Welcome! This is your first free article. Get more free articles when you sign up with your email.

The Damned (Les Damnés)

“Ivo van hove’s staging is flashy but fruitless”

Prolific Belgian super-director Ivo van Hove has two modes. There’s accessible Ivo, who radically modernises classic plays – Ibsen, Shakespeare, Schiller and Miller – in thrilling, experimental stagings. And there’s self-indulgent, inaccessible Ivo, who transmogrifies mid-20th-century arthouse films for the theatre, with distinctly less electrifying results. Les Damnés – or The Damned in English – falls into the latter category.

It’s an adaptation of Luchino Visconti’s 1969 film of the same name, which follows an influential industrialist family in 1930s Germany as they tear themselves apart during the rise of the Third Reich. Van Hove’s staging, created with Paris’ Comédie-Française in 2016 and performed in French (with English surtitles), is a sprawling, two-hour, no-interval epic set in a solemn historical context. But for all its bells and whistles, it doesn’t really resonate.

The Essenbeck family are all stakeholders in a successful steelmaking company. In 1933, on the night of the famous Reichstag fire, the paterfamilias is murdered, and the clan’s descent into politicking, power games and paedophilia begins. Notorious Nazi atrocities – book burnings, the Night of the Long Knives, the opening of Dachau – are interspersed with family fights and furious rows.

Harrowing stuff, but – sacrilege perhaps – Visconti’s portrait of a society falling apart in the face of fascism doesn’t actually involve much insight. And used as a metaphor for Europe’s current climate, as van Hove clearly intends it here, it feels blunt and unsophisticated – the theatrical equivalent of that boring dinner party guest that points out similarities between Nigel Farage and the Nazis. Hasn’t Van Hove heard of Godwin’s Law?

All the tricks in the Van Hove playbook are used to spice things up. A wide, open stage with no walls. A sorrowful, clarinet-heavy score. Characters getting doused in viscous liquids. Live video feeds being relayed to the audience via a huge screen. Violence against women. Here though, as they did with Van Hove’s last Visconti adaptation Obsession, they seem like window dressing. Magic to mask the mediocrity.

There are still some extraordinary moments – a homosexual orgy in a stew of soapy liquid that morphs into a mass murder, a game of hide-and-seek throughout the theatre that turns very nasty – but there are also tasteless ones: the use of German heavy metal music behind genuine photos of Dachau seems offensive in the extreme.

The large French cast is fairly flawless, though, as you’d expect from an ensemble as esteemed as the Comédie-Française. Particularly good are Loïc Corbery’s Herbert, a man with proud principles, and Christophe Montenez’s Martin, a man with none whatsoever. But they’re serving a show that prioritises style over substance. If A View from the Bridge and Roman Tragedies were Van Hove at his best, The Damned is him at his worst: flashy, but fruitless.

Related to this Review

Napoli, BrooklynNapoli, Brooklyn

Production Details
Production nameThe Damned (Les Damnés)
VenueBarbican Theatre, London
StartsJune 19, 2019
EndsJune 25, 2019
Running time2hrs 10mins
AuthorLuchino Visconti
ComposerEric Sleichim
DramaturgBart Van Den Eynde
DirectorIvo van Hove
Set designerJan Versweyveld
Costume designerD’Huys .
Lighting designerJan Versweyveld
Sound designerEric Sleichim
Video designerTal Yarden
CastAdeline D’Hermy, Axel Mandron, Basile Alaïmalaïs, Christophe Montenez, Clément Hervieu-Léger, Denis Podalydès, Didier Sandre, Elsa Lepoivre, Guillaume Gallienne, Inès De Kergorlay, Jennifer Decker, Joséphine Ballu, Louise Le Riche, Loïc Corbery, Marie De Thieulloy, Matthieu Astre, Océane De La Houplière, Pierre Louis-Calixte, Prune Bozo, Robin Goupil, Sylvia Bergé, Sébastien Baulain, Thomas Gendronneau, Tom Wozniczka, Éric Génovèse
TechnicalCaroline Chargois, Coline Jodelet, Mathieu Gaudet, Maxence Lemonnier, Éric Richard
VerdictA typically flashy staging of Luchino Visconti’s film by Ivo van Hove that lacks any real resonance
Add New Comment
You must be logged in to comment.
Fergus Morgan

Fergus Morgan

Fergus Morgan

Fergus Morgan

Your subscription helps ensure our journalism can continue

Invest in The Stage today with a subscription starting at just £3.98
The Stage
© Copyright The Stage Media Company Limited 2020
Linked In