In Oerol Dunes, people and aliens enter into a relationship

If you whirl over the dam along the Wadden Sea and the birds glide in the sky above you, the melodies sing, and the overwhelming nature of Terschelling itself is like theatre. This island décor gives performances at Oerol an extra dimension.

During the 41st edition of this theater festival, the whole of Wadden Island will finally transform into the site of a major festival once again. Between June 10 and 19, there will be performances in all kinds of venues in the stunning landscape that the island has to offer. All natural beauty can be a great backdrop, but as a festival visitor, it can sometimes be your worst enemy. If you sit on a wooden stand for an hour and a half in the hot sun, for example. Or when gray clouds gather over a converted motocross track, or when countless mosquitoes roam through the crowd in the evening. On the island, it’s hard work and shelter from showers, but after two online releases, the live show offers the experience an Oerol visitor has been looking forward to for so long.

Read also about Oerol 2021: Online theater guidance can also be felt

In the evening in the woods near West-Terschelling, the largest village on the island, you can play beauty From the Rast Theatre. BBC series lovers kill eve They can indulge themselves here, because Oerol now has his own serial killer, charismatic as he is crazy: Grace, played by Charlie Chan Dagelet. She survived the horrors of a farm where she was forced to work, but her lover (an interesting role for Michel Blancwart) stayed behind. Grace goes over the corpses to find him again.

Among the pine trees, director and writer Ada Ozdogan creates a strange, strange world. Two bounty hunters are drawn into Grace’s plans: a fearless wannabe writer (Sidar Toksöz) and a highly professional bounty hunter (Denzel Goldmine). Their boss (played superbly by Matthias van de Wejver) is also involved. The movie was inspired by the movie Unlock Django By Quentin Tarantino, and you can see it. The dialogues are fast and comedic, mock blood splattered around.

Trouble about the border

In the wooded area around the west, there are two completely different offerings at first glance: Citizenship Actions And the Promised Land† However, there is a parallel: in both shows, living together is accompanied by trouble about boundaries and someone pulls a gun, as a desperate act to solve the problem.

Bee Citizenship Actions From Via Berlin, Flanders separated from Wallonia, in a dystopian script by Rachida Lamrabet. There is no longer any place for ‘non-ethnic people’, which means that a growing group of asylum seekers is gathering at the Dutch border. Al-Murabit focuses on three border guards who must prevent refugees from entering the country. They have very different views: one blindly follows government policy; Another believes that the borders should be opened immediately. In the rolling sand dunes, opposite the guards, more and more characters appear. There is a white area where their faces are: they are unknown spirits, hoping to help. The nervous setting on the border is reinforced by the wind instrumentalists of the Berlage Saxophone Quartet, who heighten the tension with mood compositions.

Some scenes are somewhat schematic, because many perspectives on the refugee issue are discussed, as well as peripheral phenomena associated with the crisis: political gains, influencers or celebrity interference. This fits with the context of the performance: the piece was developed in collaboration with the University of Amsterdam and is part of the scholarly research to which the spectators are subject. You will follow a special itinerary and fill out surveys – the exact conditions of the research may not be revealed during the festival so as not to affect future visitors.

refugees

also in Promised Land From YoungGangsters, two populations collide. In this plot, Earthlings end up as refugees on another planet. Although they do not see it that way: they are “settlers” who enter into direct negotiations with the local population. These tree-like creatures suck “nectar” from the soil with their claws and speak beautiful language, from the pen of writer Jebbie Williams. At first, people are still bearable, but that stops when it turns out they have a whole plan to get all the nectar from below (the “cradle of juice”). Our colonial past and human tendency to fit raw materials can be heard in our dealings with the “new” planet. The story is frantically executed by players laughing at their hands as they run across the fine sand, stretch the tape with the audience, or depict a human-alien love affair.

In the garden of Café De Groene Weide, there is an equally eccentric performance: Nobody is called Rosehart From Veenfabriek. If there was a design festival award for the most hysterical, this performance would definitely win it. Between a drum wrapped in gold foil, props from a fast food restaurant and fluorescent fashion, the story is about a girl, Rosenhart, written by Koos Terpstra. Rosehart was just given to a wealthy old man. When the old man dies, she inherits everything – much to the dismay of those around him. A lawsuit is filed and the suitors meanwhile try to steal her heart.

There are plenty of catchy musicals and extravagant characters, such as the primal mother (Phi Nguyen), the dominant hunter (Sharlee Daantje) or the primitive farmer (Jacobien Elffers). Terpstra seems to want to say something about fairness and justice, but that message somewhat falls off in the lavish output by Joyer Voss.

New arrivals

In contrast to the spectacular festival violence of shows, for example, YoungGangsters and Veenfabriek, there are more modest pieces, such as two productions by Orkater. Under the wings of a newcomer talent development path, soloist Jerry Mendes created the performance Purbolitas† Mendes plays a son whose father came to Holland from Cape Verde. In the monologue, directed by Benji Reed, Mendes complements spoken scenes with lyrical moments, accompanies himself on guitar or rhythmically scrapes metal with a knife. The centerpiece is a ruin: the house in the father’s homeland, which should have been a palace, is passed down from generation to generation. In the decor of Zico Lopes, some beams rest on columns that cut through two sofas. It seems that these pieces of furniture are sinking into the ground – time has caught up with the dreams of the father.

Like Mendes, newcomers Uma delves into Europe’s colonial past through performance Oronoko About the life story of Amir Ghani as described in a 17th century novel. The prince was enslaved and run on a farm, but befriended the farm owner, as British writer Avra ​​Behn described it. Players Carmen van Mulier, Jamie Grant, and Cripta Scheepers deliver this narrative in beautiful, thoughtful scenes. The flowery moments sometimes stop and those images can be illustrations from the novel. Among white clusters—a staircase and a row of arches—in a valley at Hoornse Bos, they play the hero, his mistress, or the farm owner. Actresses do not have fixed personalities, they always take roles from each other. Their gameplay is solid and flawless.

Percussionist Jimmi Jo Hueting provides a varied soundtrack, with 17th-century sounds resonating among the electronic beats. Oronoko They are a feast for the eyes and so satisfying with their commentary on the original story, that you completely forget about the countless stinging mosquitoes.

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