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- Herausgeber: Nick Hern Books
- Kategorie: Poesie und Drama
- Sprache: Englisch
- Veröffentlichungsjahr: 2019
Young artist Adolf is deeply in love with his new wife Tekla – but a chance meeting with a suave stranger shakes his devotion to the core. Passionate, dangerously funny, and enduringly perceptive, Strindberg considered this wickedly enjoyable black comedy his masterpiece. August Strindberg's play Creditors was written in the summer of 1888, and first staged at the Dagmar Theatre in Copenhagen in March 1889. This English version by Howard Brenton was premiered in March 2019 in a co-production between Jermyn Street Theatre, London, and Theatre by the Lake, Keswick, directed by Jermyn Street's Artistic Director Tom Littler.
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August Strindberg
CREDITORS
in a new version by Howard Brenton
NICK HERN BOOKS
London
www.nickhernbooks.co.uk
Contents
Original Production
The Strindberg Project
Creditors
About the Author
Copyright and Performing Rights Information
Creditors was performed in repertory with Miss Julie at Jermyn Street Theatre, London, and Theatre by the Lake from 22 March – 1 June, 2019. The cast was as follows:
MISS JULIE
Premiered at Theatre by the Lake, Keswick on 1 July, 2017. Revived at Theatre by the Lake, Keswick on 1 April, 2019 with the following cast:
MISS JULIE
Charlotte Hamblin
KRISTIN
Dorothea Myer-Bennett
JEAN
James Sheldon
In the 2017 premiere, the role of Kristin was played by Izabella Urbanowicz.
CREDITORS
Premiered at Theatre by the Lake, Keswick on 22 March, 2019 with the following cast:
TEKLA
Dorothea Myer-Bennett
ADOLF
James Sheldon
GUSTAF
David Sturzaker
Director
Tom Littler
Designer
Louie Whitemore
Lighting Designer
Johanna Town
Sound Designer and Composer
Max Pappenheim
Associate Director
Gabriella Bird
Costume Supervisor
Claire Nicolas
Production Manager at TBTL
Philip Geller
Production Manager at JST
Will Herman
Stage Manager
Lisa Cochrane
Production Co-ordinator for TBTL
Mary Elliott
Technical Manager at TBTL
Andrew Lindsay
The Strindberg Project
Lost with the trolls
The director Tom Littler and I have become obsessed with the theatre of August Strindberg. We feel affection and at times repulsion toward him – his drama is both enlightening and disturbing; it has a mystery and depth we suspect we will never fully understand. We may be quite lost.
It is visceral writing, without easy messages, deeply human but often irrational. He is the first great modernist playwright, yet very close to the Greeks, particularly Euripides, in his iconoclasm towards his time and his twisty, bloody-minded plots. A bitter humour flashes as his characters flail about, locked in a tragic endgame they cannot escape.
He was a troubled and troubling genius. He had extreme love-and-hate relationships with just about everything and everyone – his country, his wives, his contemporaries. It is an understatement to say he was ‘ideologically unstable’ – at times he was an atheist, an occultist, a socialist, an elitist, a reactionary, a progressive, a mystic, a passionate advocate for, then a savage critic of, feminism. He would stray into very dark areas, then pull back and reclaim some kind of balance. His work was frequently censored and banned – he was prosecuted for blasphemy and denounced as one of the most dangerous men alive. And yet there are many accounts that he was a shy, beautiful and very sexy man.
That mad summer
Miss Julie and Creditors were written back to back in a blaze of creativity in the summer of 1888.
After the failure of his play The Father, Strindberg, his wife of ten years standing, Siri von Essen, and their three young children moved to the small fishing village of Taarbæk. They were all but broke. Strindberg wrote a book at lightning speed, in French, in the forlorn hope of selling it quickly in Paris (when eventually published, the book, A Madman’s Defence, caused a sensation). But they were in dire straits.
Then it seemed that a magical world had intervened. A strange old woman, who the children thought was a witch, knocked on their door. On behalf of ‘the Countess Frankenau’ she invited them to stay, for virtually nothing, at the Countess’s castle, Skovlyst, which means ‘Delight of the Forest’. In the twilight a ramshackle, old-fashioned carriage collected the family, driven by a handsome servant. The Strindbergs were entranced.
