Dobbrow shines his flashlight on the inhabitants of a normal block of flats somewhere on an estate on the outskirts of town who are united by one thing in particular: the thought of a painless life after death.
Jenny and Gerd are orphans and live together in the family flat. Their mother died of a brain tumour, Gerd was the one to close his dead father's eyes. Bibo, Jenny's childhood friend, wants to become a brain surgeon. He desperately clings to the thought of being able to beat evil by excising it with a knife scalpel. Ronnie lives with his mother, who has problems with her veins and needs looking after. His father does not want to have anything to do with him. He desperately tries to gain love and attention from Suse and Gerd, but they aren't interested. Rieke is the daughter of a bank employee who spends all his free time at the pub with a colleague, and whose mother, beyond her reach, flees into a spiritPremiere:l fairy-tale world. Paul, a tough guy, has simply been forgotten by his father. Micha was once a gifted civil engineer who, together with his colleague Hilmar, created whole cities. Now he just vegetates in the basement, having years ago boozed away any sense, his baby on his conscience. Hilmar has been luckier. By carefully currying favour with the numerous single women in the building, he always manages to get his feet under someone's table.
Legoland is a declaration of bankruptcy for a society that has forgotten the meaning of social justice and community. At the centre of the play there are no socio-psychological attempts at justification from the characters, but a sober stocktaking, in which the destructive power of our society is felt without any sentimentality.
(from the programme of the "Suhrkamp TheaterVerlag" publishing house)
Responses to the Play
Dobbrow does not throw himself at youth culture and he consciously omits all the associated lifestyle accessories. But he's got the measure of modern youth culture and his dialogue is written in a suitably casPremiere:l style, poetically enriched with odd moments of lyricism that break up the everyday greyness. "Alles schön ordentlich” ("Everything fine and in its place”) say the gang of the dead reality where they feel so out of place.
(Irene Bazinger in the "Berliner Zeitung", 31 January 2000)
|Premiere||"Kleist-Theater Frankfurt/Oder", January 2000|
|Cast||4 f, 6 m, set|
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