HENRI V – William Shakespeare in the open-air, 24 August Wassenaar

REVIEW 24 AUGUST 2012.


ImageHENRY V
OPEN AIR THEATRE COMPANY ILLYRIA
RAADHUIS DE PAAUW 


STET,  the English Theatre in the Netherlands, has brought the Illyria open air theatre company back to the Netherlands to perform Henry V in a variety of outdoor venues this summer.

Illyria are an experienced, well schooled band of travelling professional actors who specialise in Shakespeare's first folio works, widely regarded as the most authoritative version of the Bard's work. The group has the reputation of providing some of the most authentically Elizabethan styles. As a company, they have been entertaining and educating audiences for over twenty years, presenting fast-paced, physical performances turned in by a company of just 5 players. Without using amplification, this imaginative, high energy, whirlwind troupe of players are as hard-working and professional as any you are likely to find in such an environment. 

Raadhuis de Paauw is a wonderful setting in which to stage a Shakespearian play. In Wassenaar, the superb grounds and the lake make a great vista in which to picnic before settling down for the performance. It's the sort of place that whatever is put on, it's worth going for the setting itself. With the right weather, it's idyllic.With the rain of this summer, it's more challenging but beautiful nonetheless.

Henry V tells the story of a reckless and feckless young prince turning into one of the great characters of English history (as told by Shakespeare). It's a play often associated with patriotic fervour, much pageantry, and the glories of war (particularly war with the French). 

But it is more than that. The play also asks searching questions about the nature of war, who the victors and vanquished really are, and whether wars' heavy costs in lives and limbs can be justified. As a play, it contains some of the greatest soliloquies and set pieces in Shakespeare's cannon. And, as with so much of his work, Shakespeare asks eternal questions directly, confronting and challenging not only our understandings of the past, but our narratives in the present.

The whole piece is acted with great enthusiasm and energy by a cast of just five who are skilled and practised in encouraging and enabling an audience to feel involved in a much bigger production. It's at its best when delivering the slapstick parts of the play. The endless costume changes, movements between characters, and switches of gender,as well as class, make for high energy fun and frolics, all played out in the grounds of a sixteenth century historical estate. 

But where the play was less successful was in the casting of the lead to play Henry. Such a part demands someone who looks and can feel regal and authoritative. Someone who can speak such great soliloquies with real meaning and intent. The whole performance turns on the central character being believable. Sadly, for me, this was not the case. Henry's set-pieces felt gabbled and undigested, giving the audience both on and off the stage little time to absorb, to think, to consider. And while the rest of the players (including Henry when he wasn't being Henry) worked long and hard to entertain with much success, the central weakness was seldom far away.

But don't let this put you off going if you get the chance. A good evening's entertainment, notwithstanding the downpours and a less effective Henry.

Open air performances of Shakespeare in such historical settings are a real treat, and STET, the English-speaking theatre promoter, deserves our thanks and full and continuing support for so doing. 

mike fitzgerald
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Review The Dentist, performed by Razia Israely by Pilar Perez – 9 May 2012

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The Dentist is not an easy play to watch. Not an easy play to listen to, either. Or to feel. I would imagine it is also not an easy one to perform. But it is really worth the effort. 

 

As a one woman show, the whole weight of the performance falls onto Razia’s shoulders. With just the help of the lighting and the music, Razia manages to keep the attention of the audience during the seventy minutes that the play lasts. The audience has to play its part too, as it is sometimes difficult to let yourself open up to the story. 

 

Gideon Greif’s book -”We wept without tears”- gathering the testimonies of several Jewish sonderkommando from Auschwitz, struck and inspired Raiza. She decided to write, together with Chaim Marin, and out of the interviews with the daughters of three of the sonderkommando men, the particular story of Rosie, the daughter of The Dentist’s working at crematorium No.2, a Jew from Salonika, and her family. 

 

Rosie’s monologue to her dead father takes us through their relationship with flashbacks into their past. As the story evolves, we start understanding the background of her dad and its effect on himself and Rosie’s whole family. And how love and hate can walk hand by hand and how terrible the consequences of such a horrendous past can be. 

 

Razia’s performance throughout the entire play goes from emotional to shocking, sometimes even funny, and leaves a kind of unsettled feeling, as good plays often do. The audience was moved and the applause was long. 

 

The subsequent questions and answers session simply enriched the play in many different aspects. Razia shared her conversations with the daughters she interviewed and the way she built her play from pieces of their different lives, including her own. The consciousness of the reality in the story can not be other than perturbing.  

 

Furthermore, Razia’s purpose of educate and make new generations aware of this part of our history, gives the play an undeniable extra value. 

 

Seen 9 May 2012 in the Paradijs Theatre – Koninklijke Schouwburg – The Hague

 

 

 

Review The Pride by Alexi Kaye Campbell 25 Januari 2012 Koninklijke Schouwburg – Het Paradijs – The Hague

Seen 25 January by Lora Mander

The Pride–Has being gay ever become easier?

We start in 1958 and Sylvia, an ex-actress-turned-illustrator introduces her husband Philip to her boss, Oliver, a children’s author.  Sparks fly in conversation between the two, but there is a sense of something left unsatisfied.

Skip ahead to 2008, it’s the eve of the Pride parade, and Oliver is drowning himself in his own sexual desires, hiring call-boys, after his recent break-up with partner Philip.  Their friend Sylvia becomes Philip’s shoulder to cry on as he navigates his way through the break-up and reconciliation.

Both Philips are trapped in a world of heart-break and lovelessness and we wonder whether the freedoms of expression and gay love that men have fought so hard to achieve ever allows for love to flow?

In this most recent production, beautifully directed by Tom Daley for BeMe Theatre, we see Oliver, played by a pliable Graham Dickson, go on a staggering journey of repression and expression with his counterparts Sylvia played brilliantly by Marene Miller and Philip played by Aled Pedrick.  Mr. Daley has set the stage with two opposing chairs, rather than a conventional sofa, which allow for the characters to challenge each other head on, but also allows for the uncomfortable tension to build between any two characters that are unable to speak to each other.

Alexi Kaye Campbell’s text is quick and lyrical, often giving us little delightful snippets such as “I’m beginning to miss your economy with the truth”, which modern Philip uses to castigate Oliver for his lies.  However, there were some missed moments within the story line, which leave you wondering how the performers were able to fill in the gaps.  In the 1950’s Philip and Oliver, we miss any moment of love developing between the two.   The story leaps from them having just met, to a break up, and then Sylvia’s mourning of Philip, and Philip’s extreme measures to rid himself of his shameful behaviour.   It is hard to grasp the depth of their pain.

Notably, Mr. Pedrick played a strongly repressed and challenging Philip and Tom McDonald handled his various roles off with finesse.  Particularly moving was his role as a magazine editor, Peter, and his recollection of his uncle dying of aids.

This production is a strong and relevant choice for STET and the Koninklijke Schouwburg.  It leaves us looking forward to what this joint effort can bring to the Netherlands next.

Lora R. Mander

Co-Artistic Director of Orange Tea Theatre Company, Amsterdam

http://www.orangeteatheatre.com

Review The Pride by Alexi Kaye Campbell 25 January Koninklijke Schouwburg – Het Paradijs The Hague

The Pride by Clare Tye

Het Paradijs, Koningklijke Schouwberg,    25/01/12

The opening night of The Pride by English-Greek play write Alexi Kaye Campbell was stunning.

Tickets for this excellent co-production by the Munich-based BeMe Theatre and STET, The English Theatre have sold so well that an extra performance is scheduled for Saturday 28/01/12.

The audience remained under the strong impression of this powerful and thought-provoking play. The quality and flexibility of the acting was exceptional; the audience is taken though many leaps in time from 1958 to 2008 without the slightest problem or confusion.

Tom Daley’s directing is exacting and brilliant. The actors remain on stage for almost the entire production and keep the same names, but live very different lives in the two time periods. As they dress and undress on stage and step in and out of their new roles, they are partly changed, partly unchanged. If one steps into a river twice, is it still the same river? The play makes us ask ourselves how much of who we are essentially comes from our own character and how much is the trappings of the time we live in.

The live accompaniment by the pianist and the occasional background noise of trains both contribute to bring the audience right into the tensions of the characters’ situations. The original set design is very convincing with only simple props to suggest a 1950’s living room and a modern flat. The costumes, hanging on black headless mannequins in metal frames at each side of the stage, look slightly like outfits for rent in some kind of homoerotic shop, reflecting the different roles gay man have been forced to play over the years.

Philip in 1958 is incredibly proper, up tight and in denial of his homosexuality and yet he admits to a kind of inner loneliness and a longing for a more creative career. The shock throughout the audience after the homosexual scene was palpable, for a moment people almost could not move for the interval. In 2008 the actor Aled Pedrick transforms the character of Philip in to a more fulfilled man who has not only accepted his sexuality, but who also may be able to help his former partner to overcome his addiction to promiscuous anonymous sex and perhaps even form a real relationship. Together they drink champagne and watch old couples at the Gay Pride Parade and pay unspoken homage to those who have brought about  the vast change in gay rights over the last fifty years.

In the beginning the 1950’s Sylvia, played superbly by Dutch-born, Marene Miller, may appear slightly stupid, but slowly we realise she is very intelligent and is coping with huge unspoken tensions in her marriage. In fact, through her need for honesty, she is bringing about the very thing she dreads most, the end of her marriage, by introducing her husband to Oliver. She transforms herself brilliantly into a genuine friend in 2008 who is aware of how much things have improved for gay men in the modern day and yet how difficult they remain.

Tom McDonald plays three small roles and is quite brilliant at each, particularly a rather course editor of a lads magazine, who suddenly and unexpectedly gives a very moving description of his uncle’s death from Aids in the early 80’s.

Early in the play Oliver is slightly more accepting of his homosexuality than Philip and he has found creative work for himself. In the modern day Graham Dickson develops Oliver into a tortured soul, whose sex-addiction and his inability to complete his work successfully are causing his life to start to fall apart. The married Sylvia forces an odd, slightly mysterious confession out of Oliver that while in Delphi he heard a voice, like the Oracle, telling him it was all going to be alright. This is the first reference to his own homosexuality, but also echoes Greek times when things were easier for gay men and an awareness that in the future they will be again. The play ends with Sylvia remembering this Oracle and using it to help her find the strength to leave Philip in an act of love to set him free.

This is a wonderful production of an extremely well-written play about repression and freedom. It is painful and yet ultimately hopeful; I cannot recommend it highly enough.

Review The Pride 25 January 2012, Koninklijke Schouwburg – Het Paradijs – The Hague

The Pride by Alexi Kaye Campbell. Directed by Tom Daley.

Presented by STET and BEME Theatre, seen Wednesday 25th January in Het Paradijs, the studio theatre in The Hague’s Koningklijke Schouwberg.
by Claire Richards

Philip                    Alex Pedrick
Oliver                   Graham Dickson
Sylvia                    Marene Miller
The man              Tom McDonald

‘It will be alright, it will be alright, it will be alright.’ Sylvia

Opening to a full house The Pride begins almost without introduction on a curtain less stage. The contrast between the at times almost suffocating, stifled atmosphere of the play and the sounds of the wind and the trams passing by outside only added to one of the strongest themes of the play, the impossibility of escape from the environment and times in which we live. We can shelter indoors or in the case of Philip take shelter in his marriage to Sylvia, or Oliver and his sex with a stranger addiction, but there will always be an inescapable reality.

From the first uttered words between Philip and Sylvia I was immediately engaged in spite of their use of Received Pronunciation, used more often today for comic effect and to symbolise undeserved privilege.  With Tom Daley’s elegant direction and outstanding acting from Alex Pedrick, Marene Miller and Graham Dickson we see forced intimacy and repression, no privilege at all.

The scene changes from 1958 to 2008 are definite and at times quite shocking, yanking us into the future with the perfectly timed lighting changes from Vassilis Apostolatos and the music played live by the composer, Krister Schuchardt. Every inch of the stage is used, the on stage wardrobe is alive, with the clothed and unclothed hanging mannequins looking impassively on. The costume and 1958-2008 changes are all performed on stage with outstandingly paced piano accompaniment, while the actors themselves adjust the set furniture. The low, open stage lent the play its only freedom as the actors exited and entered from various points beautifully exploited by Tom Daley’s direction.

Graham Dickson was on stage for almost the entire performance and switched effortlessly between the two Olivers. His portrayal of the shame, disappointment and churlish failure to accept the reality of Oliver’s 2008 situation was at times achingly real. The 1958 park scene with Sylvia is excruciatingly raw and moving. Alex Pedrick as Philip, not a particularly sympathetic character but nonetheless more than demonstrates the heart-breaking pointlessness of drawing a second, innocent individual into your own, personal angst. Sylvia played by Marene Miller reminded me at times of the restraint, hope, love and optimism of Greer Garson playing Mrs Miniver in the 1942 film. Tom McDonald was exceptional playing all other characters, his characterisation of every one of his roles was sharp and expressive and not without sympathy. His portrayal of the magazine Editor telling the tragic story of his Uncle Harry physically contrasted with the direction of the character as he strode brashly around the stage.

The Pride is a long play, more than two and a half hours but it didn’t feel long. It is a deeply charged and active exploration of that most perennial of subject, the human condition. Among the heartbreak, despair and restriction there is hope and a deep, deep love. Go and see it if you get the chance.  After the play I wondered, was the 95 year old man in the string vest at Pride 2008 the 1958 Philip or Oliver? After all we are all moulded by the times in which we live, I hope.

Reviews for The Pride by Alexi Kaye Campbell 25 January 2012 Koninklijke Schouwburg – Het Paradijs

THE PRIDE, seen at the Koninklijke Schouwburg – Het Paradijs, 25 January 2012
by Mike Fitzgerald
STET and the Munich-based BeMe Theatre have brought the award-winning play, The Pride, to Het Paradijs, the studio theatre in the Hague’s Koninklijke Schouwburg for five performances.
This first play by Alex Kaye Campbell looks at changing perceptions of, and responses from within gay communities in England. The play cleverly uses two separate time periods, but with identical characters, to look at just how liberating gay liberation has been. The argument seems to boil down to a sexuality and sex which may be more open, but the human frailties, brutalities and difficulties associated with relationships continue undiminished. To be open and out is no guarantor of personal happiness and fulfilment.
“The Pride” tells the two tales with the same characters 50 years apart. Placing one set of events in 1958 and a second in 2008 enables Campbell to compare and contrast a love which dared not speak its name in the 1950′s morphing into an addiction which dared not show its face by 2008. In 1958, Philip is a dull and despairing estate agent,  introduced by his wife Sylvia to her boss, a writer and published author,Oliver. Both men are in the closet (to use the phrase of the time); Sylvia apparently the only person who sees and accepts the men’s interests in each other. Its all very uptight and out of sight, an affair which isn’t, a relationship which doesn’t.
Forward to 2008, and Oliver is  sex-addicted, openly gay, promiscuous and deeply unhappy. Fucking fucks you up is the morality tale played out on the stage. Fascinating stuff, and the sections which explore the stifling nineteen fifties are particularly well suited to a theatre environment which itself  is both narrow and airless. The staging, designed to show the stifling claustrophobia of the times, succeeds only in constraining a cast whose energy and enthusiasm should be unleashed. For example, the constant waiting for people to change clothes on stage became a distraction which was always laborious, and by the second half just  irritated. The  (unnecessary?) interval broke what  pace and momentum the performance had managed to develop. The young cast of  four work very hard to give more life and texture to a play filled with contrasts but sadly few  reflections.
Don’t get me wrong: the play itself may be awkward and self-conscious on occasions, the direction at times ponderous, but the performers work really hard to provide a good night out at the theatre. Its a performance which deserves support. As does STET itself. It is a good evening out. It just could have been so much better.

Audience comments on Twelfth Night by British open-air TC Illyria…

British Open-Air Theatre

Twelfth Night performed in The Netherlands

Hereunder some of the comments from Britain, feel free to add your own!!

David from Michaelchurch
On 6th Jun 2010, 6.43pm
I have been following Illyria for over 10 years and they never disappoint. Their inventiveness, wit and technical competence make Shakespeare the perfect summer treat. Moreover, it has not rained at any of their performances I have attended!

Jan from Cardigan
On 29th Jun 2010, 11.28pm
Illyria just keep on doing what they do best entertaining we lesser mortals. They themselves are super human or at least one could be forgiven for thinking so. How they achieve what they achieve is beyond belief. A tiny cast will take you on an epic journey .Wicked wit and wisdom. mind blowing props.. creative costuming and stupendous stunts are all part and parcel of the fum. For fun is what one is guaranteed each and every performance. I have seen Pride and Prejudice. Gullivers Trauels. Hound of the Baskervilles and Shakespeare always at his bawdy best….. Just pack a picnic and go…. they will never disappoint!

Paula
On 1st Aug 2011, 10.56pm
Event Date: 31/07/2011
Event Venue: Harlech Castle

I watched Twelfth Night on Sunday and I really admired the cast, they kept going right to the end and it poured and poured, we were all soaked through. It got a bit slower as they tried to change into there wet costumes, but they were very cheerful and the performance was wonderful.

Sue from Brighton
On 13th Jul 2011, 3.30pm
Twelfth Night in Queens Park, Brighton, last weekend, the best night of the year so far! Just brilliant, an imaginative interpretation and we were all amazed to see at the end that there had only been 5 actors! How hard they must work! I would like to run away and join them! If you get a chance to see them in your town, don’t miss it!

The Dentist – a virtuoso performance – review by Jessica Maxwell

‘De stilte des doods’ rises above the din in The Dentist

The traditional Dodenherdenking commemoration in Dam Square of two minutes of “stilte”, or silence, expanded into new spaces and modes for reflection and remembrance this year via the Theatre Na de Dam festival. This Wednesday marked both the Dutch Memorial Day for World War II’s dead and the second year of the festival. The festival’s mission to
use theatre as a site of collective memory and empathy was bolstered by the Dutch premiere of Razia Israely’s The Dentist at the CREA TheatreMs. Israely’s one woman stage adaption of Dr. Gideon Greif’s collection of testimonies from Auschwitz, We Wept Without Tears, reconciles the need to confront this history and the “stilte” surrounding it for the play’s protagonist, Rosie, and audience.

Originally shown in the creator’s native Israel, The Dentist has toured internationally since 2006 wth a production history that varies from showings in high schools and prisons to
critically acclaimed runs at the Edinburgh and Toronto Fringe festivals. A truly remarkable aspect of Ms. Israely’s performance is how eloquently it echoes whatever context in which it is played. In the case of its one night call in Amsterdam, Rosie’s process of reconciliation with her recently deceased father, an Auschwitz survivor from Salonika, Greece, parallels Dodenherdeking’s process of reconciling contemporary Holland’s relationship to its past. Strikingly, both The Dentist and the commerations at Dam Square utilize silence as their mode to come to new understandings.

Take away the glossy pageantry, the opportunity to catch a glimpse of the Queen, and at the core of the Memorial Day services in the Dam, are two minutes of not only the silence, but consuming stillness. During the moment of “stilte”, the normally inhospitable square, a congested thoroughfare that is impossible to traverse without being assaulted by a din of conversations in every language, blaring music from street performers and being jostled by every mode of transportation imaginable, is transfixed into a space of hushed calm.

Rosie seeks this same transformation in her own life and in her relationship with her estranged father, Papa, whose past in the concentration camp she has only a cursory knowledge of. The reconciliation and stillness she needs can only be achieved through forgiveness and understanding although first the cacophony must be endured. The text, also written by Ms. Israely in conjunction with Chaim Marin, is elegantly constructed and takes on its weighty issues of the Holocaust, post traumatic stress disorder and abusive behavior towards children and women, with subtlety and aplomb. These issues, so often misappropriated in artistic representations and writ large in misguided attempts to convey their importance, are instead laid bare and internalized by Ms. Israely. In a virtuoso performance she portrays the entire ensemble of the story as she effortlessly shifts between characters including adult Rosie recollecting at her father’s graveside, to the wonderfully impish youthful Rosie, to Rosie’s mother,  grandmother and brother, Jules, and of course, as the inscrutable Papa. The vocality and physicality of the performance are astounding. How one actress so completely fills an almost bare stage without the aid of any sort of technology, aside from the occasional
soundscape, is admirable.  This admiration becomes something akin to astonishment when one considers the proliferation of multimedia in theatre, particularly as a crutch in the
monodrama genre.

Without any onstage assistance, be it man or mechanical, Ms. Israely frequently portrays the characters on both ends of an argument, in one turn she is terrorized seven year old Rosie, in the next she is Papa, enacting the terror during one of his rages. The richness and fullness of the performance, the humanity and relatability of characters, in spite of its challenging thematics, lies not only in the quality of the acting but also in the craftsmanship of the story. Poignantly when Ms. Israely portrays an adult Jules who can no longer cope with caring for his aged father, she takes on the same tambour and mannerism of Papa from earlier scenes. Minutiae of the story are merely glimpsed for a fleeting moment and then reappear later culminating in the development of a character arc that brings the audience, alongside Rosie, to a deeper understanding of Papa. Ultimately though it is Rosie’s choice as an adult to gain more knowledge about Papa’s time during World War II by seeking out his old friend who was also in Auschwitz, Henri. The knowledge she gains is not only information about the
horrors her father endured. Rosie also learns one secret Henri insists her father must tell her. Perhaps just as importantly in Henri and his daughter she finds their doppelgangers; as Henri’s daughter says to her, “I don’t know what’s worse, my father’s story or not knowing like you.”

The Dentist’s rapid denouement and gentle conclusion was greeted with a brief stillness from the audience before the applause began, my second moment of silence of that evening. In this short quiet I heard the older Dutch couple behind me sniffling. When the house lights came up it was revealed that they were indeed crying, severely contradicting my conception of the stoic Dutch attitude towards public displays of emotion. Non-native speakers of any language can easily ascertain the literal translation of a word from friends, books or the small miracle that is Google translation; the difficult part comes when attempting to understand the meaning of the word, its nuances and underlying implications in a wider context. This is by no means a revelatory notion, but my coming to understanding of the Dutch “stilte”, and the release that can come from it, was a personal revelation delivered by the performance of Razia Israely.

The Dentist has further showings in Den Haag on May, 11& 12 at Koninklijke Schouwburg (Royal Theatre) – Het Paradijs.

By Chaim Marin and Razia Israely; Performed by Razia Israely;
Adapted and directed by Malka Marin; Inspired by Dr. Gideon Greif’s book We wept without tears; First performed at the Holon Theatre, Israel, 6 March 2006;
Dutch premiere at CREA Theatre, Amsterdam, 4 May 2011

Continental – vs Anglo saxon theatre traditions: what’s the difference?

Friday night 21 January I went to the Stadsschouwburg in Amsterdam to see Hotel Royal of Joseph Roth performed by the Munchner Kammerspiele and directed by Johan Simons, one of todays best known Dutch directors. It was a great performance, based on Roth’s book and situated in the interbellum (1924). It tells the story of soldiers returning home after WWI whilst WWII is already looming – The Hotel symbolises Europe in transition, the spirit of community being replaced by individualism.   Although I admire the obviously tremendous skills of Johan Simons, his actors and designers- some most interesting choices were made -, in the end the performance did not really get under my skin. Why? I cannot really put it into words, but it did not. The post show discussion showed the compassion Johan Simons has for his work but for me this did not immediately shine through in his direction, which seemed rather cold to me – but it might be the continental tradition…

On Saturday I had the privilege to watch Lemn Sissay at work in the Paradijs Theatre, studio theatre of the Royal Theatre in The Hague with Something Dark. This turned out to be a deeply moving and slightly disturbing experience. Of course it is hard to compare the two performances, one by a large cast and the other a solo piece with a very personal story. However, in both performances the main theme was isolation and solitude – In Hotel Savoy there was a total disconnection with the times, the community and the future and in Something Dark the disconnection was evident, because when you start out as foster child, then being put back in several children’s homes, you grow up in a world without any connections and end up to be no-one. In Hotel Savoy the “solution” was the rich Bloomfield coming in from America – but to leave them all soon again without filling the void. In Something Dark, Lemn Sissay describes his own journey as a foster child eventually finding his mother back in the Gambia, who then cannot acknowledge him in front of her new family, because of her own life story.

When thinking over both these very different and still so similarly themed plays, it made me realise again that the Anglo Saxon way of making theatre is different from the continental tradition. Not that one is beter than the other, but they are different. Ithink that on the whole I have more affinity with the Anglo Saxons, who are more rooted in the tradition of text and keep in their acting less distance to the characters they perform on stage. But having said that, I cannot deny that the best production of 2010 for me was the Dutch – so continental – production Branden (Fires) by the RO Theatre from Rotterdam, which moved me so deeply that the tears ran uncontrollably over my face. So maybe it has nothing to do with any tradition but more with me, that some art moves me and other does not – could it be as simple as that?

I wonder…

HAPPY NEW YEAR

Thank you for all the support you gave us in 2010. In 2011 we will continue to provide you with great English language theatre from around the world. Our programme will be for young and old, with established and new talent, improv comedy and drama, indoors and in the open air: in short you will get what you expect from STET The English Theatre .

We will not be beaten by the cuts that all cultural institutions face at the moment on the contrary with your support we will see our high quality theatre programme for the internationally minded community in The Netherlands growing!

We value your comments and thoughts, so please, do share these with us!

The STET Team

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