Roland Schimmelpfennig, one of Germany’s most performed playwrights, wrote Winter Solstice during 2013 and 2014 as a response to the rise of the new right in Europe. It is the story of what happens when Corinna, a naive, lonely older woman invites Rudolph, a plausible stranger who she has met on a train, into the family home of her daughter Bettina and her husband Albert. They are educated liberals, a film maker and a writer, whose marriage is under strain. It is Christmas and Rudolph doesn’t leave. To start with he is delightful in the eyes of everybody but Albert, until slowly his true nature is revealed, although we are never sure how much of what follows is real and how much is happening inside Albert’s over-medicated head.
You have to think hard to keep up with what is happening as this is a thoroughly Brechtian play, full of artifice. How the story is told is every bit as important as the story itself. It starts in a production meeting for one of Bettina’s films and we are never allowed to forget that we are in a theatre as the cast both play their characters and narrate the action. There is no set and the jumble of props and metal trestle tables from that original meeting are moved around with great speed and accuracy throughout the play to tell the story and used to signify whatever might be needed. The whole production is very cleverly directed and devised and makes some powerful and timely points about the insidious nature of populism and political manipulation- this is a play which is designed to make you think rather than touch the heart. It must have packed quite a punch when it was first seen at home in its original language. It fitted in the round at the SJT beautifully with the cast opening it out and sometimes speaking directly to the audience. I was more in awe of their technical skills than their characterisation as I watched them at work, delivering lines in and out of character at speed, making sure that everything was there in the right place at the right time and finding drama and humour in quick succession.
This was clearly a really well made piece of theatre, recast and redirected from a production that won four off West End Awards but, while I am very glad to have seen it, it wasn’t really for me any more than Brecht is. Having said that, it is the first time that a stranger has seen me in the audience, recognised me the following day and stopped me in Filey wanting to talk about a production, so they must have been doing something right. I think Roland Schimmelpfennig would probably be quite happy about that.