Theater aan Zee invites you to participate in culture and offers a delightfully spicy cocktail of vacation and performing arts. With a varied offering for young and old: indoor or outdoor - you have it all to choose from: purely relaxing or does it require some effort? The choice is yours. The unique formula of TAZ has by now become a household name and celebrated a silver jubilee with a whirlwind festival program under the heading 'Ziejemij'. 'Care' was the central theme of this edition. Care for each other, for the environment, for a sector in difficulties, for an inclusive and solidary society. It became the most visited edition so far.
Evolution
A street theater festival that evolved into a multidisciplinary festival with hundreds of performances. Clearly l'embarras du choix applies here. Who would have dared to dream of such a transformation 25 years ago! With such immense growth, an organization can become entangled in its own ambitions, but that certainly does not apply to TAZ. It retains its uniqueness and charm. This edition was once again adventurous. The public had the opportunity to catch missed performances or go on a voyage of discovery. In an interwoven way and from their artistic freedom, the artists present their work.
TAZ let the streets, squares and halls in Oostende vibrate for over a week with theater, dance, music and cross-overs in an atmosphere of joy and sharing. Luc Muylaert, the inspiring force and driving motor of TAZ all this time, passed the torch to Jozefien Mombaerts, assisted by Cindy Godefroi and Lies Deschitere. The many volunteers (about 450), long-time allies of TAZ, who tactfully and discreetly ensure that everything runs smoothly were engaged as co-players and were allowed to express their preferences. In co-creation, with playfulness, emotional intelligence and also a dose of experimental drive and loosely linked stories, they succeeded in creating a strong program that fanned out in all directions. In this spectrum, boundaries, identity and diversity are addressed in a sea of culture. A report of the performances I saw.
'MISE EN PLACE' by hetpaleis/cie Barbarie/Theater Stap/BRONKS/Kopergieterij
In this production, the possibilities of people with a disability are highlighted. The stage is empty except for one door and one gate. Imagination was given free rein. We all search for our place in the world. Who am I? Is the human a body without a head, six legs without a torso, one gigantic leg? The door and gate through which many can pass without problems remains closed to others. This absurd performance reads well until the panels around the gate and door are torn down. There it derails a bit. The stage image becomes chaotic. The dedication of the actors from Theater Stap and Barbarie is heartwarming.
Theatrical Concert 'Ik Ben De Walvis' Wim Opbrouck, tour in collaboration with Te Gek!?
An open-air performance at the quays that starts at 21:00 when twilight slowly turns into darkness and the moon begins her slow trajectory. The setting on a shipyard amid old rusted material, ships, in the distance a lighthouse has something surreal about it.
Artists have an infallible sense of what is brewing beneath the surface. With the pandemic and war in Ukraine, there is considerable fear and unrest in society. With decisive determination, Wim Opbrouck pierces through the madness of the day, for he himself is not free from dark thoughts, melancholy. In 'Ik Ben De Walvis', Opbrouck lets us look into his soul and heart. A performance with emotional weight. Yet it is not a narcissistic showcase. It also stands at odds with an anthropocentric thinking pattern. The whale is not a fish but a mammal, just like man. A large, cumbersome animal, yet graceful and elegant. Wim Opbroeck is the embodiment of the humpback. He is fascinated by life at sea. This is evident from his hybrid style: a fusion of scientific research and his free creative spirit. He has immersed himself in the subject and glides through it with his vivid, expressive and streamlined way of speaking, body language and singing. The whale acquires human traits, struggles too with loneliness, dark thoughts, but the survival instinct saves it through fatalism and youthful audacity. Opbroeck sings a few old English ballads. Ballads tell stories of heartbreak and loss, of perseverance and passion. He gives a wonderful interpretation of the song 'Send in the clowns' written by Stephen Sondheim for the musical 'A little night music' from 1973. Opbrouck describes the whale as the monarch of the seas. Well, Opbrouck is the monarch of the stage. He realizes this position with the four cornerstones of his artistry: breathing, acting, singing, dancing. Impressive! He is assisted by two instrumentalists. Euphonium: Niels Van Heertum and percussion/samples: Ron Reuman. Together, the three of them steam ahead at full force. Their brains are wired the same way. In each individual lurks an echo chamber of dark thoughts, gloomy pessimism, the hidden inner circle. Yet there is no sign of emotional short-circuiting. Wim Opbrouck cuts through all escape routes in his reflections. Pours the feelings into words, and together with the two instrumentalists he gives them color. A primal cry bursting with joie de vivre and energy. The soundscape incorporates the ship's bell and fog horn. Very beautiful, with an ethereal beauty, is the recorder trio. By his side two star soloists who, together with Opbrouck, give the melodies the intensity they need. Their bodies vibrate at the same frequency. Synergies indeed grow from thematic kinship. You cannot help but be impressed by so much verbosity, musicality and natural class. Three brilliant and creative men provide a memorable evening. At the end, the sea rushes.
Music Theater 'Pied de Poule' Studio Orka
It is deeply unfortunate that Studio Orka is closing, shutting its books. 'Pied de Poule' is once again one of those beneficial productions. Exaggerated, but restrainedly exaggerated. That relaxed atmosphere in which to address life problems and questions is one of the strengths of this theater collective. The set is sublime. A converted atelier 'Retouche Wilfried' with windows on the world. When the protagonists vent their fury outside, the audience can enjoy the bewildered reactions of passersby. Outside, the city rages and the world keeps turning. On a busy square, bordering a busy street, all sorts of things happen. The actors eagerly play along. It's not all fun and games. Some hot-button issues in society are filleted. A single father (widower) struggles with his teenage daughter who suffers from anorexia; despite his own misery, he is also a rock in the storm for some people who cannot find their place in society, yearning for stability and security. A rollercoaster from beginning to end that sucks the audience into a maelstrom of prosperity and adversity. They all balance on a thin rope. The subtle deceptive combination of humor and seriousness, depicted hilariously down to Superman, with camaraderie as the binding agent.
With the reflection: we cannot do without the other. Titus De Voogdt is an actor with an untamable, athletic energy. Like no other, this cast knows what works and what doesn't: Steven Beersman, Ephraim Cielen, Greet Jacobs, Naomie van der Horst, Martine Decroos and Philippe Van de Velde. At appropriate moments there is also singing, and how! 'Pied de Poule' is everything you expect from Orka: resourceful, unconventional, funny, moving. A performance that crackles and sparks from beginning to end.
Three Monologues
The three monologues fit perfectly into TAZ's leitmotif from 2022, 'Ziejemij'. The human being in all their needs, traumas and longings comes into view. But the multitude of monologues also reveals a shortcoming.
Theater is first and foremost teamwork, gesamtkunst with protagonists and antagonists. Due to the dissolution of large ensembles and often 'we know each other', young performers are pushed into creative entrepreneurship. If they don't get work, they create a production themselves.
'De Bastaard' het Zuidelijk Toneel
Rashif El Kaoui starts with the confrontational words: "I am a bastard, a half-breed, a garbage bin race." He raises the polarizing theme of identity and sketches his history, his controversial place in society, a life full of barbs. As the child of a Flemish mother and Moroccan father, he struggles with who he is. Despite being born here, attending school and working here, many Belgians regard him as a foreigner, an outsider, and in Morocco he is equally that. He wants to open the eyes of the spectator to taboos, prejudice, racism. His father came from an inconspicuous village high in the mountains, the barren Saharan sand of Morocco.
Displaced, the drink and drug demon gripped him. Things went wrong between father and son. His grandmother on his mother's side was Rashif's best friend. In Morocco he had never seen her until his thirties when he sets out to find his roots. He doesn't know the language and the reception is rather cool. There is interaction with the audience. In this performance he is aided sparingly by a percussionist/singer and filmmaker. Images of the journey are projected. The audience experiences everything through his eyes. With a sharpness that touches the human struggle with oneself and the other in a range of sorrow and resilience. This story about understanding one's own roots sticks to the ribs.
'Holy Shit' De Nwe Tijd Suzanne Grotenhuis
Burn-out is part of the zeitgeist. Theater maker Suzanne Grotenhuis dares to present herself as fragile, by showing herself this way to the audience this performance is also empowerment for others going through deep valleys. She sketches her emotional and cognitive disruption during the world's largest theater festival: the Edinburgh Fringe Festival where she lost control. A frail figure on stage who manages to captivate the audience for well over an hour. When you're in the shit, you have to let go of everything for a while to get back on your feet and that takes time. Then there's the question: "Yes, but who's going to pay for all that?"
Musical Theater 'Serenade' Louis Janssens
Louis Janssens uses the life and music of Franz Schubert to express himself as a queer artist and to share his dreams and love for music with the audience. He does this in an unconventional way: in pajamas on a mattress with a laptop within reach. He displays all his talents: speaks English, German, French alongside his native language. He presents classical songs and arias performed by no less stars from the opera repertoire: Barbara Hendrickx, Jessy Norman in compositions by Charles Gounod, Purcell and comments on them. Besides, his idols Liesbeth List, Patti Smith and Celine Dion are also featured. In a spectacular way he lip-syncs the aria for coloratura soprano 'Queen of the Night', from Mozart's Die Zauberflöte. With a languid nonchalance he throws himself shamelessly and flirts with the audience. This monologue ends with the song 'Der Doppelgänger', singing with a few dark uncanny piano strokes, only four chords.
The circle is complete. The performance started with work by Schubert and ends with Schubert.
Theater 'Regent en Regentes' Compagnie Cecila
On November 28, 2010, theater writer and director Eric De Volder unexpectedly passed away, founder and artistic director of Toneelgroep Ceremonia. The alumni of the company exceptionally resumed the classic 'Regent en Regentes', over 20 years old. Based on authentic correspondence, this is a war story about a woman who must choose between two friends. The visual is very characteristic of his work. You are surprised by the grotesque style and relevance of the direction which has not lost any of its power. The music choice, beautiful choral work, draws you into the performance. With almost the same cast: Tom Vermeir, Ineke Nijssens, Johan Knuts, and Hendrik Van Doorn, the performance was played five times during TAZ as a tribute.
The beautiful summer is not over yet. TAZ#22 is, however. Now it's time to look forward to the next edition.