Wherever The Show Is, There Is Eden.

Die Tagebücher Von Adam & Eva

(The Diaries Of Adam & Eve) 

Coupé Theater, Berlin, 12th April 2013

It was a show I had wanted to see for ages as I adore Mark Twain's collection of Adam and Eve diary short stories, once compiled by Don Roberts, and now mainly known as "The Diaries Of Adam & Eve", but I was massively put off by the casting of Eve in past productions on in Berlin and Datteln last year as I simply cannot stand the woman playing Eve in these. She was also one reason why I could not bear much listening to the cast recording though some of the songs sounded lovely - the music (by Marc Seitz) is rather simple but fulfilling the need to carry the show with some of the most witty lyrics I have heard for ages.

So when it was announced that it would be on in Berlin and it would star the amazing Gerd Achilles, even if not a fan of him too much in Dracula in Lüneburg, and Maike Katrin Merkel (first thinking WTH who is that till saw it was the one once known to me as Maike Katrin Schmidt, so not up to date with all these name changes of female performers ;-) ) it was a quick decision so that on a Friday afternoon I was off to ugly Berlin (for my taste I go to that city far too often at the moment as I personally cannot stand that city) seeing the premiere at the tiny Coupé theatre (around 100 seats) in the evening.

Adapted as a 2 person musical from Mark Twain's short stories of the encounter between Adam and Eve and how they struggle to build a relationship with each other and the world around them.
Opening with the prologue of Adam finding Eve's diary a few years after they were abandoned from Eden when Adam learns that Cain is leaving them and he starts reading it we are soon directly in the story when Eve and Adam meet for the first time.

Eve is equipped with a, as it seems never-ending, supply of post its and an obsession of naming everything, analysing everything, talk about everything, wanting to understand everything and especially Adam and why he is with her the way he is. Adam on the other side is more simple and logical, even rather grumpy, who wants to be on his own and is from the first minute they meet annoyed by Eve and her actions.
Adam gradually though loses his aversion throughout act 1, though they still squabble and fight they get somehow used to each other, they come to appreciate the other’s qualities and the story goes on exploring in a very humorous way the subject of relationships, its challenges as of jealousy and loss and consolations especially once abandoned from paradise after they have eaten an apple from the forbidden tree, and has some very moving moments in among the laughs and smiles.

While the story certainly plays on and derives humour from some most familiar gender stereotypical roles with Eve e.g. trying to please Adam regularly while he tries to take advantage of her with the help of paper notes as some had appeared out of nowhere before not written neither by Adam nor Eve (obviously notes from God but they just name him the note writer) that it often reminds of one of these 'Men Are From Mars, Women Are From Venus'-type self help books (though what is not to be forgotten is that they are also the first of their sexes), this is in not a one-joke show but a witty, modernised surprisingly thought provoking,  and, yes,once in a while silly show (and luckily religion plays only a very small role when e.g. Adam is desperate to return to Eden and builds an altar on which he wants to presents gifts to the one who abandoned them from Eden) that is so ingeniously cleverly written and constructed, that even the rhyming never sounds odd or dodgy as in other musicals (musical book and lyrics by Kevin Schroeder) full of heart and spark.

Gerd Achilles and Maike Katrin Merkel play their parts to near perfection, under the diligent direction of Sebstiano Meli (who was also in charge of the choreography, original "creative development": Christian Struppeck and Andreas Gergen), the action and the dialogues are kept sharp and the show engages the audience with some most suitable ideas created as not using the (most tiny) stage but also the auditorium to erect even more vivid scenes when e.g Adam runs away from Eve.

Maike Katrin Merkel's Eve is so hilariously and enthusiastically "über-chatty" with words pouring out of her mouth with so much lively excitement as she invents words and discovers the world but also full of warmth when e.g. Eve is nurturing her baby. Her singing sounds in some songs a bit stretched in the higher ranges once in a while but overall she sounds heart-warming and full and with her energetic play and such a spot on timing for the comedy moments but also for the sadder moments as at the end of the show when facing despair.

Gerd Achilles' performance at her side is nothing short of Maike's. Having seen him in mainly more "serious" parts till then he took me by surprise how awfully funny and wry he can be on stage but of course he is also "allowed" to be emotive and strong. Vocally he is most convincing adding depth and sentiment not lacking rapture one minute being especially touching at end when Adam realises that it does not matter where he is to be in Eden as long as Eve is with him and harmonising well in the duets with Maike with none of them ever outplaying the other one.

The two are perfectly supported by Steven Desroches on piano though it often does not feel like there is just that one guy on the piano with him also in charge of various percussion instruments. Most impressive.

The set is simple staged but most effective with the stage being full of artificial foliage plants including the apple tree when Adam and Eve are in paradise, Adam's little hut is a hanging chair and the earth is indicated by three bald trees plus there is the rare other prop to indicate "normal" life as a bench. The protagonists are dressed in rather ordinary current clothes (costumes by Silke Schneider), well Adam wears flap trousers and a tool belt as a handy man and Eve a batik dress and a white cardigan (with the dress having rips after their first night together and surprisingly totally neat in next scene which was the one issue that slightly bugged me, ah there is always that one tiny issue it seeems ;-) ).

Overall the musical is a most entertaining piece that is ideal for any theatre focusing on chamber plays which though requires a strong cast that can carry the show as well as Gerd Achilles and Maike Katrin Merkel do.
This production is on five more times at the Coupé theatre in Berlin - do not miss this little gem.
Check out the >>website for more information and tickets.