LOVE AND MONEY

Dennis Kelly

DIVADLO V DLOUHÉ

Jan Mikulášek

Direction and music: Jan Mikulášek 
Translation: Lucie Kolouchová 
Set: Marek Cpin
Dramaturgy: Štěpán Otčenášek

Cast: 
David: Miloslav König
Jess: Helena Dvořáková 
Father: Jan Vondráček 
Mother: Marie Turková
Val: Klára Sedláčková-Oltová 
Duncan: Miroslav Hanuš 
Sandrine, Debbie: Magdalena Zimová 
Paul, Doctor: Jan Meduna 

Czech premiere: 16 November 2011

Performance length: 90 minutes without interval

Love and Money – This cruel comedy by contemporary British playwright Dennis Kelly is about love in its many forms. It consists of several stories that overlap in a sophisticated manner. On top of that, the action takes place backwards. Jess is a shopaholic who is also interested in Buddhism. David pays off Jess’ huge debts, but would like to buy himself a new Audi. In the end he finds a way of getting out of an unpleasant situation… An elderly couple cannot stand looking at an ostentatious monument to immigrants which overshadows their daughter’s grave, and in the end they take justice into their own hands… The world of Kelly’s play is full of confused and wounded people, clumsily trying to pretend that everything is absolutely fine. However, the harder they try to be normal, the madder they become. Kelly’s plays are often described as dark and brutal, full of people who hurt each other. Kelly disagrees – the people in his stories may hurt each other, he says, but they really don’t mean to. A subtle but very important difference, and one that give his plays knife-sharp humour and moments of great poetry.

Manipulating others and manipulating one’s own consciousness and conscience is typical of all the characters. They all want new things and money. Even if they don’t admit it. Their desire to own is stronger than love. And it leads to spiritual crippledom, suicide and murder. The fluctuating distance between the actors and their characters, and their oscillation between “reporting” and “embodying” means the viewer watches the moral devastation as if through a movable zoom lense. And sometimes the compelling and masterful performances bring him in terrifyingly close.
Bronislav Pražan, Týdeník Rozhlas

Director Jan Mikulášek and artist Marek Cpin respect he specificity of the dramatic method and situate the fragmented action in a single, stylistically-clean space. The background is dominated by large photographs of the eight actors. The aesthetics of the static environment, together with a corresponding number of simple chairs, contrasts, however, with the surprisingly large supply of versatile dramatic resources on which the actors draw.
Zdeněk Hořínek, Divadelní noviny

Mikulášek’s production highlights dysfunctional human relationships, the inability to communicate and the abandonment of any attempt to find a common communicative code. The audience finds little in the way of dynamic action. The strength of the information lies in the word, the situations are unclear, the figures unspecific. No real conversation takes place. Dialogue between partners falls apart into sequences that are more or less monologues, in which contact with the other partner is made by means of deformed diction and hysterical aggressive attacks that meet with no reply.
Dominika Šindelková, Rozrazil

…the production is a peculiar experience, in which the individual actors’ performances are as compelling as the original stage form, which touches the painful moments of the life of society and of every one of us.
Jana Soprová, Český rozhlas 3 – Mozaika

Theatre in Dlouhá – The theatre is headed by manager Daniela Šálková and artistic management in the form of dramaturg Štěpán Otčenášek and directors Hana Burešová and Jan Borna. It also frequently plays host to leading guest directors such as J. A. Pitínský, Vladimír Morávek, Jan Nebeský, Jan Mikulášek and so on. The basic feature of the theatre’s work is a deliberatel diversity of genres and styles. The correspondingly varied repertoire focuses on less well-known plays that have yet to be shown and tested in the Czech Republic. The theatre’s productions make frequent use of the musical, singing and movement potential of the actors, artistic and musical metaphors and a wealth of lighting and audiovisual techniques. The theatre characteristically goes beyond the bounds of drama in the direction of alternative, music, puppet and cabaret genres. For younger children it holds the Child in Dlouhá festival, which shows the most interesting productions from theatres outside Prague, and since 2007 it has also held a theatre festival for teenagers called Festival 13+. The Theatre in Dlouhá has gained a number of awards from critics, and no fewer from audiences.