Landsberg - On some evenings the theater shines. Time fizzles out, space disappears, the focus is exclusively on what is shown - other things fade away. To do this, you need: an author who speaks the language and knows what theater can do - for example Daniel Kehlmann, who also brings history to life on stage. And you need a great ensemble that is happy to play, well-coordinated with one another - like that of the Altona Theater and the Munich theater company theaterlust. Together they tell the "Journey of the Lost", the odyssey of the St. Louis, whose Jewish passengers no country wanted to accept. A piece that does not mention current events in any syllable. But it is burning current.
In May 1939, the luxurious passenger ship of the Hamburg-America line Hapag “St. Louis ”in Hamburg at sea. On board: 937 Jewish emigrants, fleeing from the National Socialists with destination Cuba. Germany benefits, because 500 Reichsmarks are due for each Cuban visa. “A diabolical comedy,” headlines the “striker”. Hapag has the return journey paid for with 230 Reichsmarks - even if none of the passengers will ever take it. Cuba also wants to be rewarded - but President Laredo Prú is hungry for more than the Jewish Aid Committee and the passengers can muster. Which is why it finally means: landing rejected. Not only is Cuba closing the gates, also the USA - there are elections, Roosevelt is not keen on hated refugees - and Canada is closing. An odyssey begins for St. Louis that will end in Antwerp.
The Nazi captain
The key figure is Captain Gustav Schröder, a member of the NSDAP since 1933, but eager to treat all passengers equally.
He refuses the order from the shipping company to return to Hamburg.
Even considering running aground off England to be rescued by the England Coast Guard.
In 1957 he was awarded the Federal Cross of Merit for his refusal.
And Yad Vashem posthumously counts him among the “Righteous of the Nations”.
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Ben Daniel Jöhnk as captain Gustav Schröder (left) is the key figure in the history of St. Louis.
He was accepted into the circle of the "Righteous of the Nations" in Yad Vashem.
© ks
The true story that Kehlmann tells based on the 1970 “Voyage of the Damned” is a story of power and greed, hope and injustice. Timeless themes. The refugees in the Mediterranean Sea on the Belarusian border are immediately present - even if there is never a current cross-reference. The political and financial aspects are also indicative of the opposition between nations, humanity itself. Every now and then the piece jumps out of itself: “None of this is invented”, the viewer is admonished. Otto Schiendeck as NSDAP local group leader points out to the audience the grace of late birth. And about the time that heals all wounds - but some never, which is why they have to be told over and over again. The real Gustav Schröder ended his memoirs with:"So that cruelty and inhumanity, wherever it may be, can never spread again."
Video projections of bow waves, people and the railing shimmer on two screens that close to the ship's bow or open up as a space. They separate the stage into two levels, the events in the center are always accompanied by surreal, shadowy stories behind the screen. In the 'interior of the ship' accompanies the actors band, consisting of all participants.
Director Thomas Luft paints a whole from a wide variety of sensory impressions, which nonetheless do not blur. The plot is brought to the point in short dialogues, the political finesse, the greed for money and power of those involved are pointedly captured. The almost two-hour piece has no gaps: Movements of the screens are included in the game, there are almost no costume changes: The eight actors slip into their second, third or even fourth roles in a matter of seconds - a total of 22. A jacket makes the Cuban president , The old-fashioned handbag is transformed into a little mother, a hat hops on its head, a limp arises, an accent creeps in. Everything is precisely coordinated like clockwork, no errors despite large amounts of text.
The actors are convincing - everyone in every role.
Konstantin Moreth as the stupid Nazi Schiendick, Ben Daniel Jöhnk remains cautious and straightforward in the role of captain.
Judith Riehl is enthusiastic as the Cuban President and Edith Konrad as Lawrence Berenson skillfully balances on the edge of an American cliché.
This is great theater, inspiring and thrilling.
The Landsberg audience applauded the actors several times on stage, accompanied by enthusiastic cheers.