Film/TVTheatreAudio productions
Desire. Under the Elms
(Eugen O´Neill / Thalia Theater Hamburg)

Content: A lonely farm in America’s stony east. Old Ephraim Cabot has married for the third time. Abbie, his young wife, who has only married him for the sake of his farm, is after Eben,  his youngest son. The older brothers leave the farm and go west, after Eben as the legitimate heir has paid them out. The old man is ready to cut Eben out from his will, if Abbie bears him a heir. A dramatic story, mourning for death, and full of wild, incontrollable greed. There is the longing for property and power, and there is the longing for love. A father who hates to become old and who hates his son, a son who rebels against him, but cannot win. A woman between father and son. (Source:

Production: Jürgen Kruse
Cast: Andreas Pietschmann, Michael Altmann, Judith Rosmair, Benjamin Utzerath, Clemens Dönicke, Peter Maertens, Jörg Lichtenstein, u.a.
Premiere: March 23, 2002


“Even if Kruse uses up many quotations and playwords to its extreme, and if the production contains significant lengths, especially in the second part – the cast is in top form.”
(Hamburger Morgenpost, 03/25/2002, Brigitte Scholz)

“Half-brother Eben (Andreas Pietschmann) runs the household in the farm under the elm trees, whose branches are covered with blood-red leaves and darken the sky over the fanciful stage (Steffi Bruhns). Light is in short supply at the Cabots; the faces throw hard shadows on themselves. Eben looks like an angel, but has the devil in his body. He trembles with bursting lust for life.” (Die Welt, 03/24/2002, Tom R. Schulz)

“Actors as well as the play are strong enough, as one can see in the seduction scene between Eben and Abbie. The way they slink around each other, the way they desire each other shows when, still far apart from each other, they walk towards each other with outstretched forefingers, slowly and as if pulled by an invisible band, just like Michelangelo invented it for his mural “Adam’s Creation”. That’s thrilling, sensuous and understandable. Good theatre plays don’t need more.” (Hamburger Abendblatt, 03/25/2002, Armgard Seegers)
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