Oh Dear My Majesty...
Marie Antoinette - Freilichtbühne Tecklenburg, 6th July, 2012
It was a cold day in January 2009 when I got to see "Marie Antoinette" the first time. It was a preview two, three days before opening night. I still remember that I was not impressed with the show though in the next weeks seeing it maybe far too often, number of shows I saw are in double figures and it just ran from end of January to end of May 2009, I fell in love with it.
Cast:
Marie Antoinette - Anna Thorén/Roberta Valentini (vocals during songs)
Margrid Arnaud - Marion Furtner
Graf Axel von Fersen - Patrick Stanke
Cagliostro - Yngve Gasoy-Romdal
Herzog von Orléans (duke of Orléans) - Marc Clear
Agnés Duchamps - Wietske van Tongeren
Louis XVI. - Frank Winkels
Axel von Fersen - Patrick Stanke
Rose Bertin - Corinna Ellwanger
Léonard - Jan Altenbockum
Charles Boehmer - Julian Sylva
Madame Juliette Lapin - Anne Welte
Kardinal de Rohan-Guéméné - Sebastian Sohn
Maximilien de Robespierre - Michael Clauder
Madame Lamballe: Daniela Römer
Pierre A. Caron de Beaumarchais: Benjamin Witthoff
Madame La Motte: Christina Hindersmann
Jaques René Hébert - Hakan T. Aslan
Official Marie Antoinette "panorama" pictures
Official Marie Antoinette pictures, unfortunately with the for me "wrong" Margrid Arnaud
A few not so great curtain call pictures by me:
Yes it had flaws and it was anything but perfect but with the largely great cast, there was a lot of heart in this little gem and I had one of the best "theatrical" springs of my life seeing fantastic shows with some already close to my heart performers as Thomas Christ and Anika Lehmann and discovering to me new stand out talents as Oliver Nöldner or Marion Furtner.
So when it was announced Tecklenburg would bring Marie Antoinette onstage, I wasn't sure whether to go especially as I kinda expected that it could not live up to my expectations due to my 2009 memories (it is also a bit of a pain to get there without a car) but when the cast was announced and I learnt that while Sabrina Weckerlin would be Margrid Arnaud again after she played the part already in Bremen but not performing two shows but her Bremen alternate Marion Furtner whom I totally adored during the Bremen run and a friend of mine decided to go there by car decision was made to go to see it at least once.
Cast:
Marie Antoinette - Anna Thorén/Roberta Valentini (vocals during songs)
Margrid Arnaud - Marion Furtner
Graf Axel von Fersen - Patrick Stanke
Cagliostro - Yngve Gasoy-Romdal
Herzog von Orléans (duke of Orléans) - Marc Clear
Agnés Duchamps - Wietske van Tongeren
Louis XVI. - Frank Winkels
Axel von Fersen - Patrick Stanke
Rose Bertin - Corinna Ellwanger
Léonard - Jan Altenbockum
Charles Boehmer - Julian Sylva
Madame Juliette Lapin - Anne Welte
Kardinal de Rohan-Guéméné - Sebastian Sohn
Maximilien de Robespierre - Michael Clauder
Madame Lamballe: Daniela Römer
Pierre A. Caron de Beaumarchais: Benjamin Witthoff
Madame La Motte: Christina Hindersmann
Jaques René Hébert - Hakan T. Aslan
Ensemble: Yael de Vries, Elena Zvirbulis, Marthe Römer, Silja Schenk, Lucy Costelloe, Andrew Hill, Kevin Foster, Jörn Ortmann
Marie Antoinette tells, as the titel implies, of Marie Antoinette but also of her but of a ficitional character called Margrid Arnaud, a poor flower seller.
At the opening the audience meets Cagliostro, who was a real historical person, though his role has been adjusted for this show, in Bremen more a narrator, sometimes someone influencing the story but more by being part of normal fate I'd say, but here being something like a puppet master largely driving the story by his actions (yawn, an idea seen too often), but the actual story really starts with Margrid Arnaud selling some flowers to the duke of Orléans (changed from Bremen production). Cagliostro ensures dressed as an old poor man that she thinks Orléans betrayed her and follows him to his palace where a party takes place.
We meet a spoilt Marie Antoinette, her alleged lover Axel von Fersen and other important people. Margrid Arnaud manages to sneak into the palace and confronts Orléans.
She is thrown out and moans about the injustice on this world, vows revenge eventually and from there she and Marie Antoinette are somehow connected crossing paths regularly in the next years during which the French monarchy collapses, in this production largely manipulated by Cagliostro who appears in various important parts for the story.
It ends with the beheading of Marie Antoinette after nearly three hours.
The majority of professional reviews had been mixed, the ones of the ordinary fans had been positive with highlighting that the changes made to the story were a good start, the cast being great but that due to the book still being so overloaded it is not an easy task.
Well, I personally was not impressed by the actual production but some of the cast, especially the stunning Marion Furtner. As said before the Bremen production had flaws but what was changed is no improvement for me.
Some of the changes to the story as making a possible relation of Margrid Arnaud to Marie Antoinette clearer were unnecessary as also the whole when Margrid Arnaud talks to the nun about who her father is, the hints as in the Bremen production were totally sufficient.
Same goes for the changes on how the whole necklace affair is told. There is no apparent involvement of the duke of Orléans anymore and the song and the amazing scene to tell that story has been replaced by one that is so dull, so cheesy, so unneeded. I also missed the actual final of act 1 when Margrid Arnaud attacks Marie Antoinette - seriously how many reprises of "Ich Weine Nicht Mehr" (I do not cry anymore) does this show need as that is not the only one even the grand final is interrupted for another verse from it!?
I also did not need the new opening number in act 2 of telling more about Margrid Arnaud's childhood to apparently understand more about her motifs and emotions. Seriously, anyone ever felt injustice, jealousy, grudge and maybe even hate, and am sure everyone has at least at one point in their life felt thtat, can understand and relate to her with the material which was there. And to open of act 2 straight away with the court scene was in Bremen always such a great start bringing the audience straight away back into the story.
And the other song replacing "Pariser Schnitt" (which a lot of people apparently didn't like though I thought it told a lot about the political situation in Paris besides being entertaining and a nice distraction for five minutes from the general darkness of the act) in act 2 was so meaningless with most utterly rubbish lyrics that I even cannot come up with smart translations to make them work - not that they make much sense in German either.
Direction (by Marc Clear) in general is rather weak imho, okay the book does not help, whatever other said, some of the concept and ideas are so moronic that you must wonder whether they were so desperate to do it differently to Bremen on purpose.
Most idiotic idea was these four shadows/clones or whatever of Cagliostro who regularly appeared copying e.g. Cagliostro's movement or doing some other stupid embarrassing choreography. Especially during Orléans' number in act 1 "Weil Ich Besser Bin" (Because I am better) the whole choreography was just a joke.
I just could not believe that the woman who was in charge for the choreography at this production was also in charge in Bremen. What a massive let down. I just have one explanation for it: they were desperate to not repeat Bremen even if it worked perfectly there.
What I also did not like was the staging and I was reminded what one of my major issues with the location is. I know you need to work around when doing open air theatre but this having sections on the massive stage that even when you sit rather close to the stage you can still feel very far away when the focus is on the right or left and due to the stage layout a large number of scenes take place on the left side as the prison scenes.
At the back there was a 'house' used for various scenes. What really bugged me e.g. was when it was used with someone being up there and someone standing on the ground and talking to each other or people had to run up and down the stairs on the side - why just leave it and do not use it all but leave it to imagination?
I could go on and on in regards to staging. I had issues with nearly every single scene.
And the issues continued with the cast....
Anna Thorén as Marie Antoinette could not convince at all, not one tiny bit. Certainly "handicapped" as she was not singing she could not even impress through her play.
At the opening the audience meets Cagliostro, who was a real historical person, though his role has been adjusted for this show, in Bremen more a narrator, sometimes someone influencing the story but more by being part of normal fate I'd say, but here being something like a puppet master largely driving the story by his actions (yawn, an idea seen too often), but the actual story really starts with Margrid Arnaud selling some flowers to the duke of Orléans (changed from Bremen production). Cagliostro ensures dressed as an old poor man that she thinks Orléans betrayed her and follows him to his palace where a party takes place.
We meet a spoilt Marie Antoinette, her alleged lover Axel von Fersen and other important people. Margrid Arnaud manages to sneak into the palace and confronts Orléans.
She is thrown out and moans about the injustice on this world, vows revenge eventually and from there she and Marie Antoinette are somehow connected crossing paths regularly in the next years during which the French monarchy collapses, in this production largely manipulated by Cagliostro who appears in various important parts for the story.
It ends with the beheading of Marie Antoinette after nearly three hours.
The majority of professional reviews had been mixed, the ones of the ordinary fans had been positive with highlighting that the changes made to the story were a good start, the cast being great but that due to the book still being so overloaded it is not an easy task.
Well, I personally was not impressed by the actual production but some of the cast, especially the stunning Marion Furtner. As said before the Bremen production had flaws but what was changed is no improvement for me.
Some of the changes to the story as making a possible relation of Margrid Arnaud to Marie Antoinette clearer were unnecessary as also the whole when Margrid Arnaud talks to the nun about who her father is, the hints as in the Bremen production were totally sufficient.
Same goes for the changes on how the whole necklace affair is told. There is no apparent involvement of the duke of Orléans anymore and the song and the amazing scene to tell that story has been replaced by one that is so dull, so cheesy, so unneeded. I also missed the actual final of act 1 when Margrid Arnaud attacks Marie Antoinette - seriously how many reprises of "Ich Weine Nicht Mehr" (I do not cry anymore) does this show need as that is not the only one even the grand final is interrupted for another verse from it!?
I also did not need the new opening number in act 2 of telling more about Margrid Arnaud's childhood to apparently understand more about her motifs and emotions. Seriously, anyone ever felt injustice, jealousy, grudge and maybe even hate, and am sure everyone has at least at one point in their life felt thtat, can understand and relate to her with the material which was there. And to open of act 2 straight away with the court scene was in Bremen always such a great start bringing the audience straight away back into the story.
And the other song replacing "Pariser Schnitt" (which a lot of people apparently didn't like though I thought it told a lot about the political situation in Paris besides being entertaining and a nice distraction for five minutes from the general darkness of the act) in act 2 was so meaningless with most utterly rubbish lyrics that I even cannot come up with smart translations to make them work - not that they make much sense in German either.
Direction (by Marc Clear) in general is rather weak imho, okay the book does not help, whatever other said, some of the concept and ideas are so moronic that you must wonder whether they were so desperate to do it differently to Bremen on purpose.
Most idiotic idea was these four shadows/clones or whatever of Cagliostro who regularly appeared copying e.g. Cagliostro's movement or doing some other stupid embarrassing choreography. Especially during Orléans' number in act 1 "Weil Ich Besser Bin" (Because I am better) the whole choreography was just a joke.
I just could not believe that the woman who was in charge for the choreography at this production was also in charge in Bremen. What a massive let down. I just have one explanation for it: they were desperate to not repeat Bremen even if it worked perfectly there.
What I also did not like was the staging and I was reminded what one of my major issues with the location is. I know you need to work around when doing open air theatre but this having sections on the massive stage that even when you sit rather close to the stage you can still feel very far away when the focus is on the right or left and due to the stage layout a large number of scenes take place on the left side as the prison scenes.
At the back there was a 'house' used for various scenes. What really bugged me e.g. was when it was used with someone being up there and someone standing on the ground and talking to each other or people had to run up and down the stairs on the side - why just leave it and do not use it all but leave it to imagination?
I could go on and on in regards to staging. I had issues with nearly every single scene.
And the issues continued with the cast....
Anna Thorén as Marie Antoinette could not convince at all, not one tiny bit. Certainly "handicapped" as she was not singing she could not even impress through her play.
In act 1 when the character is to be young, "fresh as champagne" (as sung in her first scene by the ensemble) and naive (and maybe also ignorant), she was utterly lame totally lacking the spirit and and liveliness Roberta Valentini, Anika Lehmann and even Maricel had during the Bremen run and what I expected to see also based on what is said about her in the show.
Same goes for when Fersen meets her one last time in the park before leaving her and France when her character is to be a loving rather ordinary woman on one side but also the proud queen on the other. She couldn't manage to portray that inner torn or even one of these two facettes. I had never ever seen such a lacklustre performance of that character in this show before.
Same goes for when Fersen meets her one last time in the park before leaving her and France when her character is to be a loving rather ordinary woman on one side but also the proud queen on the other. She couldn't manage to portray that inner torn or even one of these two facettes. I had never ever seen such a lacklustre performance of that character in this show before.
In act 2 when her character develops and is more mature and serious the dullness continues especially in the court scene at the end of the show when her character is accused of fornication, no change in her already usually very bland facial impressions or when she tells about that they won't manage to break her her posture continues to be lax and lazy instead of straightening up as someone proud.
That her thick Swedish accent, an issue that has become one of my theatre pet hates, came through far too often was besides all the other issues just a minor one.
If it hadn't been for Roberta Valentini's excellent singing the whole character of Marie Antoinette would have been a farce. BUT there was a Roberta Valentini that night. And what a vocal performance.
It is incredible how much she managed just with her voice to move me. There was so much passion and love on one side and so much fun and sweetness on the other side in her voice. I cannot tell which one her numbers impressed me most. I was touched at all her numbers anyway and even during the first number, a more entertaining one, she made me cry though that might have something to do with me wishing she was not just singing but also being onstage.
Marion Furtner as Margrid Arnaud is the only reason why I do not regret that I went (not counting Roberta). I loved her in Bremen but in Tecklenburg she just delivered the convincing performance.
Fans of Sabrina Weckerlin commented during the Bremen run that she didn't have the vocal power as Ms Weckerlin but unlike Ms Weckerlin Marion harmonised a lot more in the big numbers with the ensemble. Ms Weckerlin usually dominated the numbers which I did not like as it often ended in shouting and screaming. Apparently Ms Weckerlin stopped that which is though very hard to pictures as it has become some kind of trademark for her (and I really do not fancy to add another "shouty" memory) but Marion was at this show, as in Bremen, the most perfect Margrid Arnaud managing to match how I expect her to be.
Her Margrid is full of passion and emotions in all her gestures, moves and in her voice, whether speaking or singing and you could tell she loved being onstage and not just during curtain call. She even sounded more powerful and striking with more depth. Just a stunning performance.
I couldn't care less about Patrick Stanke as von Fersen. I was never a fan of his portrayal during the Bremen run and thought that the two understudies Oliver Nöldner and Patrick Schenk were a lot more persuasive and touching unlike him.
Yes, Patrick Stanke can certainly sing though he didn't sound as great as he did a few years ago but he just lacked the charm and confidence to make him believable especially von Fersen's love for Marie Antoinette. Just the care he showed made it a bit believable for me why a Marie Antoinette would fall in love with him. That was already the case three years ago and it has not changed since.
I was also not keen on plenty of the other leads as Marc Clear as the duke of Orléans. He just lacked the drive, arrogance and cynicism Thomas Christ had in the Bremen run and Marc actually at least partly had as he was the understudy of that part (after all he sings a song about think he is better than every one else ;-) ).. It didn't help that due to the changes in act 1 a lot importance was taken away at least in act 1, he played no obvious part in the whole necklace affair anymore, but there were hardly any changes to his part in act 2 but the cut of one number in which he used to appear. A lot therefore made not much sense, the motifs of Orléans were just not clear. Though with no one mentioned it really before am wondering whether am the only one who bugged this?
Wietske van Tongeren as the nun Agnés was just dull. Yes, the character is already rather dull and Maike Switzer who originated that part in Bremen was too but her three understudies weren't but what was even worse with van Tongeren is that I cannot stand her croaking, others call singing. Where her voice is to be warm and has a nice timbre as others regularly comment about her I do not understand. It sounded so often so forced, unstable and stretched and that it often reminds me of a little kid's voice does not help either. Actually it too often reminds me of the squeaky German voice of the Dutch cartoon duck Alfred J. Kwak Such a voice might be okay for a 10 year old girl but not for a grown up woman (am dreading already her as Adrian in Rocky), her annoying Dutch accent though not as bad as Anna Thorén's, didn't help either.
Talking about accents another one whose accent annoyed me was Yngve Gasoy-Romdal as Cagliostro besides his most exaggerated pronunciation of single words and his intonation. Especially when he overdid it his accent came through. It is weird as it actually seems to come and go. I saw him in shows when it was okay, then in others it just got most annoying - and not different shows but even different performances of the same show. And as much as he exaggerated when he spoke and sung (do not get me wrong, I like his singing voice and I think it suits the part of Cagliostro) his acting was too though partly is to be blamed on directing and some of these rubbish changes to the book.
Frank Winkels as Louis XVI. was way too sweet for me. I was not a major fan of Tim Reichwein as his Louis was always a bit too camp but Frank was also not what I expected. But considering that the role is so small it didn't bother me too much.
Anne Welte's part of Madame Juliette Lapin was unfortunately reduced to a minimum as the one number in the brothel was changed with Cagliostro doing the opening/introduction of it with Anne eventually taking over (with changed lyrics). Such a shame, such a waste of talent of the wonderful, fantastically looking and sounding talent Anne Welte.
Also other parts are a lot smaller these days. For most it did not matter too much, just wondering why you'd have these then at all as Madame Lambelle (Daniela Römer), a confidante of Marie Antoinette who in the Bremen production was a close friend of her but here she's more like a maid having a cameo appearance in act 2. Fashion designer Rose Bertin (Corinna Ellwanger) or Léonard (Jan Altenbockum), two characters which are used to emphasise Marie Antoinette extravagance in act 1 are also more just having cameo appearance as also their big number in act 2 (along with the character of Charles Boehmer) was cut, so with these changes I cannot tell the performers playing these could convince or not as there's not much left to shine with.
But to give then characters more stage time as Madame La Motte, who's portrayed as the key driver, well manipulated by Cagliostro, for the necklace affair and to have then someone as Christina Hindersmann who was so overly wooden and stiff just majorly annoyed me.
Besides the featured ones of the ensemble no one really stood out for me. Yes, one of them was the wonderful Elena Zvirbulis from the Schmidt Theater ensemble, but the Bremen ensemble was more of full of characters and not a bunch of non-persons as at most Stage Entertainment shows - or this one.
Tecklenburg boasts and pride themselves with having a large ensemble of local volunteers they use as extras. There are the odd scene for which it worked to have these dozen of people onstage but sometimes it seems they were just onstage for the sake of giving them stage time. As when Margrid Arnaud is thrown out of the place and sings her "Blind Vom Licht" having them onstage it took the focus massively away from the song and Marion's performance. All I want to have is the lead and the song. Nothing else, especially not a bunch of people onstage.
The same goes for the masked ball apparently taking place at the opera. Yes, you may guess it they were there too, even if just on the sides but dressed in the ordinary clothes of someone poor. Seriously while it seems only minor it bugged me as it would have EXTREMELY unlikely that they were there dressed like that? But again I can only assume they are just given stage time for the sake of it as they are needed to make such events happening with all the other work around the production and the creative team and other seniors think it is necessary to make up for that with allowing them onstage.
Well I could go on and on and rip the show scene by scene apart but I cannot be bothered. I was even not sure first whether to write anything about the show as I actually would like to dispel it from my memories. This production is one I do not want to see again.
Marion Furtner as Margrid Arnaud is the only reason why I do not regret that I went (not counting Roberta). I loved her in Bremen but in Tecklenburg she just delivered the convincing performance.
Fans of Sabrina Weckerlin commented during the Bremen run that she didn't have the vocal power as Ms Weckerlin but unlike Ms Weckerlin Marion harmonised a lot more in the big numbers with the ensemble. Ms Weckerlin usually dominated the numbers which I did not like as it often ended in shouting and screaming. Apparently Ms Weckerlin stopped that which is though very hard to pictures as it has become some kind of trademark for her (and I really do not fancy to add another "shouty" memory) but Marion was at this show, as in Bremen, the most perfect Margrid Arnaud managing to match how I expect her to be.
Her Margrid is full of passion and emotions in all her gestures, moves and in her voice, whether speaking or singing and you could tell she loved being onstage and not just during curtain call. She even sounded more powerful and striking with more depth. Just a stunning performance.
I couldn't care less about Patrick Stanke as von Fersen. I was never a fan of his portrayal during the Bremen run and thought that the two understudies Oliver Nöldner and Patrick Schenk were a lot more persuasive and touching unlike him.
Yes, Patrick Stanke can certainly sing though he didn't sound as great as he did a few years ago but he just lacked the charm and confidence to make him believable especially von Fersen's love for Marie Antoinette. Just the care he showed made it a bit believable for me why a Marie Antoinette would fall in love with him. That was already the case three years ago and it has not changed since.
I was also not keen on plenty of the other leads as Marc Clear as the duke of Orléans. He just lacked the drive, arrogance and cynicism Thomas Christ had in the Bremen run and Marc actually at least partly had as he was the understudy of that part (after all he sings a song about think he is better than every one else ;-) ).. It didn't help that due to the changes in act 1 a lot importance was taken away at least in act 1, he played no obvious part in the whole necklace affair anymore, but there were hardly any changes to his part in act 2 but the cut of one number in which he used to appear. A lot therefore made not much sense, the motifs of Orléans were just not clear. Though with no one mentioned it really before am wondering whether am the only one who bugged this?
Wietske van Tongeren as the nun Agnés was just dull. Yes, the character is already rather dull and Maike Switzer who originated that part in Bremen was too but her three understudies weren't but what was even worse with van Tongeren is that I cannot stand her croaking, others call singing. Where her voice is to be warm and has a nice timbre as others regularly comment about her I do not understand. It sounded so often so forced, unstable and stretched and that it often reminds me of a little kid's voice does not help either. Actually it too often reminds me of the squeaky German voice of the Dutch cartoon duck Alfred J. Kwak Such a voice might be okay for a 10 year old girl but not for a grown up woman (am dreading already her as Adrian in Rocky), her annoying Dutch accent though not as bad as Anna Thorén's, didn't help either.
Talking about accents another one whose accent annoyed me was Yngve Gasoy-Romdal as Cagliostro besides his most exaggerated pronunciation of single words and his intonation. Especially when he overdid it his accent came through. It is weird as it actually seems to come and go. I saw him in shows when it was okay, then in others it just got most annoying - and not different shows but even different performances of the same show. And as much as he exaggerated when he spoke and sung (do not get me wrong, I like his singing voice and I think it suits the part of Cagliostro) his acting was too though partly is to be blamed on directing and some of these rubbish changes to the book.
Frank Winkels as Louis XVI. was way too sweet for me. I was not a major fan of Tim Reichwein as his Louis was always a bit too camp but Frank was also not what I expected. But considering that the role is so small it didn't bother me too much.
Anne Welte's part of Madame Juliette Lapin was unfortunately reduced to a minimum as the one number in the brothel was changed with Cagliostro doing the opening/introduction of it with Anne eventually taking over (with changed lyrics). Such a shame, such a waste of talent of the wonderful, fantastically looking and sounding talent Anne Welte.
Also other parts are a lot smaller these days. For most it did not matter too much, just wondering why you'd have these then at all as Madame Lambelle (Daniela Römer), a confidante of Marie Antoinette who in the Bremen production was a close friend of her but here she's more like a maid having a cameo appearance in act 2. Fashion designer Rose Bertin (Corinna Ellwanger) or Léonard (Jan Altenbockum), two characters which are used to emphasise Marie Antoinette extravagance in act 1 are also more just having cameo appearance as also their big number in act 2 (along with the character of Charles Boehmer) was cut, so with these changes I cannot tell the performers playing these could convince or not as there's not much left to shine with.
But to give then characters more stage time as Madame La Motte, who's portrayed as the key driver, well manipulated by Cagliostro, for the necklace affair and to have then someone as Christina Hindersmann who was so overly wooden and stiff just majorly annoyed me.
Besides the featured ones of the ensemble no one really stood out for me. Yes, one of them was the wonderful Elena Zvirbulis from the Schmidt Theater ensemble, but the Bremen ensemble was more of full of characters and not a bunch of non-persons as at most Stage Entertainment shows - or this one.
Tecklenburg boasts and pride themselves with having a large ensemble of local volunteers they use as extras. There are the odd scene for which it worked to have these dozen of people onstage but sometimes it seems they were just onstage for the sake of giving them stage time. As when Margrid Arnaud is thrown out of the place and sings her "Blind Vom Licht" having them onstage it took the focus massively away from the song and Marion's performance. All I want to have is the lead and the song. Nothing else, especially not a bunch of people onstage.
The same goes for the masked ball apparently taking place at the opera. Yes, you may guess it they were there too, even if just on the sides but dressed in the ordinary clothes of someone poor. Seriously while it seems only minor it bugged me as it would have EXTREMELY unlikely that they were there dressed like that? But again I can only assume they are just given stage time for the sake of it as they are needed to make such events happening with all the other work around the production and the creative team and other seniors think it is necessary to make up for that with allowing them onstage.
Well I could go on and on and rip the show scene by scene apart but I cannot be bothered. I was even not sure first whether to write anything about the show as I actually would like to dispel it from my memories. This production is one I do not want to see again.
Official Marie Antoinette "panorama" pictures
Official Marie Antoinette pictures, unfortunately with the for me "wrong" Margrid Arnaud
A few not so great curtain call pictures by me:
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| The typical Yngve Gasoy-Romdal behaviour at curtain call |
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| Bit blurred but I love it for Roberta Valentini and Patrick Stanke |
