Ausekļa Limbažu teātris — Nejauša dekoratīva bilde



By Gustavo Ott

Theatre Drakomir, Ribe, Denmark
Directed by Thomas Hauger

PASSPORT has both a political and a universal message. A rail passenger has apparently fallen asleep and wakes up at a station too late. She can not read its name and is charged her passport to enter. But it is not enough, she is charged it again and again, but her explanations are not understood by the soldier and officer, who does not
understand her language and vice versa – and this goes rapidly through a truly nightmare with clear Kafkaesque undertones.

She comes in a sharp interrogation. Is she a terrorist? Is she smuggling hard drugs? Will she undermine the country’s economy? The paragraph dealing with existential questions such as: Who am I, where do I come from, how does my future look like? Here is a picture of a world where communication in important situations totally fails with fatal consequences…..or a picture of how we deal with the unknown, the strangers.

In the role of the train passenger is seen Bianca Klingenberg, officer played by Thorbjørn Schunck and soldier gives debut at only 18 year old Nikolaj Abel. Instructor Assistant is Steffen Olesen. Scenography is made by the professional team Peter Rafn Dahm and Annie Hjort. The poster is designed by Thomas Brorsen, formerly active in Theatre DRAKOMIR, now residing in Iceland.

Review by Morten Hovman 
Theater Consultant, stage director

Performance is seen on DATS’s (Danish National Centre of aita/iata) National Festival 25th April 2009.

«Passport», by Gustavo Ott is a political thriller with an international format. 
In Theatre Drakomir’s great production of the play, the performance is being delivered as an existential nightmare of almost Kafkaesque dimensions. We experience a person caught in a political game in a sort of mini-world where we do not understand each other’s language. Situations and misunderstandings quickly escalate out of control, and it all becomes very violent and dangerous. The performance has universal messages and themes, and as such is highly relevant for a modern audience.

It is a very powerful play, we are presented with. 
There is a chosen a light acting and telling style, which suites the performance, since the violent, almost frightening situations in this way is brought into a fine contrast. 

The scenography is—in all its simplicity—incredibly successful. At the same time claustrophobic and universally open. It is clear that the actors enjoy working in it. 
Mentioned has also to be the choice of music. The music is very well chosen and helps to emphasize, that this is a story that can happen anywhere and at all times.

It is a very clear performance that you can easily follow, even if you do not understand the language. 
There is clearly put a great care in the work with the play, and it is played well and present of the three participating actors.

An entertaining but meaningful performance that puts a lot of thinking and thoughts into the minds of the audience …

Theatre DRAKOMIR was founded in Ribe, Denmark 1980 and has been active since then. Among other things it was active in the local community plays in the 80’s and beginning of the 90’s. The group has its own theatre and has played a broad variety of repertoire and has also several children groups.

A group of young actors performed in 2001 famous Danish play by national playwright Kjeld Abel. Since then there has been a tradition for producing production with high ambitions and on a contemporary basis. Often as new written Danish Drama or international contemporary plays.

Theatre DRAKOMIR has participated in a number of national and international festivals.