Event Broodkapje & about seven goats Script Elly Scheele, Sofie Tseng Director Jack Nieborg Play Albert Secuur, Alina Kiers, Carmen Schilstra, Frank den Hollander, Inge Wijers, Jan Veldman, Philippien Bos, Saskia Broertjes, Siebren de van der Schueren Band Huisman , Teule, De Jong, Tahapary Seen 2/12 Hoogezand, Kielzog Publiek 276 Still to be seen 22, 23/12 Delfzijl; in January in Groningen (Stadsschouwburg), Winschoten, Drachten and Hoogeveen 3 *
Quest after the break. What’s with those kids? Conclusion: eaten! In contrast, everything is clear about the big bad wolf. He has succinctly adjusted the traditional image of the enemy. The era of eating unlimited bacon is over. He prays to his prey for forgiveness, goes on a vegetarian diet, sets up a practice as a life coach and does aura healing.
Broodkap & about seven goats is a model for what a Groningen collective thought it would bring to the theaters in 2021. They didn’t get far. After the premiere, the halls were locked for the second time, because higher-ups bowed to a traveling virus. With a few adjustments, the performance is now on tour. Without Bert Visscher, by the way. This of course reduces the power of scorching humor. As a wolf he was the house brand with the supply of all his gimmicks, tricks and plastic. Of course, you should not compare Albert Secuur with him. He has mainly chosen the soft side of the character. It is not a question of whether or not to eat meat, he tries to gain understanding for why everyone hates him so much…
In fact it is Bread cap the fairytale story of two families: the piglets with their interest in culinary activity, versus the goats who indulge in a noisy household. Well, story? Reduced to a series of undiscoverable sketches, the situation gets rather derailed due to the lack of coherence surrounding a dream auction of Christmas baskets. Occasionally there is such a sublime find as the inexplicable mailbox route. Typical of director Jack Nieborg, who, through his relationship with Shakespeare, introduced Inge Wijers and Siebren, among others, to van der Schueren. Which does not alter the fact that the affair is lyrically rambling and in terms of farcicality, bold about the classical genre Christmas pantomime davert.
Four musicians, together with Louise Caspers (set) and Aafje Horst (costumes), provide the entourage. At best you can say that the choreography (Carla van Zanten) has adapted. She recognizes the limitations of the material, I think. Vocally it is also remarkably poor. It is what it is, including occasional references to current events and some songs, of which Everything comes back the redeeming final chord is the run-up to the beautifully rehearsed encore.
The wolf is back. With plenty of loose ends, that is. But on stage they rush with abandon and quickly change into a series of entertaining figures. Successfully. Frank den Hollander takes on a difficult mother’s role with precious dribbling steps and Carmen Schilstra is endearingly naive as Broodkapje, fearless with groceries on the way to grandmother. Alina Kiers has a decisive horniness about this type, which explains a lot about the wolf’s aspirations. ‘A nice snack.’ Beats.
PHOTO CORNé SPARIDAENS
Photo not seen yet. Consultation with editor-in-chief on Sunday? Jacques J . d’A