaction, Icon focuses on creating and destroying, it is rooted and very down to earth with 3.5t of clay surrounding the dancers and weighing them down.
Both choreographies are in their own way incredibly impressive and touching and Sidi Larbi Cherkaoui once again managed to transport us into his own world, where movements, music and precise speeches that are sometimes told by a single person and sometimes by a choir of dancers, tell us a lot, make us feel so much and leave us with many things to think about.
The live music with drummers and singers make the shows even more impressive and created a perfect atmosphere for the two choreographies.

The Göteborgsoperans Danskompani and Cherkaoui's own ensemble Eastman are dancing.

© pictures: Noetic: Bengt Wangselius / Icon: Mats Baecker

Saturday, 14 April 2018

Theater Basel | Tod in Venedig (Death in Venice)

Death in Venice, a play by Richard Wherlock based on the Novel by Thomas Mann, is based on the authors experiences during his family vacations and inspired by the death of the composer Gustav Mahler that is the model for Aschenbach in the story.
The story makes two complete opposites collide, the emotional and free minded world that fascinates the perfectionist Gustav von Aschenbach deeply. It shows us how close life and death, beauty and decay and desire and compulsion are.
The stage design is as simple as it is impressive, there is only one huge wave on stage on which water, the sea, reflections of cities and different underwater scenes until the death are projected during the evening.
Therefore the element water is a constant companion during the whole show.
The photographer Gustav von Aschenbach is bored by his job and during this crisis he travels to Venice to find new inspiration.
There he meets the young Tadzio that not only fascinates him because of his youth but also because of his young and free spirit.
The further away the object of desire strays, the stronger grows the desire of Gustav to be close to him and get his attention.
During the show he loses himself more and more over the desire to be close and united with the young Tadzio who barely notices him.
Always by Gustavs side is the Angel, that accompanies him, lifts him up when he falls, hurls him through the air when he gets lost and tries to keep him from following Tadzio wherever he goes.
When Gustav and the angel dance together they seem to be as one, complementing each other perfectly but at the same time rejecting one another, sometimes letting go but always coming back together until the very end.
Even though the whole ensemble was brilliant and the porters from the hotel and the other guests are very entertaining, is especially these dance parts that touched us very much and made us feel the misfortune and seek of happiness of the protagonist the most.

choreography: Richard Wherlock
musical direction: Thomas Herzog, Georg Köhler
stage: Bruce French
stage and costume: Catherine Voelfray
light: Jordan Tuinman
video: Tabea Rothfuchs
dramatic composition: Armin Kerber, Bettina Fischer

Javier Rodriguez Cobos as GUSTAV VON ASCHENBACH
Frank Fannar Pedersen as THE ANGEL
Anthony Ramiandriosa as TADZIO
Ayako Nakano as TADZIOS MOTHER
Debora Maiques Marin, Dévi-Azélia Selly, Andrea Tortosa Vidal as TADZIOS SISTERS
Diego Benito Gutierrez as TADZIOS FRIEND
Piran Scott as HOTEL MANAGER
Alba Carbonell Castillom Lydia Caruso, Gaia Mentoglio, Armando Braswell, Max Zachrisson as HOTEL STAFF
Marina Sanchez Garrigós, Sergio Bustinduy as ASCHENBACHS PARENTS
Max Ossenberg-Engels as THE YOUNG GUSTAV
Lydia Caruso,  Rubén Bañol Herrera as PHOTO MODELS
Rubén Bañol Herrera, Julian Juarez, Castan Ismael del Valle as THREE BOYS AT THE LIDO
Sergio Bustinduy as STYLIST
Lisa Horten-Skilbrei, Marina Sanchez Garrigós, Sidney Elizabeth Turtschi as THE STYLISTS ASSISTANTS
Mirko Campigotto as THE STRANGE MAN
Camille Aublé, Alba Carbonell Castillo, Lydia Caruso, Lisa Horten-Skilbrei, Debora Maiques Marin, Gaia Mentoglio, Annabelle Peintre, Raquel Rey Ramos, Marina Sanchez Garrigós, Dévi-Azélia Selly, Andrea Tortosa Vidal, Sidney Elizabeth Turtschi, Rubén Bañol Herrera, Diego Benito Gutierrez, Armando Braswell, Sergio Bustinduy, Mirko Campigotto, Julian Juarez Castan, Max Ossenberg-Engels, Frank Fannar Pedersen, Piran Scott, Ismael del Valle, Max Zachrisson as HOTEL GUESTS / PEDESTRIANS / PEOPLE AT THE LIDO / THE OLD PEOPLE

@ picture: Werner Tschan

Friday, 13 April 2018

Theater Basel | Kaspar Hauser und Söhne (Kaspar Hauser and Sons)

Kaspar Hauser and Sons, a play by Olga Bach produced by Ersan Mondtag picks up the story of the famous and mysterious foundling Kaspar Hauser, who showed up one day in Nuremburg with barely any linguistic skills and announced that he had been kept in the dark for years with only water to drink and bread to eat. In Ersan Mondtags version there is not only one Kaspar Hauser but a lot of them, the grandfather, the father, the son and the story goes on with his son and so on that are all called Kaspar Hauser with the appropriate number.
Performing in grey / black and white fatsuits that Ersan Mondtag has already used in previous productions, the characters live in a very colourful house with low ceilings where they live and follow their daily routines in the families business that produces picture frames.
Previous to every act there is a short film sequence that tells us the story of the Kaspar Hauser foundling but in the play the story line is completely different.
Kaspar Hauser 2 gets admitted to a mental hospital by his son during the Nazi period which is a blot in the family history under which especially the grandson (Kaspar Hauser 4) suffers a lot. During the four generations 1940, 1960, 1990, 2018 we can watch all the Kaspar's suffer from the pressure and problems of their own era and how it affects them in their role in the family.
We found the play very impressive, we liked the strong contrasts that were used not only in the stage design but also in the way the different characters where talking to each other and the strong emotions we were confronted with during the play.
It felt like watching a family drama through the times but only within barely four hours, which connected us a lot to the different characters.
It was not only a thought provoking but also a very entertaining play with brilliant actors and an amazing production.

production and stage: Ersan Mondtag
sound and composition: Max Andrzejewski
costume: Ersan Mondtag, Annika Lu Hermann
video: Florian Seufert
light: Roland Edrich
dramatic composition: Constanze Kargl
co-worker stage: Anton von Bredow

Michael Gempart, Vincent Glander, Thiemo Strutzenberger, Urs Peter Halter, Cathrin Störmer, Elias Eilinghoff, Benny Claessens, Carina Braunschmidt

© picture: Birgit Hupfeld

Saturday, 31 March 2018

Robert & Josiane | Miraculous oil for legs

Robert & Josiane's miraculous oil for legs is a massage oil for the legs and the body.
It contains fennel and juniper berries that rejuvenate and tighten the skin and the olive- and sunflower support the skin functions and nourish the skin.
It spreads easily and soaks into the skin very quickly, leaving it nourished and soft but not greasy. It is best used after showering when the skin is still damp, as that way the natural essential oils unfold their effect best.
It has a very fresh and invigorating scent we like a lot and we feel like it really nourishes the skin deeply and even hours later the skin still feels very soft and perfectly cared for.
We like the Robert & Josiane products a lot, as they are completely natural and from very high quality, we feel like their products provide our skin with just everything it needs.

Thursday, 22 February 2018

Hej Organic

Hej Organic is a German brand founded in 2016 in Germany that creates vegan natural cosmetics that are not tested on animals and are produced in cooperation with local manufacturers.
The nourishing face tonic has a very fresh scent and cleans the skin deeply. It contains grapefruit extract and prickly pear blossom water that moisturize and nourish the skin. It is used after cleansing the face, removes skin impurities and leaves the skin purified and refreshed.

The Face Cream also contains grapefruit extract and prickly pear blossom water to moisturize and nourish the skin and provide it with new vitality. The face cream has an SPF 15. During the colder days it is important to protect the skin against the sun too and with the prickly pear oil and the argan oil the face cream is very nourishing and has an antioxidant effect. The cream has a fresh scent and a rather thick consistency but it soaks into the skin very quickly and leaves it nourished, protected and soft.
We like the philosophy of the brand and also the simple but still catchy design.
The products we have used so far are perfectly tolerated by our skin and very effective, leaving our skin perfectly cared for.

Friday, 9 February 2018

Theater Basel | Die Dreigroschenoper (the threepenny opera)

The threepenny opera, a play by Bertolt Brecht with music by Kurt Weil plays at the Theater Basel now. The threepenny opera contrasts two prototypes of capitalist order. Macheath, known as Mac the knife, womanizer and boss of a London gangster organization and Jonathan Peachum, the proprietor of the company The Beggar's Friend. As Mac the Knife marries Polly, Peachum's daughter, the scandal is complete and Peachum is doing all he can to get him arrested and possibly even hanged.
The threepenny opera criticizes capitalism and corruption and makes visible how love and economic relationships relate sometimes.
In the production from Dani Levy, the threepenny opera is played in a futurist clinic in space, Mammon 1, where rich people get cured from their mental diseases. Playing the threepenny opera is a part of their treatment.
The threepenny opera is very entertaining and thought provoking at the same time and we like the production with the mental hospital a lot, as all the actors play a role within their role, first the role they have as the patients and then also the role they play in the threepenny opera.

musical director: Johannes Kalitzke
direction: Dani Levy
stage and video: Jo Schramm
costume: Jana Findeklee, Joki Tewes
light: Roland Edrich
dramatic composition: Constanze Kargl, Juliane Luster

Cathrin Störmer as MRS PEACHUM
Thiemo Strutzenberger as MACHEATH aka MAC THE KNIFE
Jonas Anders, Elias Eilinghoff, Vincent Glander as MACHEATH'S COMPANIONS
Myriam Schröder as JENNY, WHORE
Jonas Anders, Vincent Glander, Thomas Reisinger, Ingo Tomi as WHORES

© picture: Sandra Then

Thursday, 18 January 2018

Theater Basel | Das Recht des Stärkeren (the law of the jungle)

The law of the jungle is a commissioned play by Dominik Busch that was created as part of the playwright development programme "Stück Labor Basel" at the Theater Basel.
The play traces the life story of the Dutch woman Tanja Nijmeijer who is a member of the FARC rebels and is one of the best known faces of the guerilla movement. Dominik Busch combines a rebel's return to her homeland with the story of a Swiss family.
The topic of individuals, companies and countries enriching themselves elsewhere at the expense of the poorest is something that is very current and a topic we think is very important to be made a subject of discussion.
It is not only the exploitation of resources but also of the local population that has tragic consequences and the question of responsibility is only one of the questions that is asked during the play.
The play was very impressive and thought provoking and we think it is very important that the theater also addresses these topics. We liked the production a lot and especially the combination of video installations, music and the different stage settings that really managed to take us to the different places where the play took place.

author: Dominik Busch
direction: Felicitas Brucker
stage: Viva Schudt
costume: Katrin Wolfermann
video: Arved Schultze
dramatic composition: Ewald Palmetshofer

Lisa Stiegler as NADJA
Carina Braunschmidt as ERIKA STUDER, NADJA's MOTHER
Orlando Klaus as SIMON
Steffen Höld as ALVARO
Nicola Fritzen as DIEGO CUARENTA

© pictures: Kim Culetto

Saturday, 13 January 2018

Theater Basel | Elektra

Elektra, an opera in one act by Richard Strauss plays at the Theater Basel now. It is a newly staged production based on the Libretto by Hugo von Hofmannsthal by Opera Vlaanderen and the Aalto Theater Essen.
Elektra is the tragical and psychological thriller about a girl who's father has been murdered by her mother and her lover before her eyes. It is a story about obsession and revenge, about madness and traumas. With the help of her brother Orestes, Elektra wants to take revenge on her mother and by killing her and her lover she hopes that she and her siblings can finally be free.
The ancient myth of Elektra is very captivating and thrilling from the first minute, the stage is incredibly impressive and the performers were absolutely brilliant.

musical director: Erik Nielsen, Hartmut Keil
direction: David Bösch
stage direction: Barbora Horáková-Joly
stage: Patrick Bannwart, Maria Wolgast
costume: Meentje Nielsen
light: Michael Bauer
chorus master: Michael Clark
dramatic composition: Dorothee Harpain, Markus Tatzig

Ursula Hesse von den Steinen as KLYTÄMNESTRA
Rachel Nicholls as ELEKTRA
Pauliina Linnosaari as CHRYSOTHEMIS
Rolf Romei as AEGISTH
Michael Kuper-Radecky as OREST
Domen Križaj as ORESTES NURSE
Evelyn Meier as THE CONFIDANTE
Matthew Swensen as A YOUNG SERVANT
José Coca Loza as AN OLD SERVANT
Mona Somm as THE WARDEN
Sofia Pavone as MAID 1
Anastasia Bickel as MAID 2
Kristina Stanek as MAID 3
Sarah Brady as MAID
Hailey Clark as MAID

choir of the Theater Basel, Symphony orchestra Basel

© picture: Sandra Then

Tuesday, 9 January 2018


PINK MON€Y is a performance by Antje Schupp, Kieron Jina, Mbali Mdluli and Annalyzer. It is queer and international and if you have enough of it, PINK MON€Y can be used to purchase the expensive commodity of tolerance. PINK MON€Y hates labels but loves diversity. The message is: the richer you are, the gayer you can be.
The performance raises the topic of the purchase power of the LGBTI+ community and the tourism connected to it. The performance consists of dance, video installation, music and dialogues and includes the audience.
It raises awareness for the still ongoing discrimination of members of the LGBTI+ community all over the world, and how this discrimination is even worse when the person comes from a different culture and has a different skin colour.
For us the performance was very intense and full of emotions and we loved how versatile the whole performance was set up.
In the end we should all be equal and free to be who we are and to love who we want, no matter our social status, origin or gender.
PINK MON€Y plays at the Kaserne Basel on the 9th, 10th, 11th and 13th January 2018.

Performance: Antje Schupp, Kieron Jina, Mbali Mdluli and Annalyzer
Concept: Antje Schupp
Collaboration Concept: Annalyzer, Djana Covic, Kieron Jina, Mbali Mdluli, Nico de Rooij Performing Vocalist: Anelisa Stuurman aka Annalyzer
Visuals & DJ: Mbali Mdluli aka Miz Buttons
Choreography: Kieron Jina
Szenography, Visual Dramaturgy: Djana Covic & Nico de Rooij
Costume: Marie Fricout, Sithembiso Mngadi
Oeil Extérieur: Johanna-Yasirra Kluhs
Production Management: Bernhard la Dous (born2perform), Thabiso Pule (Creative Tree)