You can tell the sad story of Johannes Pinneberg and his wife, Emma, of him always loving lamb called, in a variety of ways. Hans Fallada has the fate of the small citizen in “Little man, what now?” his greatest novel success from the year 1932, as a consistent descent scenario, told in the social circumstances, in this case, the unemployment in Germany, the world economic crisis, the Individual no Chance to. Only Private, the indestructible love of the couple, is not pounded by the anonymous powers of the market and of the class society. A hopeless fairy tale with a sentimental core of kitsch gold.

Also in Mainz, Germany, where Alexander Nerlich already in many stage and film versions of interpretations of the novel now as a three – hour theatre piece staged, remain on the dark end, only the helpless “to each other-Have” of John and lamb, during effect stage snow light flakes over them sweeps away. The ice in the final metaphor is the last of many strong ideas, the staging, the light-directing their force more from the generation of atmospherically dense images, especially Žana Bošnjaks stage and costumes and Frederik Wolleks responsible, as from an intellectual penetration.

fears of Relegation to the lower middle class

The black-and-white pattern in the background and on the walls, the few props and the strongly-typed, silent film scenes from the twenties, reminiscent of the costumes, especially the secondary characters provide a certain abstraction of the history. In fact, one looks in vain for any Parallel to the present descent of the lower middle class fears. This must not be a shortcoming, because the entsolidari focused predator capitalism that is in “Little man, what caricatured now?” more populist than analysed, these days, if at all, in more subtle forms, even if not a few Directors are inspired in the German theatre from the Faith, he was more brutal than ever.

Nerlich does not, fortunately, of all the places available capitalism, critical leg and waived cheap to profits erlang Upgrade. The many really go to the heart moments of this Evening, the back whole unbroken, the Couple in the center, you have to trust in the vile irony and deconstruction of feelings, theatre set operating for the first time. But so conclusive and also in a touching way the beauty of it all, told in the course of the long Evening, but the question is: To what end, then, actually, this is a story from long past?

With the grotesque, Humor

The company, against whose violence the lamb, and John does not arrive, is shown in the replaceable and also quite a coarse satirical and pointed figures. Consistently, all embodies in addition to the roles of the five actors (Vincent Doddema, Henner Momann, Hannah from the Flowing, Paulina Alps and Daniel Friedl), always uses one of them to the microphone and serves as a narrator to provide some of the necessary Transitions for the necessary dramaturgical putty. So the Whole set looks way, like a street ballad, a creepy-sad, and with the grotesque, Humor was a ballad. The individual is subject to higher powers, to which it has no influence. And like remote-controlled puppets, the actors perform again and again, the mute, the body fights, a mixture of Pantomime and expressive dance (choreography by Jasmine Hauck and Cecilia Wretemark).

Where is the Individual in the center is moved, wear of the main cast special load. Mark Ortel is a convincing Loser, however, from the very beginning, a little too defensive, as if he was carrying the germ of his impending decline. A little more height would have been even more effective.