a co-production of the fringe ensemble with Theater Bonn

Director Frank Heuel
Stage, Costumes, Video Annika Ley
With Manuel Klein, Andreas Meidinger, Laila Nielsen, Julia Philippi, Sören Wunderlich, Oleg Zhukov
Music Ömer Sarıgedik
Dramaturgy Claudia Grönemeyer, Jan Pfannenstiel

December 19, 2019, Werkstattbühne, Theater Bonn

Other performances also took place on the workshop stage. In May 2020, the ensemble should travel to Burkina Faso for guest performances.
Due to the Corona situation, this could not be realized. The team worked on a version.
Learn here,
how the project could be shown in Burkina Faso despite the Corona restrictions.

“Gold is a child of Zeus; neither moth nor rust consumes it, but the spirit of man is consumed by this most precious substance.” This clear-sighted statement comes from the Greek poet Pindar from the 5th century before the turn of time. In cultures all over the world, gold is part of creation stories, myths and fairy tales. Having literally rained down on our planet through a collision of stars ages ago, it continues to exert a magical fascination on us humans to this day: The imperishable gold, which eludes the cycle of becoming, being and passing away, triggers gold rushes and wars, is counterfeited and imitated. And if we manage to bring it to the light of day, we often get it back underground as quickly as possible, into the big vaults of the banks. On the one hand, its possession promises security in uncertain times, power and influence. On the other hand, it provokes greed, avarice and envy, because it is limited and cannot be produced artificially. Gold has become a global multiplayer due to its special properties, played and still plays influential roles in economy, society, art, religion, science and politics.

At Theater Bonn, Frank Heuel and members of his fringe ensemble are developing a play about this precious metal, which is both steeped in history and suitable for drama. It is the second part of a project financed by the Federal Cultural Foundation in the Doppelpass fund, with the aim of strengthening forces of independent ensembles in cooperation with municipal theaters.

In this case, the double pass is played between Burkina Faso and Bonn: A year ago, the fringe ensemble worked with colleagues from the Espace Culturel Gambidi in Ouagadougou on the play “Brillante Saleté – Glänzender Dreck”, which was also shown in Bonn in the summer. It focused on artisanal gold mining in the wild mines and its dramatic consequences for the land and its people. So there it showed one of the poorest countries in the world and the hope of many people to improve their own existence in search of the country’s most valuable mineral resource, while at the same time risking their lives and their future. Here, gold enters the Western affluent society of a country where many try to increase, or at least secure, their capital by hoarding, investing and moving gold. The shiny soil treasure exists with us at best as river gold, and indeed gold panners can be found along the Rhine. Some Rhinelanders may even still dream of finding the treasure of the Nibelungen. However, mainly the gold deal takes place on exchanges and professional gold traders.

For Lieber Gold im Mund als Porzellan im Safe, Frank Heuel will not spin straw into gold, but threads into a gold play that creates links between the past of explorers and alchemists and first gold seekers to the present of traders and collectors and spans the arc into a future in which all gold resources will be exhausted.

© Thilo Beu