Woyzeck Makes Small Splashes With Its Pool
If you are looking for a production that leaps into irrationality, look no further than the Vesturport Theatre and Reykjavik City Theatre’s collaboration of Georg Büchner’s Woyzeck (originally written in 1836). This adaptation was presented at the Brooklyn Academy of Music, better know as BAM, for three days this October. Franz Woyzeck, played by Ingvar E. Sigurdsson, is a man that has lost touch with reality. Pressure from various forces has plunged him deep inside his own private universe. The entire production consists of the conflicts between Woyzeck’s mind and the outside world.
There are major differences between the original play and this new interpretation directed and adapted by Gísli Örn Gardarsson. Woyzeck’s child with his love interest Marie, played by Nina Dögg Filippusdóttir, is nowhere in sight. Instead of working in the army, Woyzeck works in a water factory. The interaction between characters takes place mainly in or around a pool, which serves as the foreground to the stage designed by Börkur Jonsson.
The introduction of the Drum Major (played by Björn Hlynur Haraldsson), Marie’s secret lover, involves a bungee cord. It was made even more outrageous by the sound of loud, booming drums. The rock music, composed by Nick Cave and Warren Ellis, accompanied by the guitar chords gave me a headache for the entire segment.
Aside from the unnecessary props and special effects that do nothing to enhance the experience of watching the production but actually deter it, Woyzeck was heartfelt and emotional. It depicts a suffocating relationship between a man and a woman. Although they are bound by deep affection for each other, they do not see the world in a similar fashion. Franz Woyzeck is not a rich man, but he loves Marie dearly. He exposed himself to violent experiments for money and uses some of it to buy her a dress that looked a bit too much like the one Snow White wore in the cartoon. (Perhaps costume designer Filippiá Elisdóttir borrowed it from a live action version of Snow White and the Seven Dwarves in Disney World.) Despite the fact that Woyzeck tries to make Marie feel like his princess, she does not love him as much as he loves her. This leads to the ultimate fate for the both of them.
Besides being deaf for a good amount of time, I was also blinded by the light that shines onto the audience whenever a cast member was in the air. The lighting, designed by Lárus Björnsson, could have served as a visual aid, but instead, it caused visual impairment. Not only was the white light far too bright, but it was also shining far too long and occurred far too often. While I understand that the use of light may serve to emphasize the intensity and weight of the production, I did not need a bright light in my eyes every ten minutes.
This new adaptation of Woyzeck occurs in an intangible reality, where things are flying from all directions and many things are happening at the same time. There is an odd beauty to it that begs people to discuss it. Right after the production, I overheard a conversation. “I don’t think anyone would have understood this if they did not read the play first,” said a woman to her friend, and I thought to myself “I did not understand this production even though I read the play!” I would have joined the two ladies, but I was too busy trying to walk straight after losing my ability to see properly.
Woyzeck was presented as part of the BAM 2008 Wave Festival. Its three performances were shown in the BAM Howard Opera House on October 15th, 17th, and 18th.
Carissa Dech
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