(A. J. Goldman’s article appeared in The New York Times, 11/12; Photo: Credit…Sandra Then; via Pam Green.)
MUNICH — Before a second nationwide lockdown went into effect in early November, Germany’s theaters — and their audiences — had been adjusting to measures that allowed a semblance of normal cultural life in the midst of the pandemic. Mandatory masks, spread-out seating plans and pragmatic program changes all ensured that the country’s playhouses were operating safely.
But after two months of performing under these changed circumstances, theaters seemed taken aback when, on Oct. 28, Chancellor Angela Merkel announced they would have to close again. This time around, they have not gone gently.
Officially, the second lockdown will last only a month, but few companies expect to return to the stage in early December. Faced with the threat of indefinite closure, they have reacted with refreshing chutzpah, challenging politicians to consider live performance as an essential service rather than a leisure activity.
“There is no danger of infection if you maintain the minimum distance of six feet and properly ventilate the auditorium,” said an open letter to lawmakers signed by arts administrators in the state of Bavaria. “So far, not a single case of infection has been proved to come from a theater visit,” the letter added.
I’ve been impressed with the precautions that playhouses have taken, although I’d be lying if I said that my much-curtailed theatergoing has not been attended by anxiety every step of the way, from riding the subway and avoiding audience members in the lobby to carefully filing out of the theater after the show.
Sometimes, that sense of unease was magnified when a production hardly seemed to justify the risk, like Thorleifur Örn Arnarsson’s staging of “The Oresteia” at the Volksbühne in Berlin. The show, scheduled to return when the lockdown is lifted, makes for a loud and cluttered evening that has surprisingly little to do with Aeschylus’ tragic trilogy.