Charming People, These Boulingrins
(It Burns)

 When the penniless Brisket enters the parlor of the Boulingrins, she believes she has found paradise and comes up with a fabulous plan: She will spend the winter living for free like a parasite in this cocoon of bourgeois perfection. As it turn out, however, the seemingly pleasant atmosphere on the surface in the home conceals a veritable hell beneath it. Madame and Monsieur Boulingrin are in an all-out marital war in which they trade nasty insults and have even come to blows. Brisket finds herself caught between the two and is used as a scapegoat by both, and she notices that Felicitas the maid is also a victim of the sadistic game the couple are playing.

In his one-act play from 1898, French dramatist Georges Courteline explores the darkness of a bourgeois class that has discovered its passion for destruction and declared its parlor to be the organized arena for acting out its fetish. In their destructive rage, Madame and Monsieur become gods of all things and emancipate themselves from the state of being a human creature to become creative creators who imitate world destruction and world creation at home and outside in the fields of science and economics. The Boulingrins neither know nor care that outside, people who don’t have parlors are building barricades made of paving stones.

Infatuated with all the violence, much like a Sergio Leone or Quentin Tarantino, the inclusive RambaZamba Ensemble discovers in Courteline’s comedy the sensual potential of destruction and uses wordplay and slapstick to address cruel trivialities that reference the deep abyss of human relationships.

This production addresses the topics of violence, sexual acts, and sexualized violence. During the performance, artificial fog is generated and stroboscope effects and very loud noise effects are used. In addition, the performance is accompanied by loud music. The sound of a fire alarm is used as well.

Duration: Approx. 1 hour and 10 minutes

PRESSE

"...in die Unvorhersehbarkeit der Anarchie brechen vor allem Tobias Kreßmann und Sascha Perthel aus: sie beide, einer als wilder Entertainer, der andere am Schlagzeug, sind gemeinsam das irrlichternde Dienstmädchen Felicitas. Und sie dokumentieren die überwaltigende Energie, die ein kleines böses Stück wie das von Courteline freisetzen kann, wenn es in einem inklusiven, konsequent grenzüberschreitenden Theater in die Hände fällt." Michael Laages, Die deutsche Bühne

"Tänzerisch und sängerisch haben die Akteure so einiges drauf. Sie spielen nur die Freaks, sie sind es nicht. „Ich bin nicht auf die Welt gekommen, um mich unentwegt misshandeln zu lassen“, sagt Schmalzfleisch. Ein Satz, den man als Hinweis auf den Alltag von Menschen mit Down Syndrom deuten könnte. Doch hier sind sie nicht nur Opfer, sie können auch hart zulangen. Das ist zwar ein Nebenaspekt, trotzdem ist dieser turbulente Abend ein Bekenntnis des Selbstbewusstseins." Uwe Sauerwein, Kulturvolk.de