The new theater season in Berlin has opened under a cloud of uncertainty, amid a proposal to drastically cut the city’s cultural budget that has raised alarm and drawn criticism. Against this gloomy backdrop, the Schaubühne playhouse’s decision to open its season with a five-hour-long world premiere by an internationally acclaimed director felt defiant.
Robert Lepage’s “Glaube, Geld, Krieg und Liebe” (“Faith, Money, War and Love”), which premiered in early October, is an ambitious work that strives, and occasionally achieves, epic sweep and emotional impact during its mammoth running time.
It all started with a deck of cards.
Lepage, a polymathic Canadian director whose credits include films, Cirque du Soleil spectacles and the Metropolitan Opera’s divisive Ring cycle, devised “Glaube, Geld, Krieg and Liebe” with seven Schaubühne actors, who were initially guided by chance: they used a deck of playing cards to help generate characters and situations.
“Cards are charged with meaning, symbolism and themes,” Lepage, who has used a similar technique in previous productions, states in the program. The director matched each suit to a theme and encouraged his performers to use the numerical and metaphorical value of the cards to brainstorm and improvise.
The result of all this shuffling and play is an expansive melodrama about Germany since the end of World War II. Divided into four acts, or episodes, “Glaube, Geld, Krieg and Liebe” whisks us from Wiesbaden in 1945 to Ukraine in 2022. That’s a lot a ground to cover, and the script boasts more characters than there are cards in a deck; geographic, linguistic and temporal shifts are frequent.
In the first and best act, a baby is left on a convent’s doorstep shortly after World War II. Raised by the nuns, who name her Jeanne Bernard, she grows up to become an ingénue in Paris in the early ’60s, an haute couture runway model in the ’70s and a middle-aged philanthropist shortly after German reunification.
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