The Vast Domain (Das weite Land)

by Arthur Schnitzler
Premiere December 12, 2014
Felix GoeserFriedrich Hofreiter, manufacturer
Maren EggertGenia Hofreiter
Ulrich MatthesDr. Franz Mauer
Almut ZilcherAnna Meinhold-Aigner, actress
Ole LagerpuschOtto von Aigner, petty officer
Bernd StempelDr. von Aigner
Simone von ZglinickiMrs. Wahl
Anna DrexlerErna Wahl
Helmut MooshammerNatter, banker
Natali SeeligAdele Natter
Friedrich Hofreiter, manufacturer
Genia Hofreiter
Dr. Franz Mauer
Anna Meinhold-Aigner, actress
Otto von Aigner, petty officer
Dr. von Aigner
Erna Wahl
Natter, banker
Adele Natter
nachtkritik.de
Wolfgang Behrens, 13.12.2014
To listen to the language of the actors at theDeutsches Theater is a pleasure. For example, the directness of Felix Goeser andMaren Eggert as the central couple (the successful and highly promiscuous, or,put another way, sexually successful industrialist Friedrich Hofreiter, and hisattractive, latently frustrated wife Genia), or of Ulrich Matthes as Mauer, hernotorious “lover at the gate”; and the immediacy with which all the greatactors and truth-tellers in this ensemble adopt Schnitzler’s language, thenonchalant way in which they articulate his words, getting caught up in them asif this were language truly born of the moment, and the harshness with whichthey erupt with pent-up aggression from beneath this nonchalance – all this isa fine art. And they do so with a rich variety of gestures – small acts of familiarity, ofletting themselves go with one another, which, by their overpowering presence, createsa sort of hyperrealism. (...) The result is an experience that celebrates acting, and depicts modernindividuals with utter precision. To listen to the language of the actors at theDeutsches Theater is a pleasure. For example, the directness of Felix Goeser andMaren Eggert as the central couple (the successful and highly promiscuous, or,put another way, sexually successful industrialist Friedrich Hofreiter, and hisattractive, latently frustrated wife Genia), or of Ulrich Matthes as Mauer, hernotorious “lover at the gate”; and the immediacy with which all the greatactors and truth-tellers in this ensemble adopt Schnitzler’s language, thenonchalant way in which they articulate his words, getting caught up in them asif this were language truly born of the moment, and the harshness with whichthey erupt with pent-up aggression from beneath this nonchalance – all this isa fine art. And they do so with a rich variety of gestures – small acts of familiarity, ofletting themselves go with one another, which, by their overpowering presence, createsa sort of hyperrealism. (...) The result is an experience that celebrates acting, and depicts modernindividuals with utter precision.
Der Tagesspiegel
Christine Wahl, 14.12.2014
It’s fun to watch the trio of Eggert, Goeser and Matthes tossing verbal balls to one another on the couch. In Schnitzler, the tension brought on by conversational conventions discharges in a veritable game of tennis. In Steckel’s production, everything that is normally repressed while talking is channelled into physical contact as displacement activity, tragi-comic attempts to tie oneself into knots, or swooping attacks on finger food. In this vein, Genia, Friedrich and Mauer accomplish some truly masterful acting. And in the role of Genia’s friend and Burgtheater actress Anna Meinhold-Aigner, Almut Zilcher manages to depict an absolutely convincing contemporary portrait. Pathos and depression becomes partially ironic in her lecture on lifelong disappointments in love. And Ole Lagerpusch, as the actress’ son with whom Genia finally embarks on an affair, knows how to blend an interesting mixture of autistic nerd and Nureyev-like, spontaneous jack-in-the-box. It’s fun to watch the trio of Eggert, Goeser and Matthes tossing verbal balls to one another on the couch. In Schnitzler, the tension brought on by conversational conventions discharges in a veritable game of tennis. In Steckel’s production, everything that is normally repressed while talking is channelled into physical contact as displacement activity, tragi-comic attempts to tie oneself into knots, or swooping attacks on finger food. In this vein, Genia, Friedrich and Mauer accomplish some truly masterful acting. And in the role of Genia’s friend and Burgtheater actress Anna Meinhold-Aigner, Almut Zilcher manages to depict an absolutely convincing contemporary portrait. Pathos and depression becomes partially ironic in her lecture on lifelong disappointments in love. And Ole Lagerpusch, as the actress’ son with whom Genia finally embarks on an affair, knows how to blend an interesting mixture of autistic nerd and Nureyev-like, spontaneous jack-in-the-box.
B.Z.
Olaf Mehlhose, 13.12.2014
Director Jette Steckel manages to successfully transport this over 100-year-old play into the present. Thanks to a pyramid of sofas, pregnant post-act pauses and stunning acting, this three-hour stage piece is a real firework display. The premiere at the Deutsches Theater was rewarded with thunderous applause by the audience, and rightly so. Director Jette Steckel manages to successfully transport this over 100-year-old play into the present. Thanks to a pyramid of sofas, pregnant post-act pauses and stunning acting, this three-hour stage piece is a real firework display. The premiere at the Deutsches Theater was rewarded with thunderous applause by the audience, and rightly so.

What's on

Open air
by Anna Seghers
Director: Alexander Riemenschneider
Forecourt
20.00 - 21.40
sold out
perh. remaining tickets at evening box office