Theatre Design & Technology - May 1966 - 24

THE CONDEMNED OF ALTONA. (left) The Council Hall, Photo: Allen Photogrophic Service; (right) Frontz's Room, Photo: Peter
Daness.

SARTRE / BLAU-IRVING / BEAUMONT
For the past several years the Germans have waged
artistic war against France with plays about the
French Revolution. That period seems to have been
adopted as a scapegoat setting to distract attention
from the more recent past. Much of this conflict may
be in retaliation for the unilateral attack by JeanPaul Sartre's The Condemned of Altona .. The play
dissects guilt and responsibility in a German family,
which has prospered in the Hamburg suburb of
Altona.
Sartre's statement concerns the fact that man cannot escape from gu i It nor work out penance for the
weak and wicked world, and that guilt leads to
guilt. In the story, Frantz, the elder son of a wealthy
German family (note the irony of his name), has
incarcerated himself in an attic room of the fami Iy
mansion for thirteen years, fed and cared for (in all
sorts of stimulating ways) by his sister. Downstairs,
the rest of the fami Iy is held rather melodramatically
by the martinet of a pater familias-- "the champion
of moral reservation" in unyielding, relentless unacceptance of the reality of their own guilt. The
action is devoted to making the penitant accept the
world downstairs, and to forcing the father to admit
his own guilt.

In Blau's production, all of the excitement is in the
private "family cell" of Frantz's making. The
Beaumont Theatre's proscen ium arrangemen tis used,
and two settings designed by the Arena Stage's
Robin Wagner are changed in the silhouetted darkness by rotating the noticeably quiet revolve. The
main "council chamber" of the baronial mansion
"downstairs" is a murky Neuschwanstein hall of
blue-grey velvet-like walls with neo-baroque gi Ided
woodwork. A huge cone-shaped chandelier hangs in
the middle of the room like both an inverted church
spire and a sword of Damocles. Two inconsistent
notes were a pair of backlighted doors made of
louvered shutters, which seemed more like New
Orleans than Altona, and a flimsy, unadorned metal
fire-escape stair leading to the elaborate baroque
door of Frantz's room.
Like the best of the action, the best setting also is
Frantz's room. Expressive of his state of mind, it
is an epitome of decay in the soulu"the stink of
remorse" as Frantz calls it. The floor of the room
is a raked platform, raised above stage level like a
scaffold; peeling plaster exposes the lathing beneath remnants of mouldings and veneer on the
walls. The ceiling has exposed beams, extended
like paralyzed arthritic fingers grasping at life. It
is sharply evocative of the crab-people masters of
the future that Frantz saw as "the massed inhabitants of the ceiling." Also, the shape is somehow
reminiscent of the crown of the Holy Roman Empire.
Back of all this hangs a brown drop with a dark
grid of barred windows or of the chain-link fencing
of a jail--or concentration camp.

The production of thi s Sartre play at the Beaumont
theatre, the th ird production of the Repertory Theatre
of Lincoln Center under the direction of Herbert
Blau and Jules Irving, indicated that the company
may be beginning to settle down. Neither the
director nor the actors appear in full control of the
play yet, however, and you still want to ask when
they are going to bring on all the senior-class cast.
The production does not engage you; it raises old Perhaps the most intriguing fact about the stagequestions about the repertory system and the some- craft is that on the flexible, multiform Beaumont
times inverse proportions between the quality of Theatre's proscenium arrangement, Robin Wagner
acting and the quality of the physical production, placed a setting that looked like an open stage,
which too often seems superior in rep. Finally, the and further, that this particular setting was designed
looseness permits you to suspect that the choice of by the ch ief des igner for the Arena Stage in Wa shplays reveals another niggling crusade by a petulant ington. That pretty we II covers the forms, doesn't
reformer.
it?

24

InSITT

THEATRE DESIGN AND TEGHNOL~Y



Table of Contents for the Digital Edition of Theatre Design & Technology - May 1966

Contents
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Theatre Design & Technology - May 1966 - Contents
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com