The Raspberry Empire (Das Himbeerreich)
by Andres Veiel
"Today’s debts are tomorrow’s taxes."
Welcome to the upper echelons of one of Germany’s big banks where the board members have their offices. Some have already retired, others still hold positions of responsibility. The effects of the financial and economic crises have now reached this level. Each person has a story to tell, their own analysis of what’s happening. While the crisis cost one his job and led another to resign, it made others rich. One person knows what action to take, but nobody asks for his input anymore. He doesn’t trust those at the top, who think they have all the answers. And those other top managers know what ought to be done– but do they do it? They’re acting in somebody’s interests – but whose?
Andres Veiel is the acclaimed director of the feature length documentaries 'Black Box BRD' and 'Addicted to Acting', as well as 'If Not Us, Who?’ a feature film about the early history of the Red Army Faction. His play 'The Kick' was invited to Berlin’s Theatertreffen, a festival highlighting the year’s best German-language theatre productions. With 'The Raspberry Reich', Veiel has produced another work for the stage. For this play, he carried out extensive research into the inner workings of banks, interviewing former and current executives about their experiences, aspirations and motivations.
Funded by the German Federal Cultural Foundation
Welcome to the upper echelons of one of Germany’s big banks where the board members have their offices. Some have already retired, others still hold positions of responsibility. The effects of the financial and economic crises have now reached this level. Each person has a story to tell, their own analysis of what’s happening. While the crisis cost one his job and led another to resign, it made others rich. One person knows what action to take, but nobody asks for his input anymore. He doesn’t trust those at the top, who think they have all the answers. And those other top managers know what ought to be done– but do they do it? They’re acting in somebody’s interests – but whose?
Andres Veiel is the acclaimed director of the feature length documentaries 'Black Box BRD' and 'Addicted to Acting', as well as 'If Not Us, Who?’ a feature film about the early history of the Red Army Faction. His play 'The Kick' was invited to Berlin’s Theatertreffen, a festival highlighting the year’s best German-language theatre productions. With 'The Raspberry Reich', Veiel has produced another work for the stage. For this play, he carried out extensive research into the inner workings of banks, interviewing former and current executives about their experiences, aspirations and motivations.
Funded by the German Federal Cultural Foundation
Director Andres Veiel
Costumes Michaela Barth
Choirmaster Stefan Streich
Dramaturgy Ulrich Beck, Jörg Bochow
Berlin-Premiere January 16, 2013
A co-production with Schauspiel Stuttgart
A co-production with Schauspiel Stuttgart
Susanne-Marie WrageDr. Brigitte Manzinger
Ulrich MatthesGottfried W. Kastein
Joachim BißmeierDr. Dr. hc Walter K. von Hirschstein
Manfred AndraeBertram Ansberger
Sebastian KowskiNiki Modersohn
Jürgen HuthHans Helmut Hinz
Dr. Brigitte Manzinger
Gottfried W. Kastein
Dr. Dr. hc Walter K. von Hirschstein
Manfred Andrae
Bertram Ansberger
Niki Modersohn
Hans Helmut Hinz
[…]
Eliminating any possible chance for mawkish nodding in agreement, the production is a Black Mass which leads spectators from one circle of Hell to the next and dazes them with chillingly presented visions of crises, collapses and state bankruptcies. Whether or not they’re accurate is irrelevant as the reputedly serious analyses of the financial experts aren’t either. Taken altogether, though, these visions appear thoroughly convincing and match the general public sentiment. Without much theatrical ado, they present a scandalous, never-ending calamity.
[…]
Andres Veiel has developed this inferno of chilling economic irrationality in a manner that’s supremely abstract and transcends the linearity of documentary. While it’s ill-suited to providing lessons, help or consolation, it’s extremely adept at delivering an evil-eyed glimpse into the abyss and this destructive system. He [Andres Veiel] uses the statements of real people merely as material for an artistically poetic commentary on the state of the world that’s as overwhelming as it is shocking. And who other than the ‘Masters of the Universe’, as Tom Wolfe dubbed these figures back in 1987, could provide him with more fitting terminology?
[…]
Eliminating any possible chance for mawkish nodding in agreement, the production is a Black Mass which leads spectators from one circle of Hell to the next and dazes them with chillingly presented visions of crises, collapses and state bankruptcies. Whether or not they’re accurate is irrelevant as the reputedly serious analyses of the financial experts aren’t either. Taken altogether, though, these visions appear thoroughly convincing and match the general public sentiment. Without much theatrical ado, they present a scandalous, never-ending calamity.
[…]
Andres Veiel has developed this inferno of chilling economic irrationality in a manner that’s supremely abstract and transcends the linearity of documentary. While it’s ill-suited to providing lessons, help or consolation, it’s extremely adept at delivering an evil-eyed glimpse into the abyss and this destructive system.
[…]
Ulrich Matthes assumes the role of the skeptic; he’s always looking askance at the system he’s in, as if through the eyes of an outsider – and this fits him to a T. […] The most interesting character is Frau Manziger. Susanne-Marie Wrage doesn’t exaggerate her icy coldness, choosing the rational over the extravagant in her mannerisms as well. You’re stunned by the candour of this insider’s view from the heart of the financial world. We hear from business leaders who realize – and not just in retrospect – that they were headed for disaster. Rather, they admit that they hurtled towards it with their eyes wide open. But they didn’t change course for fear of losing their status and their Persian rug.
[…]
Ulrich Matthes assumes the role of the skeptic; he’s always looking askance at the system he’s in, as if through the eyes of an outsider – and this fits him to a T. […] The most interesting character is Frau Manziger. Susanne-Marie Wrage doesn’t exaggerate her icy coldness, choosing the rational over the extravagant in her mannerisms as well.