In the Schauspielhaus in Hamburg, with over a thousand seats, the largest theatre of the Republic, to maintain in the direction of the Director Karin Beier is a virtue that is not widely used anywhere: a sense of Humor. The program begins this time issue to Edward Albee “Who’s afraid of Virginia Woolf?” (Editors: Christian Tschirner, Dramaturg) with some thick-framed “warnings”. “We would like to point out that this idea of excessive Smoking,” or “Two possibly alcoholic characters played by non-alcoholic performer*indoor (date of printing)”, or: “We thank you for your understanding and assure you that under no circumstances are naked.”

Elegant hedges, thus, on the one hand, against the excesses of Political Correctness and having fun on the other hand, with charm and humour about them, by emphasizing freedom as the autonomy of art. The vast field of not-controlled human passions, intentions and failings it eventually goes in “Who’s afraid of Virginia Woolf?” by Edward Albee, 1962, in New York, premiered and to this day the classic on the subject of “Marital hell in the parlor” – torments, so if a Couple of to the blood, and yet not apart. August Strindberg has the power’s in his “dance of death”, by Lars Norén in “demons” refreshed. But on the absurd-existential way, as now, Karin Beier, rather, authors such as Beckett and Sartre are in this poignant, funny, deep, sad, toxic abyss staged piece, the godfather.

Accordingly, by Thomas dreissigacker-designed stage is under six dangling lamps hanging empty except for two white flat landings. In the back of a bare tree trunk from the soil grows through the ceiling, and looks equally stylish as degenerate. Gradually be brought to stand around in this Dissecting of emotions everywhere, glasses, and liquor bottles of the serving, the George, master of the house and history Professor, in. He varies at the beginning with his drunken wife, Martha, tired of a Party of the Colleges, the Martha’s has established a father.

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But without this long night is not over yet, because she has invited the new Professor of biology together with his wife as a late guest. George is angry and that’s not at all prefer to go to bed, Martha, however, wants to. What both of you want to or not, it will take two hours or two lives or a thousand deaths. The dashing Nick and his nameless limited woman who is simply called “Sweet”, this is not the first, not the last battle of love suffering giants only cannon fodder. The other way to let only, as the grey of Morning and the alcohol has only led to wild self – exposure and limitless disillusionment.

Maria Schrader, and Devid Striesow as apocalyptic Rather impetigo in their terrible commotion, of course, are always good for moments of accomplices consent. Time you laugh at a successful joke, at times they ally themselves, in a blind consent, against their guests. Josefine Israel polished its “Sweetness” is more than naive, because as stupid Hascherl, the blowing sandy cynicism of this meeting, has no Chance. Matti Krause as her pretty careerist of man would be never, like George, is however, despite its ambitious plans, probably directly on the way. In the Desolate the cold stage scenery all stray Clowns in their own right and their evil fights to be oppressive, obsessive finals of love.