The Theater Chemnitz saw the premiere of Friedrich Schiller's rarely performed play, "Die Verschwörung des Fiesco zu Genua," on February 1, 2025, directed by Alexander Nerlich. This production has been described as straightforward and devoid of patronizing overtones, which might leave Schiller himself feeling somewhat dissatisfied, according to Michael Bartsch.
The central narrative of Schiller's play, set against the backdrop of 1547, revolves around the unpopularity of the ruling elite, particularly the aged Doge Andrea Doria and his nephew Gianettino, with the citizens of Genoa. The discontent not only resonates with the general populace but also within the increasingly rebellious middle class, who are frustrated by Doria's governance. The opposition's weak structure—characterized by its diverse interests—makes it difficult to rally for revolution, as it struggles to articulate a coherent agenda. This environmental chaos drives the conspirators to coalesce around Fiesco, the Count of Lavagna, whose leadership is ambiguously portrayed throughout the performance.
Director Alexander Nerlich successfully avoids spoon-feeding connections to contemporary society, allowing the audience to draw parallels themselves. The staging takes place within the Spinnbau, an industrial ruin currently serving as the theater's venue during renovations, which adds to the raw aesthetic of the play. The production exposes the characters as tragic figures ensnared by their ambition, encapsulated by the line, "While there’s life, there’s struggle." This resonates with current political discourse, reflecting on the inherent futility of power struggles.
A notable point of interest is the dynamics between Fiesco, played by Alexander Ganz-Kuhl, and his wife and advisor, Leonore (Andrea Zwicky). Their complicated relationship serves as a focal point, with Fiesco's ambition echoed through his growing detachment from moral concerns, highlighting the usual toll of revolutions on personal relationships. Dirk Glodde's portrayal of the Republican Verrina offers another layer to this tale of disillusionment, depicting him as the last vestige of idealism before succumbing to pragmatic power structures.
One significant transformation within this production is the replacement of the traditionally cast character of the Moor of Tunis, Muley Hassan, with the androgynous double agent and assassin "Hase," portrayed by Katka Kurze. This character choice serves to modernize the narrative, inviting audience engagement through its humorous undertones, especially prominent at the beginning of the second act, where the audience is playfully implicated within the conspiracy.
The stage design is minimalist yet effective, with vertical elements resembling fortress towers, which seamlessly reveal new spaces through the use of rotating platforms. The color scheme, dominated by blacks and greys, reinforces the oppressive atmosphere of the characters’ machinations. The set changes allow for varying interpretations of the scenes, with themes of confinement and power reiterated visually.
Schiller's work, perhaps meant to be consumed with greater clarity, stands out as the complexity of his characters is brought to life without overt agitation. The portrayal of Fiesco is multifaceted, going beyond mere aspirations to implement order, echoing the tragic note of his plot: the revolution eats its own children, as most of his co-conspirators do not survive the ensuing chaos. Yet, the production manages to retain comedic elements, ensuring the audience remains engaged through humor. The result is not didactic, reflecting the concerns and disillusionments of leadership whilst challenging the audience to confront their perceptions of rebellion.
Under Nerlich's direction, "Die Verschwörung des Fiesco zu Genua" is not just another classic interpretation but rather becomes rich political drama relevant to modern audiences, raising questions about the nature of authority and rebellion. The two-and-a-half-hour performance, including intermissions, doesn't spare the spectator from the harshness of political realities albeit presented within the aesthetic confines of classical theatre.
This noteworthy debut, critically recognized for its absence of tired clichés associated with educational theatre, allows for Schiller's timeless exploration of power and identity to resonate, providing both entertainment and fodder for thought. Upcoming performances at Theater Chemnitz will continue to explore such classic narratives with fresh interpretations, challenging audiences to reflect on their historical contexts and modern parallels.