Film/TVTheatreAudio productions
The Crime of the Twenty-First Century
(Das Verbrechen des 21. Jahrhunderts)
(Edward Bond / Schauspielhaus Bochum)
Content: In the “Forbidden Zone”, the ruins of the suburbs steamrolled by the army, there lives a woman called Haxton who has discovered a water pipeline still working, thereby possessing the necessary vital life resource. Gradually she encounters first an older and  then a young man (Sweden) who together fight for her with an archaic relentlessness. Grace too turns up who recognizes Haxton to be her mother; she wants to take revenge on her for having abandoned  her.

Production: Leander Haußmann
Cast: Andreas Pietschmann, Ralf Dittrich, Margit Carstensen, Annika Kuhl
Premiere: May 28, 1999


“At the same time, some audacity is necessary to create a relationship with Shakespeare or Beckett with this flat, trite work,  whose stilted, shapeless figures Haußmann at least tried to enliven with sportive body artistry (excellently performed by Andreas Pietschmann) .”
(Welt Online, Reinhard, Wengierek, 31. Mai 1999)

“Awkward stammering  indicates that under the dust and debris of the language there are nevertheless different characters with different backgrounds which fate pushed into no man’s land. On the Bochum Drama House stage, they are brilliantly and consistently portrayed by Margit Carstensen, Ralf Dittrich, Andreas Pietschmann and Annika Kuhl.” (Evangelische Kommentare, 10/99, Udo Feist)

“In this temporary freedom, human beings  are, according to an old saying, either a wolf or merely a dog for each other. Sweden (Andreas Pietschmann, epilectic and acrobatic at the same time) only shows compassion with a being that is not as himself, that is with the dog which he stones to death in order to survive.”
(Süddeutsche Zeitung, 5/31/1999, Willi Winkler)

“Under a sky with changing clouds on Franz Havemann’s stage of ruins, Leander Haußmann expresses this moment of a heavy burden with a high fastidiousness to the texts, thanks to concentrated and committed actors. Certainly, Bond’s drama has motivatic and dramatic  flaws, but, being a work of mourning over the sensitivities of the world, it is no prophecy but an analysis of the present. The Balkan States, this time, are situated on the river Ruhr.”
(Ulrich Schreiber, Handelsblatt)
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