April 2001 - Nr. 4
The Weighing of Innocence at Deutsches Theater Toronto
by Sybille Forster-Rentmeister
Toronto
is fortunate to still have a German language theatre, even if it performs
only once a year and its players are amateurs. Local audiences would be sad
indeed if the members of this dedicated group were to decide to hang up the
their thespian ambitions and retire. This particular labour of love demands
a fair amount of discipline from its disciples and a strong will and the
ability to make enough time to bring a full production to the stage.
Requirements not easily met you might rightfully say. And perhaps this is
why the ranks of our German amateur theatre are not exactly swelling with
new talent, something that needs to change if we want to continue to enjoy
our annual theatre event of plays fair and funny, classical or modern. Young
people have a heavy curriculum at school and university, hardly enough time
for play themselves; so we are told. And we do believe them. Besides, there
are so many other diversions and things to chose from. It is the same old
problem older generations bemoan when they look at the end of their
carriers. There always was, and probably will be, a generation gap, where
someone likes this thing and some one else likes that thing over there
better.
German
Theatre in Toronto has a long history as Manfred Petz can attest to. He ably
played the lawyer in defence of the innocent old ladies in the Play "Zwei
ahnungslose Engel", the newest offering of the DTT. He was already part
of the theatre group in 1973, when it was called something different. It had
been reborn the year before from another group as Players Buehne 72, and
yours truly played Marianne in "Der Snob" by Anton Sternheim
together with Guenther Petricek, who brought us much later, in 1991, as his
last production as a director Goethe’s Faust. This was a performance were
the presence of Sigrid Peter as Gretchen and Horst Peter as Dr. Faust was
imprinted forever into the memories of local audiences.
Since
then Horst Peter and his wife Sigrid have nurtured the German Theatre
Toronto with the help of the few forever-faithful thespians we all have come
to know so well. Not all of them are with us anymore. I am reminded of my
co-player Gisela Assenmacher, who left the world stage not too long ago, but
never failed to support our German theatre.
Thus
it is always with that famous tear in one eye as well as the invisible bunch
of violets in the lapel that I go to opening night at yet another annual
performance of yet another play, presented by much the same people as
always, wondering how long we can keep this up without a good injection of
new and much younger blood. Newcomers could benefit so much from the
incredible experience these loyal theatre-folks have.
Perhaps
this is the reason why Hilde Schulz, one of the most loyal theatre
supporters, who only played two very small parts over the many years and
otherwise worked diligently behind the scenes, did so well as one of the
darling bittersweet characters that needed defending from the big bad
computer-infested world of now. She did come across marvellously well as the
dead pan-face older sister who would rather die than let go of the control
she has over her younger sister.
The
other spinster is played by Sigrid Peter, who delivered once more a unique
character, this time with a stiff lisp as her trademark. She did it so well
that some audience members actually believed that there was something wrong
with her lips or teeth. Her animated performance of Helen-Louise Carter
stood quite in contrast to Hilde Schulz’s quietly domineering Mary-Anne
Carter.
No
play of our theatre group is complete without an always interesting and fine
performance of Gunther Kunzelmann, who has graced our German stage for 37
years. This time he played the irate and impatient prosecutor, who does not
enjoy any sympathies with the rest of the characters in the play, nor the
audience.
Perhaps
that is the reason why he has not even got a name in this play, just a
professional designation. As the prosecutor he represents the whole big
heartless machine that we call our justice system. Therefore, we note that
the defence lawyer, played by Manfred Petz, is also not listed with a name
in the program, just a title. But we have more sympathy for him later,
because he actually uses his vile talents to get the two little old angels
off. And he turns out to be not so bad afterall. Even the Judge is not
mentioned with a name in the program. But if memory serves right, all of
them did have a name in the conversational proceedings in the court scenes.
Only
the real people have real names, the ones like you and me, like the
neighbour, Mr. Edward Jamisen, played by Guenther Rausch in a huge white
shirt with an artistic scarf around his neck that once was recognized as the
one of a fine art painter. Monika Lang’s Rose Allan, the lady who runs the
fabulous International Service Club, which the two darling angels are
supposed to have defrauded, has a name. There is the salesman, who so
brilliantly entrapped the two spinsters in a web of travel-desire and always
evaded the subject of payment in favour of general references that could be
interpreted this way or that way; even he has a name. He is Fred Erlanger
and is aptly played by Albert Pons. Everyone in the audience had met a
salesman like him and loves to stay away. But he at least admits his tactics
honestly in court. And the saviour, the "Generaldirektor" of the
computer firm, smelling a possible public relations disaster, even he has a
name. This is Mr. A.M. Carter, no relations to the defendants; the name is
just a coincidence. Alfred Haupt writes the cheque that saves everyone’s
bacon with considerable flourish.
But
the young lady who transcribes the proceedings for the record has of course
no name. She belongs to a nameless bureaucracy. She was unobtrusively played
by Tanya Percy, who once played in "Hochwasser" one of the very
young characters.
Everyone
reminded us how life was in the early days of computers, and how we still
run into individuals who have a hard time adjusting to all these newfangled
methods.
The
correct atmosphere was created with the help of great costumes and props
(Sigrid Peters pulling triple duty in this production). Manfred Petz also
did more than double duty: Besides playing the lawyer he signed responsible
for the prompting and the slide show, which illustrated to the audience the
world tour our two heroines so enjoyed. David McFadden built the stage, Kai
Dombrowsi designed the play-poster, Lise Kunzelmann and Elisabeth Borgers
managed the house and Luella Massey looked after the ticket sales.
It
is totally astounding how these few people managed to pull such a play so
well together. It can only be wished that more individuals come forward to
assist in the beautiful tradition of our German theatre. As you can see, you
do not have to be German to help behind the scenes. If more people would be
available than the actors could concentrate even more on what they are there
for, namely acting, not running errands. Just imagine how that would be. And
there are more talents out there, we know it. Horst Peter is a very able
director who will guide you through your part, and you will no doubt enjoy
the adoration and gratitude of the public that will be yours, if you
participate. So take your heart into your hand and dial with the other hand
this number: 416-439-7920.
Prefer email? Well, Horst Peter is available under horstpeter@dttoronto.com . And is there a website you ask? Of course: www.dttoronto.com .
The show is still running during this week. Consult the ad in the paper. And if you do not show up as an audience member this year, than we will see you on stage, perhaps next year?
