Nachtland

Art, Tinted or Tainted?

Nachtland

by Marius von Mayenburg, translated by Maja Zade

Delman, Friedman at the Young Vic, Waterloo until 20^th April

Review by Heather Moulson

Despite a striking set comprising sad paraphernalia from a deceased one’s home, an intricate design by Anna Fleischle, Nachtland is a play that initially seems deceptively simple.  A sparring sister and brother, and his wife clear out their late father’s possessions with an air that  gives the impression of a gentle comedy … until the speedy bleak turning point, the discovery of a painting with a signature allegedly of Adolph Hitler. 

Nachtland is a coined German word that roughly means a place of eternal darkness.   And the cast of von Mayenburg’s play fall quickly into this concept.  Then from here the satirical writing delves deeper. 

Philipp’s Jewish wife, Judith wants the painting destroyed, but Philipp wants to keep it, while sibling Nicola plans to sell it.   Not only do they look at their father in another light, but they are forced to acknowledge their nation’s past and the eternal darkness the very title refers to.   Not only that, they are forced to confront their own selves.  

Enter Evamaria, played by Jane Horrocks, is slick and immaculate as an expert on Nazi heritage.  Cool and aloof, Horrock’s character opens up nicely as this tight piece unwinds.   

Sister-in-law Judith is outraged, and the betrayal simmers to boiling point in a timely manner.   Nicola’s cupidity comes to the surface on Evamaria’s endorsement that the painting’s signature is a genuine one of the dictator’s.   Philipp struggles between profit and his wife’s trauma.  

There was an extraordinary sexual and chilling performance from Angus Wright as collector, Kahl whose greed is palpable, as he yearns to buy this painting, enacting an intricate game with Judith that goes beyond monetary gain and decency. 

It would be too simple to say there is a cat-and-mouse element involved.  The text opens up to a far deeper abyss, and director Patrick Marber handles this beautifully.  Moody and intense lighting by Richard Howell amplifies the atmosphere.

There are sensitive performances from the cast of six who carry their own demons with equanimity.  Dorothea Myer-Bennett is powerful as sibling Nicola, and John Heffernan as the brother Philipp conveys his turmoil beautifully.   Judith, played by Jenna Augen, has balanced anger, and Gunner Cauthery is strong as Fabian.

Nachtland hints at much, and at much that is taboo, but doesn’t reach a resolution.  With a final twist, it leaves hanging questions unanswered.

Heather Moulson, March 2024

Photography by Ellie Kurttz