Despite having been a major figure in
the “blood and sperm” movement (Germany’s equivalent of 1990s
“in-yer-face” theatre), Marius von Mayenburg is now deemed by some of
his compatriots to be rather old-fashioned, primarily because he still
gives a toss about character. Almost all the figures in this 2004 play,
and certainly the central couple, come across as persons rather than
sets of quirks and dramatic conveniences. Von Mayenburg is concerned
with people, not with the processes of theatre acting upon itself, as
is the currently fashionable tendency in his homeland.
Like other of his plays seen in Britain –
Fireface,
The Stone –
Eldorado concentrates on a family
grouping and exerts upon it both an individual and a broader societal
stress. In this case, the former is Anton’s attempt to conceal from his
wife his dismissal from his well-paid job, by signing his rich
mother-in-law up to a business deal which is no longer his to offer.
The broader pressure stems from the fact that Anton’s job is selling
investment opportunities in the reconstruction of the war-ravaged city
in which they now live as occupiers. An implicit indictment runs
through the play of this geopolitical equivalent of what the late
Malcolm McLaren termed “cash from chaos”, but it also serves as a
big-picture symbol of the various individual characters’ issues.
Virtually everyone finds their ambition over-reaching and reacts in a
despairing way: Anton’s wife Thekla gives up her career as a pianist
and instructor, her star pupil also loses faith in her own abilities,
and Anton’s boss Aschenbrenner (“Ash-burner”, perhaps significantly)
hangs himself when confronted with his own professional incompetence.
Michael Colgan as Anton keeps us engaged through his journey from
nervous efficiency to nervous breakdown. Amanda Hale is slightly edgier
throughout, and also needs to make more of an effort to maintain
audibility when her back is to part of the audience (which, since the
Arcola seats viewers on three sides, is most of the time). Sian Thomas
exudes plutocratic complacency as mother-in-law Greta, and no-one would
want the ghost of Mark Tandy’s Aschenbrenner drumming a tattoo in their
cupboard. Ultimately the play says little more than that, both as
individuals and as a society, what shapes us is how we deal with our
failures; but I suppose that is a lesson that cannot be repeated too
often.
Written for the Financial
Times.